Heritage management training

The aim of this training is to provide you with an understanding of the skills needed to help you develop cultural heritage management in your enterprise. You will learn why skills in cultural heritage management are required by enterprises in order to gain more benefits from the optimisation of your Enterprise Cultural Heritage (ECH). This training material will help you to:

•Understand the meaning and importance of cultural heritage management in enterprises

•Develop creativity and quality in your product and services through optimisation of your heritage assets

•Implement Enterprise Cultural Heritage management in your organisation

The heritage management training should take you approximately 2 – 2.5 hours.

This material was last updated on 14th December 2011.

This work is licensed under Creative Commons Attribution 3.0 Unported License.

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Before you start…

You can maximise each of the presentations to full screen view by clicking the arrows at the bottom right hand corner of the slide.

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The term used to describe your organisation’s history and its creations, which have the potential to uniquely innovate and differentiate your products and services, is Enterprise Cultural Heritage (ECH).

Would you like to learn more about the theory behind ECH?

Academic paper: Aaltonen, S, de Tommaso, D, Ielpa, G, Heinze, A, Kalantaridis, C, Vasilieva, E and Zygiaris , S (2010) Power of the past and SME competitiveness: A European study, in: ICSB 2010, June 24-27, Cincinnati, Ohio, USA 45202. Available online http://usir.salford.ac.uk/12488/

Wikipedia: Open resources about Enterprise Cultural Heritage at Wikipedia page: http://en.wikipedia.org/wiki/Enterprise_Cultural_Heritage

Open community: Join our ECH Open Community on LinkedIn: www.linkedin.com/groups?about=&gid=3743528&trk=anet_ug_grppro

What is Enterprise Cultural Heritage (ECH)?

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The aim of the ECH management approach is to help you to differentiate your enterprise from others and innovate your products and services, thereby giving you a competitive advantage!

The ECH management is based on

• Recognition, • Evaluation, • Implementation and • Re-evaluation of these activities…

ECH management is integrated with four aspects of existing enterprise activities: • Brand management, • Change management, • Heritage management and • Intellectual Property management.

The ECH management approach

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The four pillars of ECH management

Intellectual Property ManagementProtect and exploit your intellectual property rights highlighting the heritage assets which can have commercial value for the present and future of your enterprise.

Change Management

Improve your ability to develop and implement routine processes, tools and techniques which help to innovate and thus continuously adapt to changing customer needs.

Heritage Management

Optimise your tangible and intangible heritage assets by developing routines and policies for their preservation, organisation and stimulation of present and future enterprise activities.

Brand Management

Develop and implement processes to track customers’ value judgements about your product or service that help you to better differentiate your enterprise from others by highlighting your heritage assets where appropriate.

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What is cultural heritage?

The definition of “cultural heritage” used by MNEMOS is different from that offered by UNESCO World Heritage Convention, see UNESCO definition on their website: http://whc.unesco.org/en/conventiontext

The term “cultural heritage” is used by the MNEMOS project team to describe both “tangible cultural heritage” and the “intangible cultural heritage” assets, which can be defined in turn as:

Tangible cultural heritage assets are things that you can touch - these include buildings, tools, machinery, products, works of monumental sculpture and paintings which have an outstanding universal value to the organisation from a commercial, historic, aesthetic, artistic or scientific point of view.

Intangible cultural heritage assets are social customs which are held by people and shared orally (enterprise owners, employees, customers, and suppliers etc) and include: services, crafts, oral histories, traditions, recipes, old designs and are recognised for their outstanding universal value to the organisation from a commercial, historic, aesthetic, artistic or scientific point of view.

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Are you aware of your tangible and intangible heritage assets?

My organisation’s tangible cultural heritage assets are:

and the intangible cultural heritage assets are:

Thinking about your organisation, can you identify any of these heritage assets…

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Tangible and intangible – what is the difference?

Intangible heritage could be also associated with the physical location of the enterprise, its- relation to a historic town, city, region or country. For example, sparkling wine producers from the Champagne region can refer to their region and communicate their heritage of wine making in that region.

Your heritage assets would have been identified through your brand management processes and are characterised for their exceptional value to your business from the commercial, historic, aesthetic, artistic or scientific point of view.

Tangible cultural heritage is illustrated by the old woollen mill factory buildings of Lanificio Leo. Lanificio Leo moved to its current premises in Calabria, Southern Italy in 1930 and have had to re-invent their premises as an enterprise museum in order to carry on the business.

Intangible cultural heritage is illustrated by the recipe for “Macedonian Halva” used by Haitoglou Bros SA in Thessaloniki, Greece. Since 1924, and now in the 3rd generation, the craft of halva making has been deliberately passed from successive halva masters to their apprentices.

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Tangible and intangible heritage – Lanificio Leo example

In his interview in 2010 Emilio Leo said that

“In the 60s the textile market in Italy had a significant breakdown. When the old workers retired, the previous management of the factory discussed changing processes by building a new factory to provide continuity of production. This option risked losing both the tangible and intangible assets of the old factory. My father decided to keep the old factory alive and to maintain the vintage machinery. We had the factory, we had the machines operating, but we had no market network, no workers…”.

Today the old woollen mill is re-invented as a live operating factory and an enterprise museum visited by students, professionals, tourists, and is a think-tank for new product development ideas.

Learn more about this case study on http://goo.gl/G4LGc

Emilio Leo – Lanificio Leo owner managerwww.lanificioleo.it

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Why do you need to learn about heritage management?

If you haven’t yet read the brand management or change management training material – consider doing so after finishing heritage management see:www.enterpriseculturalheritage.org

As we can learn from the Lanificio Leo example, heritage management is concerned with implementing processes for preserving both tangible and intangible heritage assets which could be used to inspire innovation and thus increased your competitiveness.

Heritage management combines knowledge of the Enterprise Cultural Heritage (ECH) and transformation of heritage assets for both creation of new products or development of existing products (ECH change management training). Thus heritage management can help you to:

• Build up customer loyalty by documenting their values over time and help you to understand their shopping habits

• Enhance knowledge transfer from older workers to the younger for preserving the company’s heritage

• Increase employees’ commitment to the company’s values and goals and therefore their loyalty

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How do you manage your heritage assets?

Now that you are more aware what heritage assets you have, what do you do to manage them?

Thinking about your current management practices, what steps are you taking to protect your tangible cultural heritage…

And the intangible cultural heritage …

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Can Enterprise Cultural Heritage have commercial benefits?

Using principles from museum management in a commercial setting can present challenges but long term decisions have to generate a return on investment unless it can be run as a loss leader.

The tradition of heritage management has been developed by museums and heritage organisations. Therefore the language used does tend to focus on “visitors” and not “customers” since museums tend to be not-for-profit organisations.

However, the ulterior motive of most for-profit organisations is financial gain and the sustainability of their enterprise. This is the reason why the same terminology cannot be used in enterprises. Heritage management has a cost associated with it and this needs to be planned carefully when decisions on preservation are taken, since not all companies can afford to run a free museum to simply generate awareness of their Enterprise Cultural Heritage.

So, for example if someone visits an artisan pottery that produces a certain type of artefacts, the visit will only generate a return on investment if a purchase of an artefact is made. This is because a commercially run pottery cannot be sustained without sales of its products, unlike museums – which are often supported by a State.

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Can Enterprise Cultural Heritage have commercial benefits for you?

Think about your enterprise, are there any opportunities for commercial exploitation of your cultural heritage?

Thinking about your cultural heritage…

- What is different about it?

- How could a visitor see or interact with it?

- Could it help you to develop your current business process?

- Can it help the visitor to understand the quality of your products better?

- Has it got educational value for children/ schools/ universities?

- Would tourists coming to your area benefit from learning about your assets as part of their understanding of the local culture?

- Would those interested in your craft benefit from seeing you using this heritage to prepare products or services for them?

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Key issues of the heritage management process

However, “heritage management” in enterprises is a process that moves from identification of tangible and intangible heritage assets to their commercial optimisation. We will look at each of these steps in due course.

1. Identify 2. Preserve 3. Organise 4. Optimise

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1. How can you identify your Enterprise Cultural Heritage?

Differentiate an enterprise from its

competitors

Creating competitive advantage

Organise heritage management

system

Maintain product quality and authenticity

To help you with identification of your heritage these are the two main reasons for doing it – differentiation and competitiveness. This means that the questions you could ask in heritage identification process are; a) Does this help to differentiate me from others? b) Can it make me more competitive?

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1. Heritage identification: example

Think about this example of the old advert and the two questions:a) Does this help them to differentiate their enterprise from others? b) Can it make them more competitive?

The current owners of J. Atkinson & Co. found an advert from October 1837 in the archive of the Lancaster Guardian that displayed a slogan of the company - “The grasshopper eats only the finest of leaves”. See image below.

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1. How can you identify your enterprise cultural heritage?

Not surprising, the find of the old slogan and reference to a grasshopper inspired the current owners in the design of the new logo.

Not only does the grasshopper image provide an example of the intangible cultural heritage of J. Atkinson & Co but it also provides a short story to attract any curious visitor.

The story surrounding the grasshopper is emotionally charged for those who like to think of themselves as liking high quality food. Like a grasshopper that “only eats the finest of leaves” a visitor to J. Atkinson & Co can sample the finest of tea leaves or coffee beans. This means that the discovery of the slogan also provides a competitive advantage and gives authenticity to the establishment.

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1. Do you want to share all your identified heritage?

As you can imagine, not all heritage assets should be shared with the rest of the world. Those assets which provide you with a competitive advantage such as recipes, designs, trade secrets and others need identifying but their content preserved and kept secret – you will learn in the Intellectual Property management module how you can do so.

An example of a coffee roast logbook from J. Atkinson & Co

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1. Recipes and their role in innovation

Old recipes and their role in innovation and differentiation cannot be underestimated.

Re-employing information from the archives allows companies to develop new ideas or to use old principles in new products. Talking about the benefits of his records, Ian Steel (Master Roaster & Proprietor) of J. Atkinson & Co says: “I have taken the principles that I learnt from the old recipes, about how they are put together, and used contemporary thinking about what goes together.”

You can read more about the use of heritage at J. Atkinson's & Co through our case study http://goo.gl/g84kA

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1. How can you identify tangible cultural heritage assets?

Each enterprise will recognise heritage in their own way and it is important to take time in making these strategic decisions. Using brand management techniques can help you with this see: www.enterpriseculturalheritage.org

J. Atkinson & Co example provides us with a number of tangible heritage assets:

- The walls in their shop are painted in the same vintage colour as they were hundreds of years ago…

- The vintage machinery – installed in the 1930’s is still being used to roast the coffee and purposefully not replaced but carefully mended to replicate the original smells and tastes.

“[the vintage machines are]…the very thing that makes this product so unique and so much loved by its loyal customers.” Excerpt from the case study http://goo.gl/g84kA

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1. Identifying more of your tangible and intangible heritage assets?

Learning from the J . Atkinson & Co. example of using local records can I find more information on my company? Think about your family, employees, customers, suppliers etc.?

Are there any machines which are no longer used but could be re-visited because of certain qualities that they bring to the production of goods?

Think of these two questions when considering the above:

a) Does this help me to differentiate my enterprise from others?

b) Can it make me more competitive/ innovative?

Thinking about your enterprise, can you think how you could identify any more of your heritage assets…

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2. Preserving your cultural heritage

Think about the cost of preservation and consider if there are any other local resources which you could use – library? university? Are there any heritage bodies which could help with raising funds or volunteers?

Depending on what type of heritage you identified, the preservation process would obviously vary.

Generally speaking if the tangible heritage involves machinery or buildings your costs will be greater compared to intangible assets such as old adverts – which you could potentially photograph and upload to your website or any social network service without major costs incurred.

If you have specialist equipment as in the case of Lanificio Leo alternative funding source might be a solution to locating funding to preserve the craft associated with the factory.

Buildings and machinery do tend to benefit from being used to maximise their preservation. Consider special events, educational courses or entertainment for your customers which could help to preserve your heritage.

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2. Preserving your cultural heritage

The photograph shows you two tools – a digital camera and a dictaphone. These could help you to record and preserve your heritage. You might already have one in your pocket – use it!

Intangible cultural heritage could be preserved by transferring the stories, knowledge and information onto digital media. In the same way that you can take photographs and video of buildings and machinery you could photograph and record people and their stories.

You will never know everything that people know about your enterprise unless you give them a chance to speak about it.

Observe and record your heritage assets when you become aware of them.

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2. Using meta data to preserve your information

Meta data is essentially notes about notes, like in a photo album where you can’t always remember what the image is and when it was taken – the meta data helps you to remind you of the significance of the photo.

When you take a digital photograph, sound or video recording it is important to get into a routine of noting down the “meta data” to make the image more useful.

Meta data is information which helps you to find your data in the future. An example of meta data could be a simple note on the back of a paper photograph detailing when the photo was taken and what is depicted on it.

In digital pictures meta data could be the file name of the image. For example “IMAG02342.jpg” is a common file name produced by the camera but renaming it to “1930s-whitmee-roaster.jpg” is better since it gives you the information needed to find it easier in the future.

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2. Using software to help your heritage preservation

Depending on the scale of your archives and the level of detail that you use there are some software tools that can help you. Also, there might be funding available to implement this too.

There are some dedicated archiving and heritage management software tools which you can use to document your enterprise cultural heritage assets.

Most countries have have an organisation which could help you to find the most appropriate tools and methods to preserve your heritage assets. For example in the UK the Association of Independent Museums could be a good source of ideas and guidance – see their website: www.aim-museums.co.uk or the Archives and Records Association - www.archives.org.uk Not only do they provide advice but they also share knowledge of the grant giving bodies where funding might be obtained for your cultural heritage preservation projects.

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2. Developing meta data for a web page: example

Search for “meta data generator” in your search engine for more help on tools to help you to record meta data.

Or visit Dublin Core Metadata for more on meta data www.dublincore.org

One way to preserve your heritage is to have a website and dedicate a web page to each machine or element of heritage that you have. Typical meta data using the standards for web page meta data are: Title, Author, Keywords, Description, Date and Resource type as illustrated by the following example:

Title – 1930s Whitmee RoasterAuthor – J. Atkinson & CoKeywords – vintage roaster, coffee roaster, Whitmee RoasterDescription – 1930s Whitmee Roaster machine for coffee roasting installed at J. Atkinson & Co. premises in Lancaster, UK. Date – 2011-08-01Resource type – image

The process of filling out and remembering meta data can be simplified by filling out an online meta data generator form. For example you can use this link to Virginia Tech http://goo.gl/s4UJe

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2. Your meta data exercise

Think of one of your heritage examples, and document it with the following meta data…

Title –

Author –

Keywords –

Description –

Date -

Resource type-

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2. Controlled vocabulary: create your definitions of terms

PlacesSan Francisco

- synonym of Cisco- Broader term

California- California, CA, USA

NamesEmilio LeoLeo EmilioLeo, Emilio & Peppino

TypesStatuetteFigurineSculpture

The use of a standardised terminology is very important to make it possible for you to get reliable answers when information is searched for in the future.

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2. Benefits of preserving your heritage on the internet

Social media platforms such as Flicker – (image sharing), YouTube (video sharing) and SoundCloud (sound sharing) are free to use and help you to reduce preservation costs and publicise your heritage.

If you already have a website and have your contact details and perhaps an overview of your products and services on it that is very good. It serves a very practical purpose.

However, in order to stand out on the internet as well as in the commercial world you need a website that is rich in original content giving your website visitors as well as your physical visitors the opportunity to learn more about you and your enterprise.

By preserving your heritage online you are creating a unique record of your heritage which differentiates your website from others. One of the main ways that visitors might find you is by using online search engines (e.g. Google, Yahoo etc) and by developing original meta data rich web pages your business has more chances of being found by those interested in your products and services.

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3. Organising your heritage assets

Now that you have identified and preserved your assets, it is important to think how you are going to use them. Think about your visitors or customers – what is the best way for them to access your asset?

In the case of tangible heritage involving a large factory site or a dedicated heritage room these might benefit from providing your visitors with a map or signs for to those who want to explore your premises.

Think of a good museum you have been to recently – what made it so interesting for you?

When talking about built heritage management Gianna Moscardo suggests that when organising your assets:

“the visitor experience should be placed at the centre of any heritage management process” Moscardo (1996)

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3. Records security: Clear desk policy

A clear desk policy is one of the most simple ways to help your enterprise to develop better records management as well as increase security levels. It is simple - at the end of the working day the desk has to be cleared ready for the next day of work. This gets staff into a routine of filing all records all the time. Failure to implement this can risk in information security compromises. A clear desk policy is one of the tools used to implement information security management standard as defined in ISO 27001.

Statistics from IDC – a global market intelligence firm - suggest that on average an employee in an information focused role spends over 2.5 hours a day searching for information. Whilst this figure might be lower in craft sector SMEs, the potential of time wastage increases with the amounts of heritage information to be stored and retrieved.

This desk would not pass the clear desk policy check at the end of the working day.

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3. Records security: are your records safe?

Physical records (order books, customer details etc) – do you use fire proof cabinets?

Are hard copies stored in different physical locations?

Digital records – (emails, customer orders, business letters, your website etc)

Do you have a back-up mechanism for your digital records?

What would happen to the records if there was a fire or your computer broke down?

The more intangible heritage assets you accumulate the greater will be the impact of its loss. What steps have you taken or do you need to take to preserve your records.

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3. “Placing the visitor experience at the centre”

Risk management is important for your physical heritage assets – do some visitors potentially need supervision etc?

One of the problems that some tourist destinations face is that tourists can also cause damage to the environment they are visiting. Despite your best attempts at asking visitors not to touch delicate surfaces - chances are they will still do so. Other dangers include vandalism, over-crowding, congestion and littering.

Using the example of a factory, if you have a physical site to visit and everyone was coming to explore your factory, how will it impact on your neighbours?

Planning the visitor experience could help you to identify opportunities to link up with other local heritage sights where visitors could go after visiting your factory and likewise their visitors could come and visit your site.

A s a substitute for a physical visit to your factory you might find it more appropriate to offer virtual tours with online galleries of assets which would still help your visitors to understand your heritage.

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3. Principles of visitor behaviour

These principles for visitor behaviour could help you to re-design your physical premises to improve the visitor experience.

Visitor studies provide us with some indication of good practice for managing physical heritage sites to help visitors to learn about or interpret the site. These are detailed in the work of Moscardo (1996) and some of the main principles include:

• Larger objects for study encourages better remembering and longer viewing times.

• Animation of objects attracts more attention. • Visitor participation is related to better remembering. • Sensory experience produces more attention. • Repetition of content is related to increased visitor fatigue. • Novel/ Rare objects which are different and stand out tend to be

more popular. • Interactive objects provide more interest and attention from

visitors. • Realistic experiences offer better understanding and

engagement from the visitors.

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3. Managing physical visitor behaviour: example J. Atkinson & Co

Let’s see how some of these principles apply to J. Atkinson & Co and the set up of their physical premises:

Larger objects - visitors are presented with the large historic coffee containers.

The picture on the right is from J. Atkinson & Co showing the coffee containers and the spice drawers underneath.

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3. Managing physical visitor behaviour: example J. Atkinson & Co

Let’s see how some of these principles apply to J. Atkinson & Co and the set up of their physical premises:

Animation – the vintage roasters can be brought to the shop entrance to entertain the visitors with the roasting process.

In the picture on the right Ian Steel from J. Atkinson & Co uses the vintage coffee roaster the 1930s Whitmee.

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3. Managing physical visitor behaviour: example J. Atkinson & Co

Let’s see how some of these principles apply to J. Atkinson & Co and the set up of their physical premises:

Visitor participation - they offer an Academy for those who are interested in learning about tea and coffee tasting.

Sensory - smelling the coffee aroma being roasted and seeing it being roasted offers a good sensory experience.

Interactive - visitors have the opportunity to purchase tea and coffee and hence interact with the history of shop.

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3. Managing online visitor behaviour: example J. Atkinson & Co

Let’s see how some of these principles apply to J. Atkinson & Co and the set up of their online premises:

Larger objects - the home page of their website uses the coffee wall as the main image www.atkinsonsteaandcoffee.co.uk

Visitor participation - Using the Twitter micro blogging site J. Atkinson & Co are always talking to their customers see http://twitter.com/#!/coffeehopper and updating them on the latest developments.

Interactive - visitors have the opportunity to purchase tea and coffee online and hence interact with the history of the shop.

As you can see there are a number of parallels between the physical and online visitor’s experience. The coffee sales and visits to the training courses in the academy are two elements of the business which help to preserve the heritage of the place and to generate a return on the investment in preservation.

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3. Evaluate your current physical and online premises

Using the following five principles, think about your premises and see how you currently use them to facilitate visitor behaviour in your physical premises and online …

Physical premises Online

Larger objects

Animation

Visitor participation

Sensory

Interactive

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3. Plan potential future physical and online premises

If you find that not many of these options have been addressed consider learning from the examples we used from J. Atkinson & Co., what could you do?

Physical premises Online

Larger objects

Animation

Visitor participation

Sensory

Interactive

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4. Optimise your heritage management process

The visitor is at the centre of the heritage management process. As illustrated by this diagram optimisation of heritage management is a process which requires regular reviewing.

Step 1: Quality and authenticity

Step 2: Uniqueness

and differentiation

Step 3: Optimisation of historical

archives

Step 4: Strategic planning

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4. Step 1: Quality and authenticity

Quality in products or services could be defined as “fitness for purpose”. Whilst basic this definition captures the need to understand the customer and the desires which they wish to satisfy. To achieve a satisfactory quality in products and services customers’ feedback should always be collected and all employees involved in its interpretation and addressing standards. This means constant customer feedback and staff development through education and training are a necessity. Everyone’s views should be taken on board when it comes to the development of quality improvement ideas.

Authenticity of products and services relates to the consistency with which a product matches the expected standards of quality, composition and production. Consumers who prefer to consume authentic and hence high quality products do appreciate the product‘s authentic attributes. Therefore being authentic and maintaining high quality can reinforce the status of an enterprise which adheres to production and service informed by cultural heritage.

Do you emphasise quality and authenticity in your heritage related products and services?

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4. Step 1: Quality communication and development

Production processes

Brandidentity

Marketingstrategies

Services

Products

Quality

Developing a high level of quality and associating it with your brand name helps you to differentiate yourself from others, especially if you can draw on the heritage of your company. A brand’s longevity is a sign of quality.

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4. Step 1: Versions of authenticity

As suggested by Howard (2006), the word authenticity usually used by building heritage conservators refers to the original purpose when it was built. This interpretation can provide you with some themes to explore when identifying the authenticity of your products and services.

Creator

ExperienceEnsemble

Function

Material

Content

Style Authenticity

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4. Step 1: Versions of authenticityAuthenticity Description Heritage example [adopted]

Creator “Hand of the master”It can be proven to be by a specific architect or product designer

Material “The original material” It is formed of the original stone, metal, ingredients, etc.

Function “The original purpose” It is still used as e.g. a wool factory or machine to roast coffee

Concept “The idea of the creator” It is what the original enterprise owners created even if restored

History “The history of the artefact”It is of the correct period and all changes to the enterprise are properly documented

Ensemble “The integrity of the whole”It comes complete with all its outbuildings, gardens, machinery, tools, equipment etc.

Content “The integrity of the location” The business is still on its original site

Experience “The original emotion”The customer still has the same experience as that originally intended

Style “It looks right” It reproduces the original appearance

This table is adopted from Howard (2006) p 227, with examples highlighting enterprise

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4. Step 1: Authenticity in your enterprise

Consider each element of authenticity in your enterprise… can you identify some of these:

• Creator

• Material

• Function

• Concept

• History

• Ensemble

• Content

• Experience

• Style

Are your products or services authentic?

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4. Step 1: Quality and authenticity: example Grossmith

Visit the Grossmith website to see an example of an authentic and high quality product.

www.grossmithlondon.com

We are increasingly living in a fast moving world where not all consumers appreciate authentic products and services.

For example if someone is buying a garment, jewellery or a perfume they can only differentiate between these on the basis of the expectations they have formed from past purchases.

Is it possible that some companies are able to charge their customers £7,000 for a bottle of fragrance where others are having difficulties selling theirs at £60? The example of Grossmith - one of the oldest perfume houses, founded in 1835 - shows us how it can be done.

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4. Step 1: Example Grossmith – Baccarat crystal

Prices of Grossmiths Baccarat crystal flacon are £7000 for a single flacons and £21000 for the triple presentation.

By using the finest materials and adapting original formulae for modern markets and new EU regulations the top of the range presentation of Grossmith fragrances is in Baccarat crystal flacons 'blown from the original 1919 moulds'. The presentation is the ultimate in luxury and quality.

Prices of the Grossmith Baccarat crystal presentation are £7,000 for a single flacon and £21,000 for the triple coffret.

Arguably no mass production perfume house can compete with such authenticity and quality.

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4. Step 1: Example Grossmith – branding

Grossmith are also good at developing their branding - see images of packaging and flacon...Do you remember the brand management training material?

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4. Step 1: Quality in your enterprise

Are you communicating your heritage elements to your prospects in the best possible way? For example, if you have a machine which is operating in the background – could you move it nearer where your visitors could see it or? Are your products of high

quality?

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4. Step 2: Uniqueness and differentiation of products

A product or service is unique when its features are unusual or special in some way that makes it different from similar alternatives and there is no other like it. The uniqueness of your products is a good differentiating factor – for example if you are the only company that produces certain products in certain ways your direct competition is non-existent but you need to keep track of substitute items.

Most profitable enterprises are built on uniqueness and differentiation: offering customers something they value that competitors don't have. Differentiation can happen on many levels of product and service. These differentiating factors need to integrate several elements that are both recognizable and valued by consumers.

As mentioned in brand management training, the most important element in the process of developing unique products and services is appealling to consumers' emotional reactions. The way an individual customer perceives the value of a product is the key to the development of a uniqueness and differentiation strategy. Heritage assets can help to develop this emotional link by offering an emotional link to the past.

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4. Step 2: Uniqueness and differentiation

Identify those heritage assets that appeal to your consumers' emotional reactions and optimise their use in all your communications at every stage of your interaction with them.

perceptions

preferences

uniqueness

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4. Step 2: Uniqueness and differentiation: example

For example sparkling wine growers from Champagne region of France are only competing amongst themselves and other sparking wine producers but only those from the region can use the name Champagne.

The consumer when purchasing a bottle of champagne is buying into the emotional link to the region and the assumption that it is worth paying a premium to consume an authentic product.

To reinforce this a bottle of wine from Champagne would communicate emotional elements by using high quality labels. However, price is often used as the only indicator of high quality especially by those who don’t understand the product they are purchasing.

Region specific differentiation is a good way of making your products unique.

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4. Step 2: Uniqueness and differentiation in your enterprise

What makes your enterprise unique? Does this evoke emotional reactions in your customers?

What makes your enterprise unique?

Does this evoke emotional reactions in your customers?

How is this emotional link integrated into your communication strategies?

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4. Step 3: Optimisation of historical archives

If you have created a historical archive think about the way that this could be optimised for your enterprise and your visitors. How can the visitors benefit from the knowledge that you have accumulated about a certain product or a service?

Physical archive optimisation could be in the form of making it accessible to your visitors by simply placing it on your walls where your visitors are likely to walk past.

The second aspect of optimisation is emphasising some salient features of the product, service or process to produce these. These salient features could be anything that users of the product/service have never thought about. E.g. in brewing beer the importance of water and the emphasis of brewery’s location on the top of spring water become salient.

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4. Step 3: Optimisation of Historical Archives

The example of J. Atkinson and Co highlights their artisan coffee roasting processes using the old open fire roasters – this is a salient point and is clearly emphasised by the enterprise.

What are the salient points of your enterprise?

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4. Step 3: Digital optimisation of historical archives

If you are optimising a digital archive a technique which you could use is called search engine optimisation (SEO).

This principle is based on the assumption that if your data is easily findable by a search engine your visitors can benefit from it too. The more people find you through search engines the larger are your chances of building your brand and converting these visitors to your customers.

Optimisation of historic archives can take time and here you might need to experiment with different techniques and therefore a long term commitment of resources would be required for this.

SEO skills are a good communication technique which could benefit your business in many ways.

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4. Step 4: Strategic planning for long term commitments

Building on your heritage assets understanding develops long term commitments to maintenance and integration of these assets.

Enabling effective information management and access - Knowing what information is where, who is responsible for it?

Put in place processes to manage and provide access to it, thereby enabling the security and preservation of information and promoting business continuity.

Ensure that information is managed with a long term perspective – e.g. how can you access it in 10 or 40 years?

How can it inform and underpin corporate priorities and contribute to innovation within your enterprise?

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Application of heritage management

Here are some basic activities that any enterprise should be able to consider and adapt to their own use on a regular basis …

• Identify those tangible and intangible cultural heritage assets that could help you to differentiate and innovate.

• Develop and implement your heritage management strategy and practices to identify, collect, preserve and optimise the potential of your cultural heritage assets.

• Consider investment in staff training and in the use of information communication technology (ICT) tools to optimise internal and external use of your heritage assets.

• Consider going through the four steps of the heritage management process at least once a year to identify salient points for optimisation of your heritage assets.

Heritage management training summary

• Understand the meaning and importance of cultural heritage management in enterprises

• Develop creativity and quality in your product and services through optimisation of your heritage assets

• Implement Enterprise Cultural Heritage management in your organisation

The aim of this training is to provide you with an understanding of the skills needed to help you develop cultural heritage management in your enterprise. You should now be able to…

The development of this training material is a result of a collaborative project; MNEMOS, which researched this area of Quality and Innovation in Vocational Training for Enterprise Cultural Heritage.

We would like to thank the following individuals who provided feedback to improve this training material: Alex Avramenko, Alice Martzopoulou, Alison Kennedy, Anna Catalani, Carmela Gallo, Carolyn Downs, Costantino Landino, Eeva Laaksonen, Elisa Akola, Fiona Cheetham, Grazyna Rembielak-Vitchev, Joe Telles, Josef Svec, Niko Havupalo, Pawel Zolnierczyk, Peter Reeves, Soňa Gullová, Thomas Lemström, Tomas Lehotsky and Tony Conway.

To learn more about ECH management you can visit www.enterpriseculturalheritage.org or join the ECH open community on LinkedIn: http://goo.gl/NXtFr

This project has been funded with support from the European Commission. This publication reflects only the view of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Acknowledgements

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References and further relevant readings

Howard, Peter (2003). Heritage: Management, Interpretation, Identity; Continuum International Publishing Group Ltd.

Blockley, Marion and Hems, Alison. (2005) Heritage Interpretation: Theory and Practice; Routledge.

http://whc.unesco.org/en/conventiontext

Moscardo, G. (1996). Mindful Visitors - Heritage and Tourism. Annals of Tourism Research 23(2): 376-397

MNEMOS (2010) J. Atkinson & Co: A successful case of Enterprise Cultural Heritage in the UK

Available online from http://goo.gl/gzKfC

MNEMOS (2010) Lanificio Leo: A successful case of Enterprise Cultural Heritage in Italy. Available online http://goo.gl/tEw1m

MNEMOS (2010) HAITOGLOU BROS. SA: fusion of craft and technology. Available online

http://goo.gl/WptEJ

Smith, L., Akagawa, N., (2009) Intangible Heritage (Key Issues in Cultural Heritage), Routlede, New York /London

Grant, A and Sussums, C. (2010) London Museum Hub Information Policy Toolkit. Available online http://www.museuminfo-records.org.uk/toolkits/InformationPolicy.pdf

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The content included in this training material has been compiled by the MNEMOS project team from a variety of sources. The MNEMOS project team reserves the right to change the terms and conditions of use of this training material without notice and any time. The training material is produced for educational purposes only and does not offer legally binding advice. The training material as well as the www.enterpriseculturalheritage.org website are made available “as is” and “as available”. MNEMOS project team makes no representation and does not warrant:a) That the information selected for the training material and the website is comprehensive, complete, verified, organised and accurate;b) That it is licensed by the copyright or database right owner of any third party content to include or reproduce such content in this training material and the website;c) That the training material and the website will be uninterrupted and error-free; andd) That the server from which the training material and the website is available is free of viruses or bugs.

Disclaimer

This work is licensed under Creative Commons Attribution 3.0 Unported License.

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End of Heritage Management training

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