1. 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 The heritage management training
management in your enterprise. You will learn why skills in should take you approximately 2 – 2.5
cultural heritage management are required by enterprises in hours.
order to gain more benefits from the optimisation of your
Enterprise Cultural Heritage (ECH). This training material will This material was last updated on 14th
help you to: December 2011.
• 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
This work is licensed under Creative Commons Attribution 3.0 Unported License.

2. 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.
2

3. What is Enterprise Cultural Heritage (ECH)?
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
3

4. The ECH management approach
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.
4

5. The four pillars of ECH management
Brand Management Change Management Heritage Management Intellectual Property
Management
Develop and Improve your ability to Optimise your tangible Protect and exploit
implement processes develop and implement and intangible heritage your intellectual
to track customers‟ routine processes, tools assets by developing property rights
value judgements and techniques which routines and policies for highlighting the
about your product or help to innovate and their preservation, heritage assets which
service that help you to thus continuously adapt organisation and can have commercial
better differentiate your to changing customer stimulation of present value for the present
enterprise from others needs. and future enterprise and future of your
by highlighting your activities. enterprise.
heritage assets where
appropriate.
5

6. What is cultural heritage?
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 The definition of “cultural
turn as: heritage” used by MNEMOS is
Tangible cultural heritage assets are things that you can touch different from that offered by
- these include buildings, tools, machinery, products, works of UNESCO World Heritage
monumental sculpture and paintings which have an outstanding Convention, see UNESCO
universal value to the organisation from a commercial, historic, definition on their website:
aesthetic, artistic or scientific point of view. http://whc.unesco.org/en/conven
tiontext
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.
6

7. Are you aware of your tangible and intangible heritage
assets?
Thinking about your
organisation, can
you identify any of My organisation’s tangible cultural heritage assets
these heritage are:
assets…
and the intangible cultural heritage assets are:
7

8. Tangible and intangible – what is the difference?
Your heritage assets would have been identified through Intangible heritage could be also
your brand management processes and are characterised associated with the physical
for their exceptional value to your business from the location of the enterprise, its-
commercial, historic, aesthetic, artistic or scientific point relation to a historic town, city,
of view. region or country. For example,
Tangible cultural heritage is illustrated by the old woollen sparkling wine producers from the
mill factory buildings of Lanificio Leo. Lanificio Leo moved Champagne region can refer to
to its current premises in Calabria, Southern Italy in 1930 their region and communicate
and have had to re-invent their premises as an enterprise their heritage of wine making in
museum in order to carry on the business. that region.
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.
8

9. 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.
Emilio Leo – Lanificio Leo owner manager
Learn more about this case study on http://goo.gl/G4LGc www.lanificioleo.it
9

10. Why do you need to learn about heritage management?
As we can learn from the Lanificio Leo example, heritage
management is concerned with implementing processes for If you haven‟t yet read the brand
preserving both tangible and intangible heritage assets which could management or change
be used to inspire innovation and thus increased your management training material –
consider doing so after finishing
competitiveness.
heritage management see:
Heritage management combines knowledge of the Enterprise www.enterpriseculturalheritage.org
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
10

11. How do you manage your heritage assets?
Thinking about your current management practices, what steps are
you taking to protect your tangible cultural heritage… Now that you are more
aware what heritage assets
you have, what do you do to
manage them?
And the intangible cultural heritage …
11

12. Can Enterprise Cultural Heritage have commercial benefits?
The tradition of heritage management has been developed by Using principles from
museums and heritage organisations. Therefore the language museum management in a
used does tend to focus on “visitors” and not “customers” since commercial setting can
museums tend to be not-for-profit organisations. present challenges but
long term decisions have to
However, the ulterior motive of most for-profit organisations is generate a return on
financial gain and the sustainability of their enterprise. This is the investment unless it can be
reason why the same terminology cannot be used in enterprises. run as a loss leader.
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.
12

13. Can Enterprise Cultural Heritage have commercial
benefits for you?
Thinking about your cultural heritage…
Think about your
- What is different about it? enterprise, are there any
- How could a visitor see or interact with it? opportunities for
commercial exploitation of
- Could it help you to develop your current business process? your cultural heritage?
- 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?
13

14. 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
14

15. 1. How can you identify your Enterprise Cultural Heritage?
To help you with identification of your heritage
these are the two main reasons for doing it –
Differentiate an Creating differentiation and competitiveness. This
enterprise from its competitive means that the questions you could ask in
competitors advantage heritage identification process are;
a) Does this help to differentiate me from
others?
b) Can it make me more competitive?
Organise heritage Maintain product
management quality and
system authenticity
15

16. 1. Heritage identification: example
The current owners of J. Atkinson & Co. found an advert from Think about this example of the
October 1837 in the archive of the Lancaster Guardian that old advert and the two questions:
displayed a slogan of the company - “The grasshopper eats only a) Does this help them to
the finest of leaves”. See image below. differentiate their enterprise from
others?
b) Can it make them more
competitive?
16

17. 1. How can you identify your enterprise cultural heritage?
Not surprising, the find
Not only does the grasshopper image
of the old slogan and
provide an example of the intangible
reference to a
cultural heritage of J. Atkinson & Co but
grasshopper inspired
it also provides a short story to attract
the current owners in
any curious visitor.
the design of the new
logo.
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.
17

18. 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
18

19. 1. Recipes and their role in innovation
Re-employing information from the archives allows
companies to develop new ideas or to use old principles in
Old recipes and their role
new products. Talking about the benefits of his records, Ian
in innovation and
Steel (Master Roaster & Proprietor) of J. Atkinson & Co
differentiation cannot be
says:
underestimated.
“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
19

20. 1. How can you identify tangible cultural heritage assets?
J. Atkinson & Co example provides us with a number of
Each enterprise will recognise tangible heritage assets:
heritage in their own way and it is
important to take time in making - The walls in their shop are painted in the same vintage
these strategic decisions. Using colour as they were hundreds of years ago…
brand management techniques can
help you with this see: - The vintage machinery – installed in the 1930‟s is still
www.enterpriseculturalheritage.org 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
20

21. 1. Identifying more of your tangible and intangible
heritage assets?
Thinking about your Learning from the J . Atkinson & Co. example of
enterprise, can you think using local records can I find more information on
how you could identify any my company? Think about your family, employees,
more of your heritage customers, suppliers etc.?
assets…
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?
21

22. 2. Preserving your cultural heritage
Depending on what type of heritage you identified, the
Think about the cost of
preservation process would obviously vary.
preservation and
consider if there are any
Generally speaking if the tangible heritage involves machinery
other local resources
or buildings your costs will be greater compared to intangible
which you could use –
assets such as old adverts – which you could potentially
library? university? Are
photograph and upload to your website or any social network
there any heritage
service without major costs incurred.
bodies which could help
with raising funds or
If you have specialist equipment as in the case of Lanificio Leo
volunteers?
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.
22

23. 2. Preserving your cultural heritage
The photograph shows you Intangible cultural heritage could
two tools – a digital camera be preserved by transferring the
and a dictaphone. These stories, knowledge and information
could help you to record onto digital media. In the same
and preserve your way that you can take photographs
heritage. You might already and video of buildings and
have one in your pocket – machinery you could photograph
use it! 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.
23

24. 2. Using meta data to preserve your information
Meta data is essentially notes When you take a digital photograph, sound or video recording it
about notes, like in a photo is important to get into a routine of noting down the “meta data” to
album where you can‟t make the image more useful.
always remember what the
image is and when it was Meta data is information which helps you to find your data in the
taken – the meta data helps future. An example of meta data could be a simple note on the
you to remind you of the back of a paper photograph detailing when the photo was taken
significance of the photo. 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.
24

25. 2. Using software to help your heritage preservation
Depending on the scale of There are some dedicated archiving and heritage management
your archives and the level software tools which you can use to document your enterprise
of detail that you use there cultural heritage assets.
are some software tools
that can help you. Also, Most countries have have an organisation which could help you to
there might be funding find the most appropriate tools and methods to preserve your
available to implement this heritage assets. For example in the UK the Association of
too. 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.
25

26. 2. Developing meta data for a web page: example
One way to preserve your heritage is to have a website and Search for “meta data
dedicate a web page to each machine or element of heritage that generator” in your search
you have. Typical meta data using the standards for web page engine for more help on
meta data are: Title, Author, Keywords, Description, Date and tools to help you to record
Resource type as illustrated by the following example: meta data.
Or visit Dublin Core
Title – 1930s Whitmee Roaster Metadata for more on meta
Author – J. Atkinson & Co data www.dublincore.org
Keywords – vintage roaster, coffee roaster, Whitmee Roaster
Description – 1930s Whitmee Roaster machine for coffee
roasting installed at J. Atkinson & Co. premises in Lancaster, UK.
Date – 2011-08-01
Resource 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
26

27. 2. Your meta data exercise
Think of one of your
heritage examples, and Title –
document it with the
following meta data… Author –
Keywords –
Description –
Date -
Resource type-
27

28. 2. Controlled vocabulary: create your definitions of
terms
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.
Names Types Places
Emilio Leo Statuette San Francisco
Leo Emilio Figurine
-synonym of Cisco
Leo, Emilio & Peppino Sculpture
-Broader term
California
- California, CA, USA
28

29. 2. Benefits of preserving your heritage on the internet
If you already have a website and have your contact details Social media platforms
and perhaps an overview of your products and services on it such as Flicker – (image
that is very good. It serves a very practical purpose. sharing), YouTube (video
sharing) and SoundCloud
However, in order to stand out on the internet as well as in the (sound sharing) are free to
commercial world you need a website that is rich in original use and help you to
content giving your website visitors as well as your physical reduce preservation costs
visitors the opportunity to learn more about you and your and publicise your
enterprise. heritage.
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.
29

30. 3. Organising your heritage assets
Now that you have identified and
preserved your assets, it is In the case of tangible heritage involving a large factory site or a
important to think how you are dedicated heritage room these might benefit from providing your
going to use them. Think about visitors with a map or signs for to those who want to explore your
your visitors or customers – premises.
what is the best way for them to
access your asset? 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)
30

31. 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 This desk would not pass the clear desk
amounts of heritage information to be stored and retrieved. policy check at the end of the working day.
31

32. 3. Records security: are your records safe?
Physical records (order books, customer details etc) The more intangible
– do you use fire proof cabinets? heritage assets you
accumulate the
greater will be the
Are hard copies stored in different physical locations? impact of its loss.
What steps have you
taken or do you need
Digital records – (emails, customer orders, business to take to preserve
your records.
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?
32

33. 3. “Placing the visitor experience at the centre”
One of the problems that some tourist destinations face is that
tourists can also cause damage to the environment they are visiting. Risk management is
Despite your best attempts at asking visitors not to touch delicate important for your
surfaces - chances are they will still do so. Other dangers include physical heritage
vandalism, over-crowding, congestion and littering. assets – do some
visitors potentially need
Using the example of a factory, if you have a physical site to visit supervision etc?
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.
33

34. 3. Principles of visitor behaviour
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) These principles for
and some of the main principles include: visitor behaviour
could help you to re-
• Larger objects for study encourages better remembering and design your physical
longer viewing times. premises to improve
• Animation of objects attracts more attention. the visitor
• Visitor participation is related to better remembering. experience.
• 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.
34

35. 3. Managing physical visitor behaviour: example J. Atkinson & Co
Let‟s see how
some of these Larger objects - visitors are
principles apply to presented with the large
J. Atkinson & Co historic coffee containers.
and the set up of
their physical
premises: The picture on the right is from
J. Atkinson & Co showing the
coffee containers and the spice
drawers underneath.
35

36. 3. Managing physical visitor behaviour: example J. Atkinson & Co
Let‟s see how some Animation – the vintage
of these principles roasters can be brought to the
apply to J. Atkinson shop entrance to entertain the
& Co and the set up visitors with the roasting
of their physical process.
premises:
In the picture on the right Ian
Steel from J. Atkinson & Co
uses the vintage coffee roaster
the 1930s Whitmee.
36

37. 3. Managing physical visitor behaviour: example J. Atkinson & Co
Let‟s see how some Visitor participation - they offer an Academy for those
of these principles who are interested in learning about tea and coffee
apply to J. Atkinson tasting.
& Co and the set up
of their physical Sensory - smelling the coffee aroma being roasted and
premises: 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.
37

38. 3. Managing online visitor behaviour: example J. Atkinson & Co
Let‟s see how some Larger objects - the home page of their website uses the coffee wall as the
of these principles main image www.atkinsonsteaandcoffee.co.uk
apply to J. Atkinson
& Co and the set up Visitor participation - Using the Twitter micro blogging site J. Atkinson & Co
of their online are always talking to their customers see http://twitter.com/#!/coffeehopper
premises: 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.
38

39. 3. Evaluate your current physical and online premises
Using the following
five principles, think
Physical premises Online
about your premises
and see how you Larger objects
currently use them
to facilitate visitor
behaviour in your
physical premises Animation
and online …
Visitor participation
Sensory
Interactive
39

40. 3. Plan potential future physical and online premises
If you find that not
many of these
Physical premises Online
options have been
addressed consider Larger objects
learning from the
examples we used
from J. Atkinson &
Co., what could you Animation
do?
Visitor participation
Sensory
Interactive
40

41. 4. Optimise your heritage management process
The visitor is at the centre of
the heritage management
Step 1: Quality and process. As illustrated by this
authenticity diagram optimisation of
heritage management is a
process which requires
regular reviewing.
Step 4: Strategic Step 2: Uniqueness
planning and differentiation
Step 3: Optimisation
of historical archives
41

42. 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 Do you emphasise quality
satisfactory quality in products and services customers‟ feedback and authenticity in your
should always be collected and all employees involved in its heritage related products
interpretation and addressing standards. This means constant customer and services?
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.
42

43. 4. Step 1: Quality communication and development
Developing a high level of
quality and associating it with
Products
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 Production
Services
is a sign of quality. processes
Quality
Brand Marketing
identity strategies
43

44. 4. Step 1: Versions of authenticity
As suggested by Howard (2006),
the word authenticity usually Creator Material
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 Function
of your products and services. Style Authenticity
Ensemble
Experience
Content
44

45. 4. Step 1: Versions of authenticity
Authenticity 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
It is of the correct period and all changes to the enterprise are
History “The history of the artefact”
properly documented
It comes complete with all its outbuildings, gardens, machinery,
Ensemble “The integrity of the whole”
tools, equipment etc.
Content “The integrity of the location” The business is still on its original site
The customer still has the same experience as that originally
Experience “The original emotion”
intended
Style “It looks right” 45
It reproduces the original appearance

46. 4. Step 1: Authenticity in your enterprise
Consider each element of authenticity in your enterprise… can you
identify some of these:
Are your products or
services authentic?
• Creator
• Material
• Function
• Concept
• History
• Ensemble
• Content
• Experience
• Style
46

47. 4. Step 1: Quality and authenticity: example Grossmith
We are increasingly living in a fast Visit the Grossmith website
moving world where not all consumers to see an example of an
appreciate authentic products and authentic and high quality
services. product.
For example if someone is buying a www.grossmithlondon.com
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.
47

48. 4. Step 1: Example Grossmith – Baccarat crystal
Prices of Grossmiths
By using the finest materials and
Baccarat crystal
adapting original formulae for modern flacon are £7000 for
markets and new EU regulations the top a single flacons and
of the range presentation of Grossmith £21000 for the triple
fragrances is in Baccarat crystal flacons presentation.
'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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49. 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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50. 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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51. 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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52. 4. Step 2: Uniqueness and differentiation
Identify those heritage assets that
appeal to your consumers'
emotional reactions and optimise
perceptions their use in all your communications
at every stage of your interaction
with them.
preferences
uniqueness
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53. 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 Region specific
wine producers but only those from the region can use the name differentiation is a
Champagne. good way of
making your
The consumer when purchasing a bottle of champagne is buying into products unique.
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.
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54. 4. Step 2: Uniqueness and differentiation in your enterprise
What makes your enterprise What makes your enterprise unique?
unique? Does this evoke
emotional reactions in your
customers?
Does this evoke emotional reactions in your
customers?
How is this emotional link integrated into your
communication strategies?
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55. 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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56. 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
What are the point and is clearly emphasised by the enterprise.
salient points of
your enterprise?
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57. 4. Step 3: Digital optimisation of historical archives
SEO skills are a good
If you are optimising a digital archive a technique which you could communication technique
use is called search engine optimisation (SEO). which could benefit your
business in many ways.
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.
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58. 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.
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59. Application of heritage management
• Identify those tangible and intangible cultural heritage assets
Here are some basic that could help you to differentiate and innovate.
activities that any
enterprise should be able
• Develop and implement your heritage management strategy
to consider and adapt to
their own use on a and practices to identify, collect, preserve and optimise the
regular basis … 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.
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60. Heritage management training summary
The aim of this training is to
provide you with an understanding
of the skills needed to help you • Understand the meaning and importance of
develop cultural heritage cultural heritage management in enterprises
management in your enterprise.
You should now be able to… • Develop creativity and quality in your product
and services through optimisation of your
heritage assets
• Implement Enterprise Cultural Heritage
management in your organisation

61. Acknowledgements
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.
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62. 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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63. Disclaimer
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; and
d) That the server from which the training material and the website is available is free of viruses
or bugs.
This work is licensed under Creative Commons Attribution 3.0 Unported License.

64. End of Heritage Management training
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