Creative works in small and remote places: European best practices exploration - Appendix Alternance slf Reykjavik, ICELAND Estonian Association of Designers Tallinn, ESTONIA Clear Village Trustee Limited London, UNITED KINGDOM Zamek Cieszyn Cieszyn, POLAND SMOTIES partners Cité du design FH JOANNEUM contributing and/ Saint-Etiené, Graz, AUSTRIA FRANCE or coordinating the Urban Planning Institute collection of data Ljubljana, SLOVENIA Politecnico di Milano Milan, ITALY University of the Aegean Ermoupoli, GREECE Universidade da Madeira Funchal, PORTUGAL I This is an appendix to the publication Creative works in small and remote places: European best practices exploration. It collects the data provided on best practices by Smoties partners. The presented data is shown in its primary form as reported by each contributing partner, the publisher does not take the responsibility for the accuracy. The structure of the dataset follows the research template prepared by Urban Planning Institute of the Republic of Slovenia in spring 2021. Index The light that exists II A Luz Que Há Poland Casa do Quarteirão 1 - 51 Livable Street Prazeres’ Pedagogic Farm Zywa Ulica Quinta Pedagógica dos Prazeres Chełmek Factory Rota Vicentina Fabryka Chełmek Austria 143 - 200 Grójec Free School Wolna Szkoła Grójec Village Smithy - for sustainable living spaces Dorfschmiede - für nachhaltige Lebensräume Wolimierz Station Stacja Wolimierz The Brewery Das Bräu The Hidden Town Ukryte Miasto Culture Play Spaces – farmhouse parlor Kultur Spiel Räume - STUBENrein Greece 52 - 94 Benches Express Pilgrims Bankerl Express Προσκυνητές A place kissed awake Stray Art Festival Ein wachgeküsster Ort Περιπλανώμενη Γιορτή της Τέχνης του Δρόμου Slovenia 201 - 250 Cooperatively design and manufacture tools for smallscale agricultural production Revitalisation of Triglav road, Bohinjska Bistrica Συνεργατικός σχεδιασμός και κατασκευή Oživitev Triglavske ceste, Bohinjska Bistrica εργαλείων για γεωργική παραγωγή μικρής κλίμακας Mythical Park Mitski park Grampus Heritage and Training Ltd The Village Garden Interactive Installation in the Museum of Vaški vrt Marble Crafts Διαδραστικό Installation στο Μουσείο New wind in Tomaj Μαρμαροτεχνίας Prevetrimo Tomaj Portugal House on the Hill 95 - 142 Hiša na Hribu Urban Art Project ‘Street Decoration through Recycled Art’ Projeto arte urbana “Ornamentação de Ruas com Arte Reciclada” III United Kingdom 251 - 291 Rammaskipulag Flensborgarhafnar og Óseyrarsvæðis Ynni Ogwen community hydro scheme Ynni Ogwen community hydro scheme Long Sand Beach Langisandur Pentredwr Hub Hwb Pentredwr Rainbow Street Regnbogagatan Utopias Bach Utopias Bach France 398 - 453 The Wall Is___ Design consultancy for the renovation of Mae’r Wal Yn___ commercial facades in Saint-Genest-Malifaux and Bourg-Argental Cosmic Colliery Mission de conseils en design pour la Glofa’r Gofod rénovation des façades commerciales à Saint- Genest- Malifaux et Bourg-Argental Italy 292 - 346 Local people tell the story of the town of Wandering oven; We knead desirable futures Dunières Forno Vagabondo; Impastiamo futuri desider- Des habitants racontent le bourg de Dunières abili Frontage, revealing greenery Open Air Frontage, révéler le végétal A Cielo Aperto Rock to Heavens Trail Art to Art Le Chemin des Roches à Cieux Arte All’Arte Agora Bench Fireplaces, meetings and experimentation in Le banc à palabres the rural area 454 - 492 Foghíles, Incontri e sperimentazione Estonia nello spazio rurale Meditation Center Estonian Big Benches Community Project Theravada Sangha (or BBCP) Meelearenduskeskus Eesti Theravaada BBCP Sangha Iceland 347 - 397 Ave Vita! This is an appendix Ave Vita! to the publication Karl-Bank Creative works in small Kallabakki Käru Museum of Good Deeds and remote places: Käru Heade Tegude Muuseum European best practices The Hot Tub Trio exploration accessible at Heitu pottarnir á Drangsnesi Lindi Village Society LINK Lindi Külaselts Masterplan for Flensborgarhofn and Oseyrarsvaedi There is time! Aigu on! Livable Street Zywa Ulica Chełmek Factory Fabryka Chełmek Grójec Free School POLAND Wolna Szkoła Grójec Wolimierz Station Stacja Wolimierz The Hidden Town Ukryte Miasto 1 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Livable Street +5 Zywa Ulica +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Polska ‐1 Region name (in local language): województwo warmińsko‐mazurskie / powiat Piski  ‐2 Place name (in local language): Biała Piska ‐3 Country name (in english): Poland ‐4 Region name (in english): Warmia‐Masuria province / Piski district ‐5 Place name (in english): Biała Piska Open landscape Biała Piska, is a small town in the Warmian-Masurian province, Pisz district. It is the seat of the urban-rural commune of Biała Piska. In terms of history and ethnography, it is located in Masuria (close to the Masurian Lake District - prome tourist destination). The Warmian-Masurian provincehe is located in the north-eastern part of Poland, on the Vistula Lagoon, in the immediate vicinity of the eastern border of the European Union with the Kaliningrad Oblast. Almost 1.5 million people live here. The capital of the region is Olsztyn, other large cities are Elbląg and Ełk. With an area of over 24 thousand. km² Warmińsko-Mazurskie is the fourth largest Comment: district in the country. Biała Piska is one of the municipalities in which the Puszcza Piska stretches, the largest forest complex in Masuria (approximately 100,000 ha). The Masurian Lake District is located in the northern part of the forest. Biała Piska is around 30 km to Śniardwy lake - the biggest one from the Masurian Lake District. Biała Piska is an agricultural town, with a large forested area, Map of the network of public has numerous natural and landscape values conducive to the development of agritourism. It is located about 130 km from Olsztyn - spaces in the remote place the capital of the Warmian-Masurian district. Difficult terrain +5 +4 +3 Caption of the map: Map of Warmia‐Masuria province / Piski district +2 Legend of the map: light green ‐ Warmia‐Masuria province dark green ‐ Piski district +1 Poor ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Biała Piska is located about 30 km from lakes and towns that are part of the Masurian Lake District - known tourist destination in Poland. It is too far for tourists who choose other more famous places closer to the lakes. Public transport in this area is limited - it is Comment: the best to rely on the private car. Two major - national and regional - roads intersect in Biała Piska, but these are not key connections for the region. There is also a railway line through the town - you can get by train to Olsztyn or Ełk among others. The quality of the service is rather poor. 2 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed  ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity 29.1% of the economically active residents of Biała Piska work in the agricultural sector (agriculture, forestry, hunting and fishing), Low‐income households prevail 24.4% in industry and construction, and 14.3% in the service sector (trade, vehicle repair, transport, accommodation and catering, In 2020, new informal groups of residents were created in the Biała Piska commune, engaging in activities aimed at improving the Comment: information and communication) and 2.1% work in the financial sector (financial and insurance activities, real estate services). The quality of public space. Six groups received grants under the "Act Locally 2020" program supported by the Polish-American Freedom largest group of companies is micro-enterprises employing 0 - 9 employees. There is a cultural center and a library in the town and Comment: Foundation. The Biała Piska commune was recognized as the leader of grassroots initiatives in the district. Six local branches of the obout 20 NGOs. Association of Country Women have registered their activities in the last two years. Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 3 +3 Explanation: The Warmińsko‐Mazurskie district is one of the five regions that perform the worst in terms of innovation in the country. It should be noted that in the European Innovation Ranking Poland is +2 not a leader ‐ only the Warsaw region is assessed as a moderate innovator, but its innovation index has increased by only 0.2% in the last 10 years. Biała Piska is not a town in the center of the +1 district, but the residents ‐ especially those active and involved in social activities ‐ may not feel Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound excluded. demographic demographic structure structure A‐4 Elements that characterise the remoteness of the place: ‐1 Low population density    ‐2 Geographical barrier/allocation  ‐3 No good transportation links ‐4 Difficulties in accessing daily‐life‐  support facilities ‐5 Social specifics and/or divisions  Daily‐life‐support facilities none‐existing Economic inferiority  In 2019 the number of residents of Biała Piska was 2014 (fifty-fifty womane and man). The average age of residents is about 40. The Comment: district has a negative birth rate. Subjective criteria  Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that characterise this case as a remote place: Low population density rank: Geographical barrier/allocation rank: 3 No good transportation links rank: 1 A‐9 General description of the quality of public spaces in this remote place Difficulties in accessing daily‐life‐ 2 Answer: The recently growing involvement of residents in activities related to specific places in public support facilities rank: space shows that there is a need for such changes. Social specifics and/or divisions 3 B‐1 Name(s) of the public space(s) rank: Name(s) of the public space(s) (in Parking area in Biała Piska Economic inferiority rank: 4 local language): Subjective criteria (e.g. community’s Name(s) of the public space(s) (in Parking area in Biała Piska self‐perception of being remote etc) English): rank: Latitude of the public space(s): 22°03′47″E Other rank: Longitude of the public space(s): 53°36′41″N A‐5 Provide the links to public data Links to public data on the remote Official website of Biała Piska place The link: https://bip.bialapiska.pl/ (https://bip.bialapiska.pl/) Links to public data on the remote official page on � place The link: https://www.facebook.com/umbialapiska/ (https://www.facebook.com/umbialapiska/) A‐7 The type of public spaces that can be found in this remote place (besides the Ground plan showing the land use roads/streets/path network) of the public space(s): Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Caption's map of the public space: Institution‐related open‐air space/s  (e.g.University grounds) Legend's map of the public space: Watersides  Main location  Meadows  B‐2 Describe the physical environment Parking area  Physical environment description of The commune of Biała Piska is an area attractive for tourists due to its natural conditions (lakes, the public space(s) with creative forests, low level of environmental pollution, protected landscape areas). A large percentage of Service yard  works: forests and surface waters create good conditions for the development of all forms of rest and Other types:  recreation. Monuments of the town: urban layouts of the city of Biała Piska from the turn of the 19th and 20th centuries, a church from the 18th century, a war cemetery where soldiers who died Specify other types: in WW I and WW II were buried, a water tower, a railway station building from the turn of the 19th and 20th centuries. Biała Piska it is located off the main tourist routes. Type of indoor public spaces that can be found in this remote place: Physical environment elements None in particular. were important and/or actually A‐8 General description of.. "used" by creative people for their activities: The network of roads, streets, paths The town is crossed by several communication routes that connect in its center. A national road and alike elements that tie this runs through the city center latitudinally, and a provincial road runs from the north. Thanks to this B‐3 Describe the general functions remote place together: solution, the traffic in the center is high and has a negative impact on the city's functioning. The latitudinal railway line is located in the northern part of the town and separates built‐up areas Functions and land uses description On a daily basis, this place functions as a public, free parking in the city center. Nearby are, among from other ones. In the western part of the city, housing and services are developing, while the in the area of the public space: others shops, service points, town hall, library and cultural center. eastern area is mainly industry, warehouses, services for agriculture and crafts, but also housing. Functionalities of space were The location of the car park ‐ in the center of the town ‐ was important, as well as the ability to The quantity and structure of public The process of urbanization and development led to a partial degradation of the historic structure important and/or actually "used" by easily gain space for people by prohibiting parking in this place for several hours. space network (besides of the town. The areas that require revitalization include: the downtown zone (its urban layout is creative people for their activities: roads/streets/paths network) in this entered in the register of monuments), industrial areas, the station building and its surroundings. remote place: The aim of development is to achieve a functional and spatial balance of the urban and natural B‐4 General demographic characteristics of the area around the public space: environment. The functional and spatial structure of the commune includes: forest areas (45%), agricultural areas (48%) and concentrated rural centers. 4 Describe the general demographic In 2019 the number of residents was 2014 (fifty‐fifty woman and man). In the years 2002‐2019 the residents of Biała Piska and of dance floor   characteristics number of inhabitants decreased by 1.8% The average age of residents is about 40. About 62.% of neighboring towns the inhabitants of Biała Piska are of working age. residents of Biała Piska and of recreation zone   B‐5 Type of the public space(s) with creative work neighboring towns Form and function: On a daily basis, this place functions as a public, free parking area in center of the town . residents of Biała Piska and of photo booth   neighboring towns Ownership: public residents of Biała Piska and of questionnaire   Access regarding entry‐control: It is space available to everyone. neighboring towns Access regarding time of day/week residents of Biała Piska and of street cafe   /year: neighboring towns B‐7 Kind of activity initially designed for this public space: customers shopping   What kind of activity has been this It is parking area. customers use of local services   public space designed for initially customers recreation zone   B‐8_a Which are the activities in this public space(s)? customers street cafe   Activity: shopping customers photo booth   Activity: sightseeing people working in the city center arrival to work   Activity: use of local services people working in the city center shopping   Activity: visit to the city hall, library, cultural center people working in the city center recreation zone   Activity: arrival to work tourists sightseeing   Activity: recreation zone tourists shopping   Activity: dance floor youth shopping   Activity: photo booth youth visit to the city hall, library, cultural   Activity: questionnaire center   Activity: a playground with street games youth photo booth   Activity: street cafe youth a playground with street games youth recreation zone   B‐8_b Who are the main users of this public space(s)? seniors shopping   User: customers seniors use of local services   User: people working in the city center seniors visit to the city hall, library, cultural   User: tourists center User: youth seniors use of local services   User: seniors seniors recreation zone   User: residents of Biała Piska and of neighboring towns seniors dance floor   B‐8_c What are the users activities of this public space(s)? seniors photo booth   Users Activity Before After seniors questionnaire   residents of Biała Piska and of shopping   seniors street cafe   neighboring towns B‐9 Parts/sections/spots seem most attractive within the public space (location and residents of Biała Piska and of use of local services   duration) ‐ Parts/sections/spots at people seem to avoid: neighboring towns Describe what parts seem to be the Creative work "Livable Street" has shown that space in the center of town can function residents of Biała Piska and of visit to the city hall, library, cultural   most attractive to people differently than a parking lot. Cultural activities took to the streets. The residents met again in the neighboring towns center same place during the Christmas market. The pandemic stopped the plans to organize the next events. At the moment, there is no option to close the parking space in this place for cars and give residents of Biała Piska and of arrival to work   it to pedestrians for use. But "Livable Street" activated the inhabitants ‐ especially the neighboring towns neighboring villages, who began to change their space. residents of Biała Piska and of recreation zone   neighboring towns B‐10 Provide the links to public data on the public space(s) 5 Website: About "Livable Street" idea Website's link: http://zywaulica.pl/ (http://zywaulica.pl/) Website: Biała Piska city hall � page Website's link: https://www.facebook.com/umbialapiska (https://www.facebook.com/umbialapiska) Website: Biała Piska city hall website Website's link: https://bip.bialapiska.pl/ (https://bip.bialapiska.pl/) B‐11 Provide photos of the public space(s) with creative works Caption: The residents activities in Biała Piska commune Photo's author: Biała Piska commune office Caption: The residents activities in Biała Piska commune Photo's author: Biała Piska commune office Caption: "Livable Street" event in Biała Piska Photo's author: Biała Piska commune office Caption: The residents activities in Biała Piska commune Photo's author: Biała Piska commune office Caption: "Livable Street" in Biała Piska 6 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): residents Motivations: experiencing something new, curiosity, the need for changes in public space Roles: participation in the event, help in organization teh event, Actor(s): officials Motivations: activating residents, testing alternative forms of dialogue with residents Roles: support for the organization of the event Actor(s): library and cultural center staff Motivations: need to do something new, partcipation Roles: support for the organization of the event Actor(s): Social Urbanism Studio team Motivations: eager to share knowledge, experience and improve public space Roles: organization of workshops preparing the event, giving background and tools Photo's author: Biała Piska commune office C‐1 Official name of the activity/project C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting There was an institutional background given by officials and library and cultural center staff. Social Name in local language: Żywa Ulica background existed to make the Urbanism Studio team helped to prepare the event, sharing knowledge and experience. The Name in English: Livable Street activities happen (financial, event was organized without any additional money for this purpose. institutional etc.) Nickname: C‐8 Sectors involved in the development of the creative works with public spaces: Overall name:  Culture  C‐2 Description of the project (activities) that took place in the analysed public space(s): Education  Describe the project (activities) that The residents occupied a parking lot in the center of their town for one day and tested various took place in the analysed public ideas for the development of public space. This place has turned into a playground with street Health  space(s) games, a cafe, a dance floor, a lounge where you read poetry and a photo booth for taking fun Sustainability  photos. There was also a questionnaire in which residents submitted ideas for interventions in the city and surrounding areas. As a result, an active recreation zone was created by the local pond, Science  residents planted plants in one of the housing estates, and a bookcrossing cabinet was built. Changes also reached the surrounding villages, where, on the initiative of the residents and their Tourism  involvement, a greenhouse was built. Additionally, a mural, a zone of logical thinking and a  memorial square were created, and the American soldiers stationed here under NATO helped Sport with the renovation of a football pitch. More ideas are waiting to be implemented. "Livable Industry  Street" is an urban experiment known in Poland from large cities, involving residents in the processes of changes in their surroundings. Biała Piska was the first such a small town to test this Other:  solution. Specify other: C‐3 Challenge that the project (activities) tried/is trying to tackle: C‐9 Sector which was.. What challenge was the project For one day, a parking in the center of Biała Piska became an area for creative activities, and cars (activities) trying to tackle – what were replaced by pedestrians. The temporary change in spatial development allowed to take ..the initiator of the activities: Culture was the aim culture to the streets and conduct a survey to ask residents about ideas for interventions in the ..the most crucial for the whole case Culture city and its surroundings. The challenge was to show residents that changing the quality of their study: surroundings is possible, but without their commitment is impossible to achieve lasting effects. Comment: C‐4 Time frequency: C‐10 How was the local community involved in the project/activities: Time Frequency Other Other information: It was supposed to be a one‐off activity, but the commitment and attitude of the residents resulted in further activities. C‐5 Time period Start: 7/23/2021 12:00:00 AM End: 7/23/2021 12:00:00 AM Comment: This is the date of one‐day activity 7 How was the local community Residents were involved at every stage of the "Livable Street". A local group was formed, which Were there any, no matter how big During the event, participants could buy something to drink and snacks to give a chance earn involved in the project/activities? took part in the workshops with the Social Urbanism Studio team (where also a person from Biała or small, economic benefits for the money by the stand owners. During this year's summer edition of "Livable Street" the Piska works). The aim of the workshop was to gain knowledge about the "Livable Street" as an local community as a whole or any Associations of Country Women sold handicrafts and food prepared by themselves. urban experiment and to develop the program of the event. It was important to find more actors specific actors in particular, to get involved in this activity. It was not only about the idea of how to spend a nice time in an resulting from the creative works unusual place, which is a parking area. It was equally important to prepare a questionnaire in with/in public spaces? which residents submitted ideas for interventions in the town and surrounding areas (in whole commune). Residents ‐ of all ages ‐ also actively participated in the event itself. The "Livable C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Street" was planned as a one‐off action, but the residents liked the idea so much that they joined potentially empowered the actors to prosper in their future development: the organization of the Christmas market in the same place ‐ further plans were stopped by the COVID‐19 pandemic. In 2021 there was the second edition of "Livable Street". However, it was Were there any exchanges of Social Urbanism Studio team helped to prepare the event, sharing with residents their knowledge possible to improve the quality of public space in several places of the commune ‐ residents were knowledge or other activities and experience. Social Urbanism Studio is an interdisciplinary research and design studio run by a involved in each of these activities. performed that potentially sociologist and two town planners. They took part in “Livable Street” project in a few polish empowered the actors to prosper in towns. This project uses the participatory nature of processes based on urban prototyping. C‐11 The role of natural/cultural heritage in the project/activities: their future development? Did cultural and/or natural heritage "Livable Street" used local resources, but mainly the involvement of residents, their talents and C‐18 Monitoring (or not) of the impact of the project: play any specific role in the networks. However, it is difficult to say that cultural heritage played a significant role. On the project/activities? other hand, in the subsequent activities in public space, inspired by "Liavble Street", the natural How was the impact of the project / The impact of the event wasn't monitored. You can definitely notice an increase in the activity of heritage was important. And the purpose of these sections was to improve and emphasize the activities monitored? If it wasn’t – residents over the last two years ‐ new informal groups of residents aimed at improving the natural values of selected places. how do you think it could be quality of public space have been created and six local branches of the Association of Country monitored? Women have registered their activities. It is difficult to judge if the “Livable Street” had a direct C‐12 The targeted impact of the project/activity: impact on this. What was the targeted impact of The aim of the "Livable Street" was to show the residents that changing the quality of their C‐19 Way in order to communicate the impact of the project: the project / activities? surroundings is possible, but that without but without their commitment is impossible to achieve lasting effects. The event taking place in the parking area made it possible to see how this place How was the impact of the project / Information about the event appeared on the official Facebook page of Biała Piska as well as local could function without cars. Something that was perhaps difficult to imagine, could be seen with activities disseminated or media, which focused more on reporting what was happening. There was no information about your own eyes. Residents spent a nice time together, which builds social trust and can be a good communicated? the impact the project could have had on subsequent activities. basis for further activities, e.g. creating informal groups that want to change public space together. It was important to collect ideas of residents who, thanks to the survey, said what they C‐20 Perception of the creative works in public space(s) by the final users and the reactions would like to change in the environment or what activities they expect. of the general public: C‐13 Achievement of the targeted impact: How were the creative works in People who are active and involved in the life of the city positively assessed "Livable Street". They public space(s) perceived, wrote in the survey: we want more activities of this type. The event was one of the inspirations Yes/no/partly: Yes evaluated, judged by the final users for further action for groups of the commune residents. But there were also voices of – what were the reactions of the dissatisfaction. Moreover, a group of residents tried to dismiss the mayor of Bała Piska before the Comment: The goal was achieved because the parking area in the town center temporarily changed its general public? end of his term of office ‐ the referendum was declared invalid because too few inhabitants voted. function and turned out to be a pretty good place for the residents to meet. They managed to Of course, "Livable Street" wasn't the reason for the referendum, but its initiators accused the gather a group of active residents who joined the preparation of the event. They were joined ‐ on mayor of, inter alia, loss of social trust, bad cooperation with the majority in the city council and the day of the event ‐ by residents open to new experiences. They managed to collect ideas of the lack of an investment plan and vision for the city's development. residents regarding changes in public space. The event showed that there is a group of residents who want to talk about common space, want to improve its quality and are ready to get involved C‐21 The (one) main success and the (one) main failure of the project/activities in specific activities. Main sucess: It was a success to organize "Livable Street" in such a small town. The aim of the project was to C‐14 Additional achieved impacts: involve the local community and it was successful ‐ the residents co‐created this project from the organization stage to its implementation. The idea was so popular that more meetings in this Were any additional impacts In the following months, after the "Livable Street" meeting, groups of residents of Biała Piska and formula have already taken place. The aftermath of “Livable Street” is also the increase in the achieved? the surrounding villages joined the activities in their immediate vicinity. Perhaps it was not a direct activity of the inhabitants themselves, for example local branches of the Association of Country effect of the "Livable Street", although the event was supposed to show that it is difficult to Women were established. A new event was also born: the Local Products Bazaar. Residents have change a city without the involvement of its residents. What did the residents do? An active also actively joined other social initiatives: they build elements of small architecture, green their recreation zone was created by the local pond, residents planted plants in one of the housing immediate surroundings, organize sports events for the whole family. estates, and a bookshop case was built. The changes also reached the surrounding villages, where a greenhouse was built on the initiative of the inhabitants and their involvement. In addition, a Main failure: Because of epidemic situation iIt was not possible to organize the "Liable Street" in an mural, a zone of logical thinking and a memorial site were created, and the American soldiers international version. In 2020, the Biała Piska commune received funding for the organization of stationed here as part of NATO helped in the renovation of the football field. this event with the participation of representatives of Ukraine (the town of Irpin). Due to COVID, the border was closed and the meeting became impossible to prepare. C‐15 The main beneficiaries of the creative work in public space(s): C‐22 Importance of broader conditions for the main sucess and main failure factor: Who were the main beneficiaries of The main beneficiaries of the creative works were the local community and the authorities. The the creative works in public event was a pretext to practice the basics of partcipation. Residents had a chance to share ideas How important were the broader An institutional support and "imported" know‐how were crucial. The know‐how given by Social spaces(s)? with the feeling that they would be heard and that they can count on support. The local conditions (e.g. the supporting Urbanism Studio team helped to prepare and conduct an event. This is the substantive and tool authorities gained partners ‐ a group of residents ready to join the city's affairs. Thanks to the state of the art in the community, base for subsequent activities and a way for supporting state of the art in the community. subsequent activities of groups of residents who arranged selected spaces, the commune gained infrastructure, institutional support, Without the support of local authorities, thanks to which the residents have a sense of agency, new, attractive places to spend time. The pandemic has shown how priceless it is to be friendly to financial sources, local or there would be no chance for any success. the residents of public space, giving them the possibility of a relatively safe stay. It is difficult to "imported" know‐how etc.) for the say at the moment, because the changes are too fresh to the extent that local business will main success and main failure factor benefit from them. C‐23 Provide the links to public data on the creative works C‐16 Presence (or not) of economic benefits for the local community as a whole or any 8 specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better https://www.facebook.com/zywaulica (https://www.facebook.com/zywaulica) D‐4 Optional final remark understand the activities and actors, as well as impacts: Optional final remarks: is there any additional information that was not The link: Livable Street � page communicated through the template Link to public data to better https://www.facebook.com/umbialapiska/posts/578063636243486 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/578063636243486) as well as impacts: The link: Report of other activities in Biała Piska district � page Link to public data to better https://www.facebook.com/umbialapiska/posts/395815347801650 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/395815347801650) as well as impacts: The link: Report of "Livable Street" in Biała Piska � page Link to public data to better https://www.facebook.com/umbialapiska/posts/445540486162469 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/445540486162469) as well as impacts: The link: Report of Chrismas event in Biała Piska � page Link to public data to better https://www.facebook.com/umbialapiska/posts/687349118648270 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/687349118648270) as well as impacts: The link: Report of other activities in Biała Piska district from official � page Link to public data to better https://www.facebook.com/umbialapiska/posts/382600749123110 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/382600749123110) as well as impacts: The link: Report of other activities in Biała Piska district from official � page Link to public data to better https://www.facebook.com/umbialapiska/posts/615447589171757 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/615447589171757) as well as impacts: The link: Report of other activities in Biała Piska district from official � page Link to public data to better https://www.facebook.com/umbialapiska/posts/606185380097978 (https://www.facebook.com understand the activities and actors, /umbialapiska/posts/606185380097978) as well as impacts: The link: Report of other activities at Biała Piska district from official � page D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Beata Mońka Organization: Zamek Cieszyn Email: bmonka@zamekcieszyn.pl Role: author D‐2 Representative pictures Picture's caption: *** Picture's author: Picture's date: Picture's source: D‐3 Additional information Additional information: Link: 9 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Chełmek Factory Dense settlement Fabryka Chełmek +5 +4 +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Polska ‐1 Region name (in local language): Województwo Małopolskie ‐2 Place name (in local language): Chełmek ‐3 Country name (in english): Poland ‐4 Region name (in english): Lesser Poland province/Chelmek commune ‐5 Place name (in english): Chelmek Open landscape The commune includes: the city of Chelmek and the municipalities of Gorzow and Bobrek. It is inhabited by about 13 thousand residents. The Chelmek Commune is located in the Lesser Poland Province, in the Oswiecim County, between Oswiecim and Libiaz Comment: (Chrzanow County), at the confluence of the Vistula and Przemsza rivers on their left bank. Chelmek also borders the communes of Bieruń, Chełm Śląski, Imielin and Jaworzno (Silesian province). Difficult terrain +5 Map of the network of public +4 spaces in the remote place +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access Caption of the map: Chelmek commune map ‐1 Legend of the map: pink line ‐ border of commune black and white line ‐ train track ‐2  ‐3 ‐4 ‐5 Effortless terrain Chelmek is located between three large cities: Katowice - the main center of the Upper Silesian Industrial District, distance approx. 40 km; Krakow - the largest urban center of southern Poland, distance approx. 60 km; Bielsko-Biała, the main industrial center of Comment: Podbeskidzie, distance approx. 50 km. Chełmek from the north, east and south is surrounded by a large and well-preserved forest complex. 10 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The organization of cultural, sports and recreational life in Chelmek commune is carried out by the Municipal Center of Culture, Sport Low‐income households prevail and Recreation in Chełmek. At the beginning of 2006, the last stage of modernization of the Cultural Center at Kiliński Square in Registered unemployment in Chełmek was 5.6% in 2020 (7.4% among women and 4.1% among men). It is much less than the Chełmek was completed. At that time, a multifunctional entertainment and cinema hall was put into use. The Center also includes registered unemployment rate for the province and much less than the registered unemployment rate for the whole of Poland. In three people's houses, libraries, tennis courts, a sports stadium, and the City Park with a concert bowl. The centre organizes classes 2019, the average monthly gross salary in Chełmek was about 89.10% of the average monthly gross salary in Poland. Among the Comment: for the inhabitants of the commune by developing readership, conducting artistic centers and courses, presenting films, theater and economically active inhabitants of Chełmek, 1,015 people go to work in other cities, and 760. Most of the remaining economically stage performances and exhibitions. In this respect, it cooperates with local schools, parishes, voluntary fire brigades, sports clubs Comment: active residents work in the Silesian Province (Katowice, Bielsko-Biała), which is a typical phenomenon on the western wall of the and other institutions and associations. Social activity is also not one of the strongest points of the commune. Number of region. The cultural and sports offer of the commune is primarily the dynamically operating Municipal Culture, Sport and Recreation organizations per 10 thousand inhabitants, it was much lower than the average in the province (22 in the commune, 37 in the Center in Chelmek with a wide range of activities for residents of all ages, and student sports clubs. Working people come to work region). from outside the commune. Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 3 +3 Explanation: Chełmek is the historic capital of the footwear industry. The Municipal Economic Activity Zone was established on the site of the former Southern Footwear Industry Plant "Chełmek". In 1931,  +2 the Czech manufacturer Tomasz Bata (known as the king of shoes) started building a factory and a housing estate in Chełmek. From then on, the city began to grow and the number of inhabitants +1 doubled in five years. In 1939, the Germans took over the factory. A shoe factory was reopened n Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound 1947 it was nationalized. Chełmek was granted city rights in 1969. In Chełmek, there is the Bata demographic demographic Memorial House (opened in 2006), which houses museum rooms devoted to the Bata family, the structure structure history of the footwear industry and the past of the Chełmek Land. Numerous sewing machines and other devices once used in the Chełmek Baty factory as well as archival photos and ‐1 reproductions showing the beginnings of the factory in Chełmek are gathered there. The Bata Memorial House is located near the former shoe factory. In 1937, he worked in a factory in ‐2 Chełmek more than 2,000 people, and the annual production was over 2 million pairs of shoes. ‐3 This amount needed to be developed sales network. In 1939, in the territory of the Second Polish Republic, the company had over 160 stores and points sales. The attempt to build a Polish Zlín in ‐4 Chełmek was only partially successful. Long‐term plans assumed the construction of the city for 15,000 inhabitants with around 1,500 houses for employees and 40 public utility buildings. The ‐5 complex of houses for workers is a unique example of the interwar modernist architecture that was being built away from big urban centers. Thanks to your timeless simplicity, utilitarianism and Daily‐life‐support facilities none‐existing genesis, it has become a material proof of uniqueness of Chełmek, also proving that it is Lesser There are some aspects describing the demographic structure in Chelmek: A declining total population and a steady downward trend Poland the city had a chance to become a little Zlín. Now, in 2021, the factory is not longer in use outlined (from 13,106 in 2015, to 12,837 in 2020) - the lowest population in 20 years; the negative population growth and net for the production of shoes and Chelmek has a negative birth rate, the high rate of migration as migration persisting in recent years, a very noticeable increase in the number of people in retirement age (this number increased by well as decline in the number of people in pre‐working age. Apart from that the high school in 87% compared to 2015). Changes in the population structure of the commune, consisting in an increase in the share of people in Chelmek which was opened 1952 and educated young people to find a job in the shoe factory, it is post-working age in the total population and a decrease in the share of people in pre-working age, although they are part of the closed now (since 2017). In 2020 there was a plan to include the facility in the next stage of nationwide and regional tendency of aging of the society, the level of their intensity in Chełmek significantly exceeds the average - Chełmek revitalization, so that it can regain its former splendor and serve as an Educational, Comment: the process " aging ”of the Chełmek Commune is much faster than the average in Lesser Poland. The average age of the Cultural and Social Center, where activities and programs for the residents of the commune will inhabitants is 42.6 years and it is slightly greater than the average age of the inhabitants of the province, and comparable to the be carried out. average age of the inhabitants of Poland. Over the years 2010-2019, the caring potential, in particular the care potential for elderly and people in need in the commune, decreased drastically. At the beginning of the second decade of the 21st century, more or less A‐4 Elements that characterise the remoteness of the place: every sixth resident of the commune took care of seniors, compared to every third at the end of the second decade. This problem is of additional importance in the context of the lack of access to places that can provide day care or permanent care for the oldest Low population density  group of residents in the commune. 11 Geographical barrier/allocation  Recreational space/s, Sport‐field/s  No good transportation links  Community open‐air space/s  Difficulties in accessing daily‐life‐  Institution‐related open‐air space/s  support facilities (e.g.University grounds) Social specifics and/or divisions  Watersides  Economic inferiority  Meadows  Subjective criteria  Parking area  Specify subjective criteria (e.g. Closure of the Bata shoe factory Service yard  community’s self‐perception of  being remote etc): Other types: Other  Specify other types: industrial zone ‐ ex shoe factory, residential estate built by Bata Specify other: Type of indoor public spaces that Cultural, health related spaces, educational, commercial, service spaces (shops etc.), sport, public can be found in this remote place: services related offices, place of religious worships. Summary of the elements that The factory had a great influence on the people life and after the closure the residents had to deal characterise this case as a remote with the big trauma they could't talk about for the years. It is only recently thanks to the projects place: like "Fabryka Chełmek" (Chelmek Factory) the memory was reborn. The residents started talking A‐8 General description of.. about their past and collecting artifacts from the old times. The factory itself, although closed in 2003, today functions as an industrial zone ‐ Strefa Przemysłowa and it is also a space for scientific The network of roads, streets, paths The main communication routes are: the Oświęcim‐Trzebinia railway line, the provincial road No. and cultural activities. In 2006, the Bata Memorial House was opened. and alike elements that tie this 780 from Kraków towards Silesia, the provincial road No. 933 from Chrzanów towards Oświęcim remote place together: and Pszczyna. The A4 motorway from Kraków to Katowice runs in the immediate vicinity of the Low population density rank: commune. A bicycle route runs through the commune, which is one of the stages of the route Geographical barrier/allocation rank: leading through the Oświęcim valley, which in turn connects with the R4 European Cycle Route from Vienna to Odessa and the Greenway. The Wooden Architecture Trail of the Lesser Poland No good transportation links rank: 2 Province runs through the village of Bobrek. Difficulties in accessing daily‐life‐ The quantity and structure of public There are limited public spaces in Chelmek which might be attractive for people of all ages such as support facilities rank: space network (besides playgrounds, tennis courts, football pitch, local park. As the depopulation in Chelmek is on the roads/streets/paths network) in this increase the local government created a strategy which might help to attract the young people Social specifics and/or divisions 3 remote place: and build the strength in local community on all levels. One of the challenges of the Chelmek rank: Commune Development Strategy for 2021‐2030 are: the offer and space dedicated to young Economic inferiority rank: people above 15 years of age, increasing the attractiveness of the commune as a place to learn, live and future work for young people, increase the educational and civic activity of the Subjective criteria (e.g. community’s 1 inhabitants. self‐perception of being remote etc) rank: A‐9 General description of the quality of public spaces in this remote place Other rank: Answer: Chelmek is undergoing revitalization process including mostly centre of the town. One of the examples is the playground which was expanded in 2018 and the skate park dedicated to the A‐5 Provide the links to public data young people. Before in 2013, a modern sports complex was officially opened, consisting of a full‐ size sports field with an artificial surface, four courts, including one under the roof, a multi‐ Links to public data on the remote Chelmek commune website functional sports field. The part of the residential estate built by Bata known as "Kolonia" (the place urban complex of residential buildings and recreational areas built by the Bata concern) was also The link: http://www.chelmek.pl/ (http://www.chelmek.pl/) renovated including a villa from the thirties, where the first director of the factory lived. Links to public data on the remote Cultural Centre in Chelmek B‐1 Name(s) of the public space(s) place Name(s) of the public space(s) (in Fabryka w Chełmku The link: https://moksir.chelmek.pl/ (https://moksir.chelmek.pl/) local language): Links to public data on the remote Cultural Centre in Chelmek ‐ � Name(s) of the public space(s) (in Chelmek Factory place English): The link: https://www.facebook.com/moksirchelmek/?ref=page_internal (https://www.facebook.com Latitude of the public space(s): 50° 5′ 59″ N /moksirchelmek/?ref=page_internal) Longitude of the public space(s): 19° 14′ 55″ E A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  12 Access regarding time of day/week Municipal Center of Culture, Sports and Recreation Open Monday till Friday 8am‐ 6pm Friday /year: 8am–5pm Saturday and Sunday Closed Chelmek Factory free outside access Monday till Friday There are different businesses operating in the buildings at the moment. The Bata Memorial House can be visited by prior arrangement, from Monday to Friday from 8.00 to 19.00, on Saturdays and Sundays. Housing estate "Kolonia" the residential buildings could be visited from outside at any time. Przemsza river could be accessed at any time. B‐7 Kind of activity initially designed for this public space: What kind of activity has been this Since 2003, in the city of Chełmek there has been a 27 ha area of the Municipal Economic Activity public space designed for initially Zone after the former BATA factory, which was nationalized after the war and for many years was Ground plan showing the land use called the Southern Leather Industry Plant "Chełmek" SA. It is one of the main economic assets of of the public space(s): the commune. Currently about 100 companies, including those with foreign capital, employing about 2,000 people, related to the footwear and footwear industries, construction, automotive, producers of packaging, furniture, windows. In the years 2004‐2005, the Chełmek commune implemented a project related to the revitalization of the communication system in the foreground of the zone, the construction of the Bata Memorial House and the fire station, as well as the establishment of the Regional Aid Center for People at Risk of Unemployment in Chełmek. The comfort of the functioning of economic entities and institutions operating in this area has been significantly improved. B‐8_a Which are the activities in this public space(s)? Caption's map of the public space: Chelmek_map Activity: visit Legend's map of the public space: Key figure: Yellow ‐ build structure of creative works Black ‐ build structure White ‐ streets Activity: work Main location  Activity: participation in activities B‐2 Describe the physical environment Activity: historical walks Physical environment description of Cultural activities took place in: 1. the old industrial zone which belonged to the Bata factory, 2. Activity: collecting artifacts the public space(s) with creative Municipal Center of Culture, Sports and Recreation which was part of the factory, 3. residential works: estate ‐ "Kolonia" built by Bata, 4. train station, 5. river banks of Przemsza. Activity: organize activities Physical environment elements The factory was built in the center of the small town, close to the station which was a huge Activity: meeting people were important and/or actually benefit for the founder. The industrial history of the place was used to attract people and refresh Activity: nature walks "used" by creative people for their memory and history of the Bata shoe factory and its creator. Creative work was set up in the activities: environment which isn't very popular, especially in the small and remote places. Apart from the B‐8_b Who are the main users of this public space(s)? Bata history in the town some of the activities were organized to present natural value of Przemsza river and its wild surroundings. User: residents B‐3 Describe the general functions User: nature enthusiasts Functions and land uses description Cultural centre, railway station, residential "Kolonia", industrial zone, natural banks of the User: workers in the area of the public space: Przemsza river. User: activists Functionalities of space were The main purpose of the buildings where the creative works took place are: the old factory, the User: artists important and/or actually "used" by residential area (housing estate "Kolonia"), the train station, They are all in close location to the creative people for their activities: cultural center which used to be part of the factory and now is one of the partners in recalling the User: visitors Bata history. User: youth B‐4 General demographic characteristics of the area around the public space: User: seniors Describe the general demographic Chelmek is a small town with 8,912 inhabitants, of which 51.8% are women and 48.2% men. In the characteristics years 2002‐2020, the number of inhabitants decreased by 3.2%. The average age of the inhabitants User: history enthusiasts is 43.0 years and is slightly higher than the average age of the inhabitants of the Lesser Poland province and comparable to the average age of the entire Polish population. 59.6% of Chelmek's B‐8_c What are the users activities of this public space(s)? inhabitants are of working age, 16.3% of pre‐working age, and 24.1% of the inhabitants are of post‐ Users Activity Before After working age. Chelmek has a negative birth rate. In 2019, 80 children were born. workers work   B‐5 Type of the public space(s) with creative work workers visit   Form and function: Cultural centre, railway station, residential "Kolonia", industrial zone, natural banks of the Przemsza river. activists visit   Ownership: Cultural centre , railway station, residential "Kolonia" natural banks of the Przemsza river ‐ all activists participation in activities   public Industrial zone ‐ private businesses operated in the zone now activists nature walks   Access regarding entry‐control: open access Industrial zone ‐ only for the workers activists historical walks   activists organize activities   13 artists visit   Website's link: https://www.styl.pl/raporty/raport‐o‐architekturze/strona‐glowna/news‐chelmek‐miasto‐krola‐ butow,nId,5164404 (https://www.styl.pl/raporty/raport‐o‐architekturze/strona‐glowna/news‐ artists participation in activities   chelmek‐miasto‐krola‐butow,nId,5164404) residents work   Website: Chelmek city hall website residents visit   Website's link: https://www.chelmek.pl/ (https://www.chelmek.pl/) residents participation in activities   B‐11 Provide photos of the public space(s) with creative works residents meeting people   Caption: Chelmek Factory project / concert residents collecting artifacts   visitors visit   visitors participation in activities   visitors nature walks   visitors historical walks   youth meeting people   youth participation in activities   youth nature walks   youth historical walks   seniors participation in activities   seniors meeting people   seniors collecting artifacts   seniors historical walks   Photo's author: Chelmek commune office history enthusiasts historical walks   Caption: Chelmek Factory project / artistic residence history enthusiasts collecting artifacts   nature enthusiasts nature walks   nature enthusiasts participation in activities   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the Many public places in Chełmek are of poor quality. The situation begins to partially improve. The most attractive to people town runs a large revitalization program. As a result, the residents have recently gained a square with a playground and a skate park, a tennis court has been renovated (it was originally built in Bata's factory time), a Senior Home with an offer for older people was opened, and the town library gained a new seat. B‐10 Provide the links to public data on the public space(s) Website: website of the centre of culture in Chelmek Website's link: https://moksir.chelmek.pl/ (https://moksir.chelmek.pl/) Website: Chelmek culture centre � page Website's link: https://www.facebook.com/moksirchelmek/ (https://www.facebook.com/moksirchelmek/) Photo's author: Chelmek commune office Website: Fb page dedicated to Bata history in Chelmek Caption: Chelmek Factory project / walk in "Kolonia" Website's link: https://www.facebook.com/BATA‐lia‐w‐Che%C5%82mku‐152938718121239 (https://www.facebook.com/BATA‐lia‐w‐Che%C5%82mku‐152938718121239) Website: An article about Chełmek ‐ the little Zlin city Website's link: https://www.bryla.pl/bryla /1,90857,15637290,Chelmek___maly_Zlin__Fenomen_niedokonczonego_miasta.html (https://www.bryla.pl/bryla /1,90857,15637290,Chelmek___maly_Zlin__Fenomen_niedokonczonego_miasta.html) Website: An artciel: Chełmek ‐ the city of the king of shoes 14 Photo's author: Chelmek commune office Caption: Chelmek Factory project / "Kolonia" Photo's author: Chelmek commune office Caption: Chelmek Factory project / nature walk Photo's author: Chelmek commune office Caption: Chelmek Factory project / "Kolonia" Photo's author: Chelmek commune office Caption: Chelmek Factory project / historical walks Photo's author: Beata Mońka Caption: Chelmek Factory project / "Kolonia" 15 C‐1 Official name of the activity/project Name in local language: Chełmek Fabryka Name in English: Chelmek Factory Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that In the 1930s Tomáš Baťa, a Czech industrialist, started building a shoe factory in Chelmek. A small took place in the analysed public village in southern Poland, inhabited by 1.5 thousand. people developed into a city of ten space(s) thousand. In its heyday ‐ in the 1970s ‐ the factory employed over 7,000 people. The whole life of the town revolved around this one plant until the period of the political transformation in the 1990s, when the time of crisis for the factory began ‐ it was finally closed in 2003. There is an industrial zone in this place, but for years the inhabitants of Chelmek lived with a sense of loss. And only recently, history and architecture enthusiasts, activists supported by the local cultural center, have managed to restore the memory of the factory, and the residents want to talk about it. This was also the purpose of the project: Chełmek Fabryka (Chelmek Factory), a series of artistic events, workshops and concerts inspired by Bata's heritage. The events took place in the premises of the former factory, the Przemsza river bank, "Kolonia" ‐ the workers' colony (i.e. the urban complex of residential buildings and recreational areas built by the Bata concern) and the railway station (currently under modernization and a small history museum of the Bata factory in Chełmek is being built there). The project was an opportunity to remember history, collect information and archives related to the factory, but also show the values of architecture and nature in the city. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The main challenge of the project was to rediscover the forgotten history of Tomas Bata, an (activities) trying to tackle – what entrepreneur from Czechoslovakia who set up a factory in Chelmek. The history became a source was the aim of the knowledge thanks to which the events were organized in the former industrial zone. The activities were to restore the identity of the inhabitants and showing them the value of the history of their town, as well as modern resources, e.g. nature. And the tool was culture. C‐4 Time frequency: Time Frequency Periodical activity Other information: 2020 C‐5 Time period Photo's author: Beata Mońka Start: 8/21/2020 12:00:00 AM Caption: Chelmek Factory project / "Kolonia" End: 11/30/2020 12:00:00 AM Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): residents Motivations: curiosity, willingness to learn the history of the city, need for change Roles: participation in events, collecting artefacts, history reminder Actor(s): employees of the cultural center Motivations: activating residents, building the town's identity Roles: organization of the events, arranging money Actor(s): artists Motivations: meeting with the audience, action Roles: participation in the event, artistic activities Actor(s): historians, art historians, naturalists Motivations: exploring new places, interests 16 Photo's author: Beata Mońka Roles: sharing knowledge Yes/no/partly: Yes Actor(s): officials Comment: From August to mid‐September 2020, there was organized twelve artistic events in the commune ‐ exhibitions, concerts, performances, educational walks, film screenings and meetings with Motivations: involving residents, discovering the history of the town, publicity authors, showing local heritage as an object of knowledge and inspiration to show contemporary art to the inhabitants of Chelmek and the surrounding area. About 20 renowned artists, Roles: support for the organization of the event animators, guides and over 800 participants took part in the program. C‐7 Description of the supporting background that existed to make the activities happen: C‐14 Additional achieved impacts: What kind of supporting There was an institutional base of the cultural center. They also received funding from the Were any additional impacts They managed to create a positive trend of discovering the town's old history and taking pride in background existed to make the ministries of culture, which allowed them to carry out many activities. The support of artists and achieved? this heritage. activities happen (financial, scientists was also important. institutional etc.) C‐15 The main beneficiaries of the creative work in public space(s): C‐8 Sectors involved in the development of the creative works with public spaces: Who were the main beneficiaries of The main beneficiaries are the local community ‐ the inhabitants gained an interesting offer of the creative works in public cultural events, but also the chance to discover and tell stories. The town authorities have a base Culture  spaces(s)? for creating a local product. Historians and enthusiasts of architecture gain new information. Education  C‐16 Presence (or not) of economic benefits for the local community as a whole or any Health  specific actors in particular, resulting from the creative works with/in public spaces: Sustainability  Were there any, no matter how big At this stage, it is difficult to assess what economic benefits will arise from these activities. Any or small, economic benefits for the efforts to preserve Bata's heritage, such as "Kolonia" ‐ a workers' colony (a municipal complex of Science  local community as a whole or any residential and recreational buildings built by the Bata concern) are worth the effort and have a Tourism  specific actors in particular, specific economic value. resulting from the creative works Sport  with/in public spaces? Industry  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Other:  potentially empowered the actors to prosper in their future development: Specify other: Were there any exchanges of The activities were not supported by any special methodology ‐ residents were encouraged to knowledge or other activities participate mainly through art. But it can be said that the whole process is a continuous exchange C‐9 Sector which was.. performed that potentially of knowledge about the town ‐ Chelmek from the past and the modern one. empowered the actors to prosper in ..the initiator of the activities: Culture their future development? ..the most crucial for the whole case Industry C‐18 Monitoring (or not) of the impact of the project: study: How was the impact of the project / The Chełmek Fabryka project was supported by funding from the Ministry of Culture, so the Comment: activities monitored? If it wasn’t – organizers had to show indicators such as the number of participants, number of events, etc. All how do you think it could be activities were advertised on websites, �, in the media, where reports and photos from the C‐10 How was the local community involved in the project/activities: monitored? events were also posted. But there was no monitoring of the impact of all these activities on the local community. How was the local community The industrial past of the town seemed to be an ideal place for creative searches and activities to involved in the project/activities? restore the identity of the inhabitants. The measurable effects of the program in 2020 included C‐19 Way in order to communicate the impact of the project: seventeen artistic events in which about twenty artists participated. Before 2020 there were some preparation of the activities, historical research, talks with Chelmek residents, people who How was the impact of the project / Mainly on the Internet ‐ on the website of the cultural center, the � page of the cultural center used to work in the factory who were happy to help to organize the events and to share the activities disseminated or and the official � page of the town. Mainly on the Internet ‐ on the website of the Cultural Center, history of the place. The Chelmek Fabryka project was an organizational and financial support for communicated? on the � page of the Cultural Center and on the official � page of the Town Hall. Some of the the implementation of ideas that emerged from conversations with residents. events had to be transferred to the internet due to COVID. Regardless of this, films were made about Chelmek's legacy, which reached a wider audience ‐ not only local residents. A large article C‐11 The role of natural/cultural heritage in the project/activities: about the history of Bata in Chelmek was published in one of the most popular information portal in Poland. Did cultural and/or natural heritage Restoring the memory and history of the town from its heyday, the development of the footwear play any specific role in the industry, the history of its employees and the founder of the Chelmek factory were the main C‐20 Perception of the creative works in public space(s) by the final users and the reactions project/activities? reasons for organizing the cultural activities. The uniqueness of the factory is inextricably linked of the general public: with its rich history and the people who created it and worked in it. The factory had an impact on the life of the entire town, without it the twon would look completely different now. How were the creative works in The group of residents interested in discovering the heritage of Baťa is growing. The topic also public space(s) perceived, has its fans outside Chelmek. More objects are sent to the cultural center that collects artifacts C‐12 The targeted impact of the project/activity: evaluated, judged by the final users related to the factory. The inhabitants begin to appreciate the architectural value of, for example, – what were the reactions of the "Cologne" ‐ the urban complex of residential buildings and recreational areas built by the Bata What was the targeted impact of The influence of cultural events in the factory and at the station did not go unnoticed among the general public? concern. the project / activities? inhabitants of Chełmek and the entire commune. It turned out that many people remembered past events or had someone in their family who worked in the factory. The memories came alive C‐21 The (one) main success and the (one) main failure of the project/activities and became a pretext for talks, discussions and celebrating the rich industrial history of the city. The residents were happy to hear about the opening of cultural events on the premises of the former factory. The Baťa Museum was established nearby and is a symbolic tribute to all those who remember Tomasz Bata and the development of the footwear industry in Chełmek. C‐13 Achievement of the targeted impact: 17 Main sucess: The Chełmek Factory project engages residents in discovering the history and heritage of the Bata D‐3 Additional information concern. More and more people want to share their stories, because they see that the memory of the future is valuable in building the contemporary image of the city. The advantage is noticing Additional information: the richness of the local nature and all activities related to its protection. The fact that the Link: memory restoration process is in progress is a success ‐ it is not a one‐time action. One of the most important lessons is the realization that time and patience are crucial to work with the D‐4 Optional final remark memory. The process of recalling the history of the factory could have started more or less in the last decade ‐ previously, the residents were not ready for it yet. Optional final remarks: is there any additional information that was not Main failure: The initiators of the activities would like the history of the factory, but also the cultural events communicated through the built around it, met with greater interest. They still feel that their actions are local ‐ they do not template intrigue a wider audience or national media. Factory closure and job loss are still traumatic for many residents and all activities related to the history of the factory arouse their resentment. It was impossible to change their mind. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader Institutional and financial support was crucial to the success of the project. The cultural center in conditions (e.g. the supporting Chelmek guarantees the continuation of activities ‐ there is a place that, regardless of the state of the art in the community, implementation of projects, e.g. collects stories and memories of residents and artifacts about infrastructure, institutional support, the former Bata factory. financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better https://moksir.chelmek.pl/ (https://moksir.chelmek.pl/) understand the activities and actors, as well as impacts: The link: Culture center website Link to public data to better https://www.facebook.com/BATA‐lia‐w‐Che%C5%82mku‐152938718121239 understand the activities and actors, (https://www.facebook.com/BATA‐lia‐w‐Che%C5%82mku‐152938718121239) as well as impacts: The link: FB page dedicated to the history of Bata factory in Chelmek Link to public data to better https://www.styl.pl/raporty/raport‐o‐architekturze/strona‐glowna/news‐chelmek‐miasto‐krola‐ understand the activities and actors, butow,nId,5164404 (https://www.styl.pl/raporty/raport‐o‐architekturze/strona‐glowna/news‐ as well as impacts: chelmek‐miasto‐krola‐butow,nId,5164404) The link: Chełmek ‐ the city of the king of shoes ‐ the article Link to public data to better https://www.bryla.pl/bryla understand the activities and actors, /1,90857,15637290,Chelmek___maly_Zlin__Fenomen_niedokonczonego_miasta.html as well as impacts: (https://www.bryla.pl/bryla /1,90857,15637290,Chelmek___maly_Zlin__Fenomen_niedokonczonego_miasta.html) The link: Chełmek ‐ the little Zlin city ‐ the article D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Beata Mońka Organization: Zamek Cieszyn Email: bmonka@zamekcieszyn.pl Role: Author D‐2 Representative pictures Picture's caption: *** Picture's author: Picture's date: Picture's source: 18 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Grójec Free School +5 Wolna Szkoła Grójec +4 +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Polska ‐1 Region name (in local language): Województwo Mazowieckie/gmina Grójec ‐2 Place name (in local language): Grójec ‐3 Country name (in english): Poland ‐4 Region name (in english): Masovian Province/Grojec commune ‐5 Place name (in english): Grojec Open landscape The commune of Grojec is an urban-rural place. It belongs to Masovian province, Grojec commune. The Grojec commune has 25,855 inhabitants, which is 26.2% of the whole commune population. The seat of the commune is the city of Grojec. Population density in the commune - 210 people/km2. The Grojec commune has 25,855 inhabitants, of which 51.9% are women and 48.1% Comment: men. In the years 2002-2019, the number of inhabitants increased by 14.4%. The average age of the inhabitants is 40.5 years and is comparable to the average age of the inhabitants of the Masovian province and slightly lower than the average age of the entire Polish population. According to data from 2019, Grojec had 16 758 inhabitants. Nowe Grobice (location: Hamlet "Krzaki") is a village in the administrative district of Chynów, within Grójec commune, Masovian province. The village has a population of 150. Difficult terrain +5 Map of the network of public +4 spaces in the remote place +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2  +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Caption of the map: Grojec County map ‐3 Legend of the map: Orange dot is the main city Grojec Orange line is the border of the county ‐4 ‐5 Effortless terrain Grojec is situated on the Masovian Lowland, also known as the Masovian Plain, is the largest geographical region in central Poland, Comment: roughly covering the historical region of Masovia. Sometimes it is also categorized as including Mazovian-Podlasian Lowlands which together form part of the greater North European Plain. 19 Diversified economic activities High‐income households prevail +5 +5 +4 +4  +3 +3 +2  +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The registered unemployment rate in the commune of Grojec in 2019 was 2.2% (2.5% among women and 2.0% among men). In Low‐income households prevail 2018, the average monthly gross salary in the commune of Grojec corresponded to 94.80% of the average monthly gross salary in 47.7% of economically active residents of the Grójec commune work in the agricultural sector (agriculture, forestry, hunting and Comment: Poland. Nowe Grobice where the wild part of the Tropy Przyrody is situated there are no existing creative sector. This is a small fishing), 22.3% in industry and construction, and 11.1% in the service sector (trade, vehicle repair, transport, catering, information village with only about 150 people, 20 km from Grojec city. Comment: and communication) and 1.5% work in the financial sector (financial and insurance activities, real estate services). Grójec corresponded to 94.80% of the average monthly gross salary in Poland. Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 2 +3  Explanation: Grojec commune is an urban‐rural place with over 20.000 population. It is situated about 40 km +2 from Warsaw. The tradition of Grojec culture is the annual May Flowering Apple Festival, which from the very beginning supports local traditions related to fruit growing. Grojec surroundings +1 are considered to be the biggest apple‐growing area of Poland. It is said that the region makes up Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound also for the biggest apple orchard of Europe. Statistically, every third apple sold in Poland is demographic demographic grown in Grojec – a unique local microclimate provides for their beautiful red colour (Wikipedia). structure structure A‐4 Elements that characterise the remoteness of the place: ‐1 Low population density  ‐2 Geographical barrier/allocation  ‐3 No good transportation links  ‐4 Difficulties in accessing daily‐life‐  ‐5 support facilities Daily‐life‐support facilities none‐existing Social specifics and/or divisions  Grojec city has most of the public necessity facilities needed. Currently, in Grojec, activities for the promotion of culture are carried Economic inferiority  out mainly by two institutions: the Municipal Cultural Center and the Municipal and Municipal Public Library. The activity of the Grojec Cultural Center focuses on many cultural and recreational aspects. The former include cyclically organized theater, educational and Subjective criteria  music classes. In addition, there is a cinema in Cultural Centre , as well as theater performances and music events. There are many groups at the Grojec Cultural Center, such as the Bridge Section, the Chess Club, the Association of Artists of the Grojec Region, Specify subjective criteria (e.g. Grojec Open University, the Family Theater and the Love Dance Academy dance group. In the context of spending free time, it community’s self‐perception of should be mentioned that in the vicinity of the revitalization area there are two large sports and recreation facilities: a swimming pool being remote etc): Comment: and a football stadium. Stadium,located in the immediate vicinity of the revitalization area, requires modernization so that it can be  effectively used as a place for integration by sport. Such integration is so important that it affects entire families, and also, due to Other physical activity, has a positive effect on the health of the inhabitants. There is also a very strong identification with the place among Specify other: the residents, which used to be the Grojec amphitheater - now completely degraded. Another place that could gain new functions as part of revitalization activities is the former building the town hall on the town square in Grojec. In the area of the Grojec commune, Summary of the elements that Grojec city has 16,674 inhabitants and its surroundings are considered to be the biggest apple‐ there are over a dozen educational institutions, including 6 primary schools, 3 public kindergartens and several private kindergartens characterise this case as a remote growing area of Poland. In the past, Grojec was associated only with a multicultural small town and care centers. There is a local cultural centre and the sports centre which organize the events for the residents. There are some place: producing apples. Today it is a developing city. Despite of being in the close location (about 40 non-governmental organizations operating in the Grojec Commune, which organize and support initiatives that activate residents. km) from capital of Poland there are still areas that require improvement for example accessibility and modernization of public places for the residents of all ages. Low population density rank: 20 Geographical barrier/allocation rank: 1 The network of roads, streets, paths There are two very busy national roads of great transport importance intersect in the commune and alike elements that tie this and the town of Grójec. For the S7 expressway and the 7 national road, it was indicated that the No good transportation links rank: 2 remote place together: average vehicle traffic in the commune is over 30,000 vehicles daily. However, not much was recorded on the national road No. 50 over 15 thousand vehicles daily. Such a high volume of traffic Difficulties in accessing daily‐life‐ is associated with the emission of pollutants, and most of all road noise, which is the main support facilities rank: environmental problem on the site Communes and Towns of Grojec. One the effects are also Social specifics and/or divisions limiting the accessibility of Wolności Square for pedestrians. There are important issues to tackle rank: by the local goverment ‐ in terms of the transport system ‐ creation of a system of city ringroads, receiving especially heavy and transit traffic. There is an area of a disused railway station narrow‐ Economic inferiority rank: gauge, which connected Grojec with Warsaw. Passenger transport on the line was suspended in 1991, and since then the station has been used for tourist services with breaks. The station Subjective criteria (e.g. community’s building does not fulfill the original function of passenger service, and due to the lack of ongoing self‐perception of being remote etc) renovations, it has been subject to progressive degradation in recent years. rank: The quantity and structure of public The activities carried out for over a dozen years, more or less related to revitalization, changed Other rank: space network (besides significant parts of the city center. Nevertheless, in the area of revitalization, there is still a need A‐5 Provide the links to public data roads/streets/paths network) in this to support some of the inhabitants who have been struggling for years with problems that remote place: prevented a dignified life. There are also major investment needs for modernization or to provide Links to public data on the remote Official website of Grójec city better and better public services to residents.In the spatial and functional sphere, the basic place problem is insufficient the quantity and quality of services in the center of Grojec that could meet all the needs of the residents and make them independent of the need to use services in Warsaw. The link: https://grojecmiasto.pl/ (https://grojecmiasto.pl/) From carried out under The preparation of this Survey Program (2017) shows that the service offer in the center Grójec does not meet the expectations of the city's inhabitants ‐ there are no Links to public data on the remote Cultural Centre in Grójec attractive forms of spending time free and higher‐class service and commercial points. Changes in place the forms of spatial development, primarily the dispersion of buildings, leads to increased The link: https://gokgrojec.pl/ (https://gokgrojec.pl/) dependence of the inhabitants of Grojec on driving a car. A‐7 The type of public spaces that can be found in this remote place (besides the A‐9 General description of the quality of public spaces in this remote place roads/streets/path network) Answer: There are two parks and playgrounds in Grojec city which are the main public spaces. Not all of them are well equipped and have all the amenities needed to respond to people's differents Square/s, Plaza/s  needs. The revitalization of the one of the parks in Grójec has long been a matter raised by the Park/s, Garden/s  local government. Everyone would like the area to be frequently and willingly visited by residents, so that they could come here and spread a blanket in the clearing ‐ reports the mayor. Source of Market space/s  the article about the revitalisation: https://grojec.naszemiasto.pl/jak‐bedzie‐wygladala‐ rewitalizacja‐parku‐miejskiego‐w/ar/c1‐8292612 Despite the aforementioned activities and events Playground/s  organized by the Grojec Cultural Center and the Library, one of the most important needs Recreational space/s, Sport‐field/s  identified at the stage of in‐depth diagnosis in the area of revitalization, there is an insufficient offer in terms of spending free time. Both during focus interviews, meetings in the form of a civic Community open‐air space/s  cafe with residents, and it was this aspect that came to the fore in the answers to the survey questions. First of all, the inhabitants point to the insufficient number of bicycle paths, the lack of Institution‐related open‐air space/s  themgood connection, as well as little urban greenery. Another problem is the shortage of places (e.g.University grounds) where you can spend time with friends or relax. This problem affects basically everyone age groups ‐ both young people, families with young children and the elderly. The inhabitants when Watersides  asked about their needs, they indicate in this respect a greater number of recreational areas, Meadows  cafes or places where mass events could take place. Improvement is also important for them existing or construction of a new sports and recreation infrastructure. A large part of the Parking area  inhabitants also points out that the town square in Grójec should play the role of a bustling place, a space public, where residents would have a good time and do their shopping (also at regular Service yard  fairs handicrafts, art, products from various regions of Poland and the world, etc.). Other types:  B‐1 Name(s) of the public space(s) Specify other types: Name(s) of the public space(s) (in Park in Grójec Type of indoor public spaces that local language): can be found in this remote place: Name(s) of the public space(s) (in Grojec local park A‐8 General description of.. English): Latitude of the public space(s): 51°51′45″N Longitude of the public space(s): 20°52′03″E Ground plan showing the land use of the public space(s): Caption's map of the public space: Ground plan Grojec park Legend's map of the public space: Main location  21 Name(s) of the public space(s) (in Nowe Grobice ‐ Osada Krzaki Form and function: Local public park. local language): Ownership: Public park and Osada Krzaki (Hamlet Krzaki) ‐ wild space is a private land. Name(s) of the public space(s) (in Nowe Grobice ‐ Hamlet "Krzaki" English): Access regarding entry‐control: N/A Latitude of the public space(s): 51.9278° N Access regarding time of day/week The park in Grojec is open 24 hrs. The Hamlet Krzaki in Nowe Grobice is a private space which /year: could be accessed by the people who take pat in the workshops, free school children etc. Longitude of the public space(s): 21.1041° E B‐7 Kind of activity initially designed for this public space: What kind of activity has been this Grojec park ‐ recreation/relaxation Hamlet "Krzaki" ‐ open space land (meadow etc) and forest public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: concerts Activity: workshops Activity: clothes swap Ground plan showing the land use Activity: theatre performance of the public space(s): Activity: educational and ecological activites Activity: outdoor learning Activity: summer camps B‐8_b Who are the main users of this public space(s)? User: parents of the children in Free School Grojec User: the residents of Grójec commune Caption's map of the public space: Ground plan of Hamlet "Krzaki" User: home educated children Legend's map of the public space: Yellow arrow ‐ the space of the hamlet Black colour build structure Grey colour ‐ open landscape User: activist Main location  User: teachers/educators B‐2 Describe the physical environment User: artist Physical environment description of There are two locations of the physical enviroment: The park where Earth Days are organised is the public space(s) with creative located in the middle of town Grójec in the urban part of the city. Nowe Grobice where B‐8_c What are the users activities of this public space(s)? works: foundation Tropy Przyrody runs the Free School Grojec is a small village with the open landscape, forest, meadows. Users Activity Before After Physical environment elements The park and the open space are the most attractive places for the outdoor activites led by the the residents of Grójec commune concerts   were important and/or actually fundation Tropy przyrody. The Earth Day coorganized in summer attracts the people to spend the the residents of Grójec commune clothes swap   "used" by creative people for their time outdoors and take part in the workshops etc. Also the place can be a good location to activities: attract passers by who can join the event. the residents of Grójec commune theatre performance   B‐3 Describe the general functions the residents of Grójec commune educational and ecological activites   Functions and land uses description The park in the town centre of Grojec is the green space of the city. It's popular among the local the residents of Grójec commune outdoor learning   in the area of the public space: community to spend their free time and enjoy being together. The rural land in Nowe Grobice was   a private land not used for any specific purposes. the residents of Grójec commune summer camps   Functionalities of space were The park as the green public space was useful for organizing the outdoor event ‐ The Earth Day home educated children educational and ecological activites important and/or actually "used" by and to attract as many residents of the town as possible. The wild space is a great place for the home educated children outdoor learning   creative people for their activities: activities such as camps lead by Tropy Przyrody. home educated children summer camps   B‐4 General demographic characteristics of the area around the public space: activist educational and ecological activites   Describe the general demographic The Grojec commune has 25,855 inhabitants, of which 51.9% are women and 48.1% men. In the characteristics years 2002‐2019, the number of inhabitants increased by 14.4%. The average age of the inhabitants teachers/educators educational and ecological activites   is 40.5 years and is comparable to the average age of the inhabitants of the Mazowieckie teachers/educators outdoor learning   province and slightly lower than the average age of the entire Polish population. The Grojec commune has a positive birth rate of 42. This corresponds to the birth rate of 1.63 per 1000 parents of the children in Free concerts   inhabitants of the Grojec commune. In 2019, 294 children were born. 58.6% of the inhabitants of School Grojec the Grojec commune are in the working age, 20.2% in the pre‐working age, and 21.2% of the inhabitants are in the post‐working age. parents of the children in Free theatre performance   School Grojec B‐5 Type of the public space(s) with creative work 22 parents of the children in Free educational and ecological activites   School Grojec parents of the children in Free summer camps   School Grojec parents of the children in Free workshops   School Grojec B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the The park in Grojec to celebrate the Earth Day seems to be the most attractive space for this most attractive to people occassion. The greenery and outdoor space promote being together and planning joint activities for the local enviorment. Nowe Grobice ‐ Hamlet "Krzaki" is the wild space for the activites which are the most attractive for the "free range children" and the parents who wish to bring up their children in close to nature. The informal education is very important in this case as often Free Schools run in the greenery with lots of free space to allow the children to have as many experience as possible, for example: walking barefoot, climbing trees, roll down a hill, paddling in a stream, sitting in the grass etc. This is a new educational methods which are more popular among the parents who don't want their children seat at the desk in a classroom all day. During the interview with the founder of the foundation was found out that there are few families who moved to Grojec from Warsaw and other places to join a free school and the nursery and are Photo's author: Życie Grójca happy there. Grojec wouldn't be very popular among the people with the children and young Caption: The Earth Day in Grójec park_3 people if there wasn't the Open School and Tropy przyrody. Every year there seem to be more people interested in informal education in Poland, party because of the poor education system and condition of teaching in main stream schools. That is why the The Earth Day organized by Tropy przyrody in the city attracted many people. The similar event in Warsaw is usually very crowded and therefore there are some difficulties to access the workshops for the children. Summer camps organized in Hamlet Krzaki is an alternative to other popular camps because it is not in the big city and it is placed in the wild, natural space on the outskirts and in the remote space. B‐10 Provide the links to public data on the public space(s) Website: Tropy przyrody website Website's link: http://tropyprzyrody.pl/ (http://tropyprzyrody.pl/) Website: Free School Grójec website Website's link: http://wolnaszkola.pl/ (http://wolnaszkola.pl/) Website: The Earth Day news Website's link: https://dziecisawazne.pl/dni‐ziemi/ (https://dziecisawazne.pl/dni‐ziemi/) Photo's author: Tropy przyrody Website: Tropy przyrody FB Caption: The Earth Day in Grójec park_2 Website's link: https://www.facebook.com/Tropyprzyrodypl‐137367893021132 (https://www.facebook.com /Tropyprzyrodypl‐137367893021132) Website: Life of Grójec information about the Earth Day Website's link: https://zyciegrojca.pl/index.php/galerie/261‐dzien‐ziemi‐w‐grojcu‐zdjecia (https://zyciegrojca.pl /index.php/galerie/261‐dzien‐ziemi‐w‐grojcu‐zdjecia) Website: Free School Grójec FB Website's link: https://www.facebook.com/wolnaszkolagrojec (https://www.facebook.com/wolnaszkolagrojec) B‐11 Provide photos of the public space(s) with creative works Caption: The Earth Day in Grójec park_1 Photo's author: Tropy przyrody Caption: The Earth Day in Grójec park_4 23 Photo's author: Tropy przyrody Caption: Free school_1 ‐ outdoor learning Photo's author: Wolna Szkoła Grójec Caption: Free school_3 ‐ outdoor learning Photo's author: Wolna Szkoła Grójec Caption: Free school_2 ‐ cleaning the forest Photo's author: Wolna Szkoła Grójec Caption: Free school_4 ‐ outdoor learning 24 Name in local language: Dzień ziemi Name in English: The Earth day Nickname: Overall name:  Name in local language: Osada Krzaki ‐ obozy, półkolonie, edukacja ekologiczna Name in English: Hamlet "Krzaki" (Hamlet Bushes)‐ (camps, day camps, ecological education) Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that Tropy Przyrody Foundation was established in Grojec ‐ a city with a population of several took place in the analysed public thousand, 45 km from Warsaw. It started with organizing workshops for children in local schools Photo's author: Wolna Szkoła Grójec space(s) and kindergardens. In 2013, the foundation expanded its activities by preparing the first edition of Earth Day, which has become a cyclical event. Its program includes concerts, theater Caption: Free school_5 ‐ Hamlet Krzaki performances, fairs, workshops on environmental issues, as well as initiatives such as replacing garbage with plant seedlings. Earth Day is an opportunity for the local community to meet and initiate joint activities for environmental protection. There were no similar activities in Grójec before. Local festivities did not include any workshops for families with children, and environmental education was not yet a common phenomenon in Poland. More people started to join the founder of the foundation, which resulted in the creation of a non‐public educational institution: Wolna Szkoła Grójec (type of Free School), as well as kindergartens where children gain knowledge through experience. They learn, among others taking care of the environment and building social competences, they develop their interests and strengthen their self‐esteem. Such alternative forms of education in small centers are rare. The forest surroundings of Grójec are conducive to organizing day camps, camps, workshops, as well as nature expeditions and field games, in which both residents and people from outside the city take part. All these alternative forms of spending time are aimed at ecological education of children and adults, but also contribute to building relationships and the development of the local community. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The aims of the fundation are: 1. Introducing and promoting modern and alternative education (activities) trying to tackle – what methods, upbringing and education, especially in science, art and personal development in based was the aim on respect, empathy, understanding and passion. 2. Supporting the development of local Photo's author: Tropy przyrody communities through joint development activities culture and environmental protection, as well Caption: Free school _6‐ workshop as promoting the lifestyle in respect for the environment. 3. Creating forms of recreation for children, adolescents and adults in contact with nature in in an atmosphere of respect and understanding. 4. Running an educational and workshop center for children and adults where they will be they could educate themselves in the fields of natural science, art and personal development. C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 5/11/2013 12:00:00 AM End: Comment: This is the date of the first edition of Earth Day C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Tropy przyrody fundation Motivations: Supporting the development of local communities through joint development activities culture and environmental protection, as well as promoting the lifestyle in respect for the environment Roles: Coordinator and creator of the events Photo's author: Tropy przyrody C‐7 Description of the supporting background that existed to make the activities happen: C‐1 Official name of the activity/project 25 What kind of supporting The founder of Tropy Przyrody had owned land in Nowe Grobice, where she founded Hamlet Comment: The Earth Day in Grojec continues since 2013. The residents've started better understanding of the background existed to make the "Krzaki". She invested her time and finances to develop the space for the users and make it more ecological issues and are more open towards the new solutions. The community have an activities happen (financial, friendly and available. There was no institutional support. Tropy przyrody was led by the same alternative school to educate their children.There are much more workshops in the Grojec institutional etc.) minded people who joined the founder to support the ideas of the fundation. commune and they continue to thrive and attract more both adults and the children. Tropy Przyrody Camps are long hours of building forest shelters, wading in the river and mud baths; it's C‐8 Sectors involved in the development of the creative works with public spaces: braiding bracelets, playing board games and talking together. It's climbing ropes, running after a ball, sliding and swimming fun. It's movement, fun and being in a group. It is the children who Culture  decide how they want to spend their time at the Nature Trail camps, whether they want to Education  participate in workshops in studios, or lie in a hammock with fascinating reading. Additionaly the family camps were introduced since 2020 as an alternative way to spend their summer free time Health  in Osada Krzaki (Hamlet Krzaki). Sustainability  C‐14 Additional achieved impacts: Science  Were any additional impacts Previously, there was no Earth Day organized in Grojec, or alternative workshops for families. achieved? Showing the residents a different type of event and encouraging them to take pro‐ecological Tourism  activities is certainly a great merit of the foundation. Free School in Grojec is a great example how Sport  to build alternative education based on understanding and freedom. The parents are eager to take part in the whole educational process. Industry  C‐15 The main beneficiaries of the creative work in public space(s): Other:  Who were the main beneficiaries of There are many beneficiaries of the creative works organized by Tropy Przyrody: residents of Specify other: the creative works in public Grójec and Grojec commune and the whole province, local activist, educators, teachers, artist, spaces(s)? volunteers, local authority and of course the children and young people. C‐9 Sector which was.. C‐16 Presence (or not) of economic benefits for the local community as a whole or any ..the initiator of the activities: Education specific actors in particular, resulting from the creative works with/in public spaces: ..the most crucial for the whole case Education Were there any, no matter how big There are insufficient data to assess the economic benefits for the local community at this stage. study: or small, economic benefits for the The education of the children might be beneficial for the local community but this could be Comment: local community as a whole or any assessed in the future. specific actors in particular, C‐10 How was the local community involved in the project/activities: resulting from the creative works with/in public spaces? How was the local community The local community was attracted by The Earth Day because there was no similar events in involved in the project/activities? Grojec organized. There was no family workshops where the children could learn about the C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that ecology, local plants and different cultures. The Earth day was the first such initiative where the potentially empowered the actors to prosper in their future development: residents could be involved in educational stands and learn about the local issues regarding the envoirment of the place they live. Concerts and theatre play during the event attracted lots of Were there any exchanges of The educational workshops for both the parents and the teachers could bring the exchange of residents. Also the Free School in Grojec is the first school in the commune where the children can knowledge or other activities the knowledge needed to provide educational program in Free School in Grójec. Organizing the learn through play and take part in interesting lessons. They not only learn the traditional performed that potentially Earth Days in the city also had to be supported by the training the volunteers and the activists academic subjects, but also valuable lessons about responsibility, problem solving, social justice empowered the actors to prosper in who provide the workshops. and most importantly, how to relate to each other. Free schools place great emphasis on their future development? student’s emotional well being, fostering loving, caring relationships and developing a community of engaged learners. It focuses on community building that encourages students to follow their C‐18 Monitoring (or not) of the impact of the project: dreams, contribute positively to society, and become voices for change. The parents of Grojec commune and the whole province respect and support the importance of such kind alternative How was the impact of the project / The impact of the organizing the Earth Days wasn't monitored in very structurized way. The education. activities monitored? If it wasn’t – organizors can see how many people visit the event and this is enough for it to be sucessful. In how do you think it could be the future the impact should be monitored in terms of how people react to different ecological C‐11 The role of natural/cultural heritage in the project/activities: monitored? issues and if there are some initiatives which resolve the problems on the local level. Environmental awareness could be examined through daily activites of the residents in Grojec Did cultural and/or natural heritage Natural heritage was very important in the organization of the Earth Day in Grójec. Nature traces town. play any specific role in the wanted to preserve the city's natural environment by drawing attention to the problem of project/activities? environmental protection among the local community. Education of children plays a special role C‐19 Way in order to communicate the impact of the project: because they can change the future not only in their community but also on the global scale. How was the impact of the project / The impact (mostly the pictures) of the project was communicated in the local newspapers and C‐12 The targeted impact of the project/activity: activities disseminated or online and on the Tropy przyrody � website. communicated? What was the targeted impact of The community of Grojec could experience alternative form of the event organized by non profit the project / activities? foundation. The Open school in Grojec was established which broaden the choice for their C‐20 Perception of the creative works in public space(s) by the final users and the reactions parents about the school. Alternative camps in the wilderness. Educational workshops and of the general public: meetings about the ecology and self‐development. How were the creative works in There is lots of enthusiasm among both the parents and the students of Free School Grojec. They C‐13 Achievement of the targeted impact: public space(s) perceived, have place which support their children home education. The residents of Grojec commune evaluated, judged by the final users appreciate a free event for the families in the park situated in the town centre where everyone Yes/no/partly: Yes – what were the reactions of the can reach by foot or bus. general public? C‐21 The (one) main success and the (one) main failure of the project/activities 26 Main sucess: The main succes of the activites organized by Tropy przyrody is to expand the ecological Link to https://www.stowarzyszeniewarka.pl/inicjatywy‐ekologiczne‐czyli‐jak‐ekologia‐moze‐polaczyc‐ludzi‐w‐dzialaniu/ knowledge among the residents of the remote place ‐ in Grojec and to set up a Free School where public data (https://www.stowarzyszeniewarka.pl/inicjatywy‐ekologiczne‐czyli‐jak‐ekologia‐moze‐polaczyc‐ludzi‐w‐dzialaniu/) everyone are welcome and the workshops are organized for both children and adults. to better understand Main failure: Still too few people are actively interested in ecological problems. Not everyone is committed to the protecting it yet. There are still people who live in Grojec who don't see the importance of the activities problem. and actors, as well as C‐22 Importance of broader conditions for the main sucess and main failure factor: impacts: How important were the broader The founder of Tropy Przyrody‐ Anna Makowska is a main person who started thinking about the The link: Ecological workshop conditions (e.g. the supporting whole structure of the fundation and who has energy, strength and most of all the passion to state of the art in the community, work with both the children and adults. She is a professional who knows how important is to Link to http://zielonewydarzenia.pl/pl/i.1.id.1071.0/Dzie%C5%84_Ziemi_w_Gr%C3%B3jcu_‐_26_kwietnia_.html (http://zielonewydarzenia.pl infrastructure, institutional support, protect the nature and work with people from all over the world to provide the best possible public data /pl/i.1.id.1071.0/Dzie%C5%84_Ziemi_w_Gr%C3%B3jcu_‐_26_kwietnia_.html) financial sources, local or knowledge and to hire great specialist and educators in Free School Grojec. to better "imported" know‐how etc.) for the understand main success and main failure factor the activities C‐23 Provide the links to public data on the creative works and actors, as well as Link to http://tropyprzyrody.pl/obozy‐2/ (http://tropyprzyrody.pl/obozy‐2/) impacts: public data to better The link: Green events understand the D‐1 Main editor in charge of this entry and potential other authors of this case study activities description and actors, as well as Name and surname: Małgorzata Jarema impacts: Organization: Zamek Cieszyn The link: Summer in Hamlet Krzaki Email: mjarema@zamekcieszyn.pl Link to http://gokgrojec.pl/55‐wydarzenia/793‐dzien‐ziemi (http://gokgrojec.pl/55‐wydarzenia/793‐dzien‐ziemi) Role: author public data to better D‐2 Representative pictures understand the Picture's caption: Free School_Grojec activities and actors, as well as impacts: The link: Earth day 2019 Link to https://zyciegrojca.pl/index.php/galerie/261‐dzien‐ziemi‐w‐grojcu‐zdjecia (https://zyciegrojca.pl/index.php/galerie/261‐dzien‐ziemi‐ public data w‐grojcu‐zdjecia) to better understand the activities and actors, as well as impacts: The link: Earth day 2019 Link to https://www.facebook.com/events/1342958642448141 public data /?privacy_mutation_token=eyJ0eXBlIjowLCJjcmVhdGlvbl90aW1lIjoxNjIwNjc1OTg2LCJjYWxsc2l0ZV9pZCI6MzU5MDM2MDAxOTY4NDMyfQ Picture's author: Anna Makowska to better %3D%3D (https://www.facebook.com/events/1342958642448141 Picture's date: 10/18/2021 12:00:00 AM understand /?privacy_mutation_token=eyJ0eXBlIjowLCJjcmVhdGlvbl90aW1lIjoxNjIwNjc1OTg2LCJjYWxsc2l0ZV9pZCI6MzU5MDM2MDAxOTY4NDMyfQ the %3D%3D) Picture's source: from the author activities and actors, Picture's caption: Summer Camp 2021_Grojec as well as impacts: The link: Earth day � 27 Picture's author: Agnieszka Mocarska Picture's author: Agnieszka Mocarska Picture's date: 8/10/2021 12:00:00 AM Picture's date: 8/11/2021 12:00:00 AM Picture's source: from the founder Picture's source: from the founder Picture's caption: Summer camp 2021_Grojec Picture's caption: Summer Camp 2021_Grojec Picture's author: Agnieszka Mocarsrka Picture's author: Agnieszka Mocarska Picture's date: 8/11/2021 12:00:00 AM Picture's date: 8/10/2021 12:00:00 AM Picture's source: from the founder Picture's source: from the founder Picture's caption: Summer Camp 2021_Grojec Picture's caption: Summer camp 2021_Grojec 28 Picture's author: Agnieszka Mocarska Picture's author: Agnieszka Mocarska Picture's date: 8/10/2021 12:00:00 AM Picture's date: 8/10/2021 12:00:00 AM Picture's source: from the founder Picture's source: from the founder Picture's caption: Summer Camp 2021_Grojec Picture's caption: Summer Camp 2021_Grojec Picture's author: Agnieszka Mocarska Picture's author: Agnieszka Mocarska Picture's date: 8/11/2021 12:00:00 AM Picture's date: 8/11/2021 12:00:00 AM Picture's source: from the founder Picture's source: from the founder Picture's caption: Summer Camp 2021_Grojec Picture's caption: The Earth Day_Grojec 29 Picture's author: internet Picture's date: 4/17/2018 12:00:00 AM Picture's source: internet Picture's caption: The Earth Day_Grojec Picture's author: internet Picture's date: 4/17/2018 12:00:00 AM Picture's source: internet D‐3 Additional information Additional information: Tropy przyrody Link: http://tropyprzyrody.pl/ (http://tropyprzyrody.pl/) D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 30 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Wolimierz Station +5 Stacja Wolimierz +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Polska ‐1 Region name (in local language): Województwo Dolnośląskie/Gmina Leśna  ‐2 Place name (in local language): Pobiedna ‐3 Country name (in english): Poland ‐4 Region name (in english): Lower Silesian Province/ Lesna commune ‐5 Place name (in english): Pobiedna Open landscape Wolimierz station is placed in Pobiedna village (in close location to Wolimierz village) which is part of Lesna commune . Pobiedna is the largest village in Lesna commune. The place is an urban-rural in Lubań County, Lower Silesian province, in south-western Comment: Poland. Its seat is the town of Lesna, which lies approximately 11 kilometres south of Lubań, and 125 kilometres west of the regional capital Wrocław. The Lesna commune is a tourist place. There are many hiking trails in the area. The area of Pobiedna is 467 ha. On the western Pobiedna borders with Czech Republic. At the end of 2018 the population of Pobiedna village was around 1,165. Difficult terrain +5 +4 +3  +2 Map of the network of public spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Caption of the map: Lesna commune map Pobiedna is located at the foot of Smrk mountain, the village is part of the historic Upper Lusatia region on the border with Lower Silesia. In the south, the crest of the Jizera Mountains marks the border with Bohemia, today part of the Czech Republic. The Łużyca Legend of the map: Thin purple line ‐ commune border Thick (double) purple line ‐ country border Comment: stream flows through Pobiedna and divides Pobiedna into two parts, starting in the south-western part, it flows through the center and leaves the border of our village at its north-eastern border. Pobiedna railway station which had opened in 1904, was closed in 1987 and liquidated in 1991. The only public transport around the Lesna commune is a bus. 31 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The unemployment rate in the Lesna commune in 2019 amounted to about 10% (for comparison, in the whole province was 4.6%, Low‐income households prevail and in Poland it was 5.2%). 23.6% of economically active residents of the Lesna commune work in the agricultural sector In 2018, the average monthly remuneration in the Leśna commune was 81.50% of the average gross monthly remuneration in (agriculture, forestry, hunting and fishing), 30.0% in industry and construction, and 15.9% in the service sector (trade, vehicle repair, Poland. In 2019, the registered unemployment rate in the Leśna commune was 10.6% (11.6% among women and 9.9% among transport, accommodation and catering, information and communication) and 2.3% work in the financial sector (financial and men). Participatory practices are not well developed. In 2020, a Social Center was established in Lesna, which aims to activate insurance activities, real estate services). The animator of cultural life in Lesna commune is the Municipal Center of Culture and Comment: residents and include non-governmental organizations. The community center was one of the first initiators of the Wolimierz Station Sports (MOKiS). It has a theater and cinema room. It also organizes cultural and entertainment events. In Lesna, there is also the and is still running. In June 2021, the mayor of Lesna commune invited residents to a debate on the common space, including the Comment: Public Library of the City and the Commune. MOKiS in Lesna runs thematic classes, workshops, and sections of interest for children revitalization of the market square in Lesna and the local spatial development plan. and adults. In Pobiedna village there is a library which a branch of the Public Library in Lesna. There is multifunctional sports field in Pobiedna which was opened in 2016. The facility has two transverse basketball courts or a centrally located volleyball or handball A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote court or a tennis court. There isn’t well developed creative sector in Pobiedna village apart from sport and elderly club which also at all) to 5 (extremely remote) forms "Łużyczanki" band (the name of the group comes from the name of the stream that flows through the places where the team members live - Łużyca). Estimation: 3 Daily‐life‐support facilities well developed Explanation: Pobiedna, as a small town is a tourists place which allow the tourists to take a leisurely stroll with rest and admire the views of the majesty of the Jizera Mountains that rise above the town. The +5 place is situated close to the border with Czechia which is interesting from the touristic point of view. There are only 2 km away from the road border crossing with the Czech Republic in +4 Czerniawa, and 39 km from the road border crossing with Germany in Zgorzelec. The adult +3 residents of the commune might be happy to live in this beautiful surroundings on the contrary to the young people who might complain about the lack of cultural activities and places to meet in +2 the commune.  +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Low population density  demographic demographic structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing The systematic fall in the number of inhabitants of Pobiedna continues. At the end of 2020, only 1,114 people were registered in Specify subjective criteria (e.g. Pobiedna. Compared to 2019, 30 people left Pobiedna. The number of inhabitants of Pobiedna decreased by 192 people. In 2020, 5 community’s self‐perception of Comment: children were born in Pobiedna. For comparison, in 2019 12 children were born and this was still not much compared to 2008, when being remote etc): 17 children were born. There is one health centre and pharmacy in Pobiedna village. The village is inhabited by 12.0% of the all  inhabitants in Lesna commune. Population density 98 people/km2. Other Specify other: 32 Summary of the elements that Pobiedna village didn't have a large population increase in the recent years. The Lesna commune Service yard  characterise this case as a remote which is an administrative location of the place, has 9,952 inhabitants, of which 50.3% are women  place: and 49.7% men. In the years 2002‐2019, the number of inhabitants decreased by 8.2%. Pobiedna Other types: village has only basic life support facilities (one pharmacy and health centre) and is mostly rular Specify other types: with few public initiatives and services. Pobiedna could be categorised as remote place with regards to both geographical allocation as well as limited traffic connections. Also, remoteness is Type of indoor public spaces that amplified by low population numbers and a low population density on the municipal level. can be found in this remote place: Low population density rank: 1 A‐8 General description of.. Geographical barrier/allocation rank: The network of roads, streets, paths Pobiedna has 13 streets. There is a provincial road number 358, 26 km long which goes through and alike elements that tie this Pobiedna. It also goes thorough the whole town. The road at first is called Nowomiejska and later No good transportation links rank: 2 remote place together: Dworcowa. Strzelecka road crosses with 358 road in Pobiedna. Difficulties in accessing daily‐life‐ 3 The quantity and structure of public The village of Pobiedna administratively consists of 2 parts: Gierałtówek and Wola Sokołowska. support facilities rank: space network (besides There is a palace called Meffersdorf in Pobiedna which is surrounded by a large park. Originally, Social specifics and/or divisions roads/streets/paths network) in this there was a regular garden in front of the façade, neglected after the Second World War. In the rank: remote place: assumption of a park belweder and park pavilions. Post‐farm buildings are situated to the north‐ east of the park. The palace could be visited mostly by the tourists, less likly by the residents of Economic inferiority rank: the village. In Pobiedna there is a palyground in Wolnosci Square. Subjective criteria (e.g. community’s A‐9 General description of the quality of public spaces in this remote place self‐perception of being remote etc) rank: Answer: Pobiedna is a small village with poor public transport facilities. It hasn’t got large population which slightly decreases over the recent years. Pobiedna is mostly rural with few public initiatives Other rank: and services. There are only few groups, mostly for sport fans and elderly people. There are not A‐5 Provide the links to public data many public places in Pobiedna and they are rather poor quality: the old park close to the palace or the playground for the small children. Links to public data on the remote The history of the railway station place B‐1 Name(s) of the public space(s) The link: http://www.pobiedna.pl/index.php?id=historia_kolej (http://www.pobiedna.pl Name(s) of the public space(s) (in Stacja Wolimierz /index.php?id=historia_kolej) local language): Links to public data on the remote Describtion of the place Name(s) of the public space(s) (in Wolimierz Station place English): The link: https://www.goryizerskie.pl/?file=art&art_id=1078 (https://www.goryizerskie.pl/?file=art& Latitude of the public space(s): 50° 57′ 16″N art_id=1078) Longitude of the public space(s): 15° 18′ 53″ E Links to public data on the remote The map from Pobiedna official website place The link: http://www.pobiedna.pl/index.php?id=mapa (http://www.pobiedna.pl/index.php?id=mapa ) Links to public data on the remote Tourism around Lesna borough place The link: https://gminalesna.pl/szlaki‐turystyczne‐w‐gminie‐lesna/ (https://gminalesna.pl/szlaki‐turystyczne‐ w‐gminie‐lesna/) A‐7 The type of public spaces that can be found in this remote place (besides the Ground plan showing the land use roads/streets/path network) of the public space(s): Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Caption's map of the public space: Ground plan of Wolimierz Station Institution‐related open‐air space/s  (e.g.University grounds) Legend's map of the public space: Key figure Yellow ‐ build structure of creative works Black ‐ build structure White ‐ streets Watersides  Main location  Meadows  B‐2 Describe the physical environment Parking area  33 Physical environment description of Pobiedna is a small village which has 1123 inhabitants (2021). The whole commune has 9694 Activity: educational and ecological activites the public space(s) with creative inhabitants (2021). Pobiedna is located at the foot of the Izera Mountains, in a straight line it is 5 works: kilometers to Świeradów Zdrój located in the north, a similar distance separates the village from Activity: workshops Mirsko located to the east. The Łużyca River flows through the village. The village belongs to the Activity: concerts Leśna commune, which apart from the hilly terrain, ideal for cycling tourism, also has two magnificent reservoirs: Leśniańskie Lake and Złotnickie Lake. The village is quiet, agritourism Activity: meeting with the residents works very well here. There are forests, hills and Jizera Mountains close by in Pobiedna. B‐8_b Who are the main users of this public space(s)? Physical environment elements The old train station which was not in use since the war in Pobiedna village as a good place to the were important and/or actually creative people from Klinia Lalek Theatre. A group of enthusiastic artists received a railway User: NGOs "used" by creative people for their station from the mayor of Leśna. Currently, instead of platforms, there are lots of interesting activities: props used during street theater performances. User: Children B‐3 Describe the general functions User: artist/actors User: residents all ages Functions and land uses description There used to be a train to Wolimierz in Pobiedna, although the station where it stopped was in the area of the public space: called Pobiedna. Not so long ago, because the railway started at the turn of the 19th and 20th User: activist centuries. Passengers could get from Mirsk to the present Czech border, to Jindřichovice pod Smrkem, in addition to residents, this line was used by patients to the nearby Czerniawa‐Zdrój spa User: pupils (now part of Świeradów‐Zdrój). The line after World War II was liquidated. The station, however, remained and today serves as the seat of the Puppet Clinic Theater, the Interplanetary Kingdom B‐8_c What are the users activities of this public space(s)? of Art and the seat of the Institute of Time Transformation into Space. There is a lot going on at the Station ‐ numerous art workshops and cultural events take place here. Users Activity Before After Functionalities of space were The former railway station became the cradle of initiatives in the village of Pobiedna. The station artist/actors educational and ecological activites   important and/or actually "used" by building and the surrounding area is a place for artistic meetings, workshops, many festivals and artist/actors workshops   creative people for their activities: theater performances. Part of the activity takes place outside the main seat of the Wolimierz Station. The flea market and the fair close to Wolimierz are held in the nearby municipalities. artist/actors concerts   B‐4 General demographic characteristics of the area around the public space: artist/actors meeting with the residents   Describe the general demographic At the end of 2020, only 1,114 people were registered in Pobiedna. The village has almost equal residents all ages workshops   characteristics percentage of men and women. The avarage age of the population is about 40 years. The   systematic fall in the number of inhabitants of Pobiedna continues. At the end of 2020, only 1,114 residents all ages concerts people were registered in Pobiedna. Compared to 2019, 30 people left Pobiedna. The number of residents all ages meeting with the residents   inhabitants of Pobiedna decreased by 192 people. In 2020, 5 children were born in Pobiedna. For comparison, in 2019 12 children were born and this was still not much compared to 2008, when 17 residents all ages jumble sales and farmers markets   children were born. residents all ages jumble sales and farmers markets   B‐5 Type of the public space(s) with creative work activist educational and ecological activites   Form and function: The former train station was abandoned and not in use. activist workshops   Ownership: 70% of Wolimierz Station is private, 30% is a property of the Fundacja na rzecz wspierania Kultur activist concerts   Alternatywnych i Ekologicznych (Foundation for the Support of Alternative and Ecological Cultures). activist meeting with the residents   Access regarding entry‐control: The Wolmierz Railway Station is an open house that could be visited at any time. It welcomes activist jumble sales and farmers markets   volunteers and artists from all over the world but also serves as a hosting place for variety of projects, workshops and a tent for tourist. activist Interest activies i.e. yoga, pottery,   painting classes Access regarding time of day/week There are no limitation regarding to access to the place. /year: pupils educational and ecological activites   B‐7 Kind of activity initially designed for this public space: pupils workshops   What kind of activity has been this Old railway station and platform was there before "Wolimierz station" was initiated in the 90's. pupils Interest activies i.e. yoga, pottery,   public space designed for initially The building was old and abandoned. There was no sign of any plans for this place. "Before painting classes Jemiołka (one of the first people in Wolimierz) discovered Wolimierz, this small village on the NGOs educational and ecological activites   border of Lusatia and the Jizera Foothills was on a straight path to share the fate of such places, which slowly ceased to be themselves, because the old were more and more old, and the young NGOs workshops   lived in more and more distant cities. Eventually, buses became scarce and the railroads were completely dismantled. They were no longer needed since the trains stopped arriving. Only the NGOs meeting with the residents   historic railway station remained in the field". (source: https://www.wrozka.com.pl/rozwoj‐ NGOs Interest activies i.e. yoga, pottery,   osobisty/moje‐miejsce‐na‐ziemi/5184‐swiat‐nalezy‐do‐przyjaciol) painting classes B‐8_a Which are the activities in this public space(s)? Children educational and ecological activites   Activity: jumble sales and farmers markets Children workshops   Activity: Interest activies i.e. yoga, pottery, painting classes Children concerts   34 Children jumble sales and farmers markets   Caption: Wolimierz station today Children Interest activies i.e. yoga, pottery,   painting classes B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the Stacja Wolimierz is an ex‐railway station that was inhabited some 20 years ago by a group of most attractive to people artists. It became a home of a theater and a cultural center. It is situated near to the Sudety mountains and Czech border at the border of two villages: Wolimierz and Pobiedna. Every year, in the middle of summer they organize a festival gathering people in a peaceful and friendly ambiance surrounded by music, art, and nature. Mountains, hills, meadows, fields and forests, hiking and biking and visiting places of interest in the neighborhood could be attractive to the visitors from all over the world which are invited to stay there as volounteers and participants of the festival. B‐10 Provide the links to public data on the public space(s) Website: Wolimierz station Website's link: https://www.facebook.com/StacjaWolimierz/ (https://www.facebook.com/StacjaWolimierz/) Photo's author: GARIK AMIRKHANYAN Website: Wolmierz station festival on the website Caption: Wolimierz station map Website's link: https://lesna.pl/2021/07/13/xxx‐lat‐teatru‐klinika‐lalek‐i‐stacji‐wolimierz/ (https://lesna.pl/2021/07 /13/xxx‐lat‐teatru‐klinika‐lalek‐i‐stacji‐wolimierz/) Website: Wolimierz station 2021 Website's link: https://funinpoland.pl/wydarzenia/stacja‐wolimierz/ (https://funinpoland.pl/wydarzenia/stacja‐ wolimierz/) Website: Klinika Lalek ‐ puppet theatre Website's link: https://dzikiezycie.pl/archiwum/1996/pazdziernik‐1996/klinika‐lalek‐z‐miedzyplanetarnego‐ krolestwa‐sztuki (https://dzikiezycie.pl/archiwum/1996/pazdziernik‐1996/klinika‐lalek‐ z‐miedzyplanetarnego‐krolestwa‐sztuki) Website: Klinika Lalek ‐ puppet theatre Website's link: https://www.polska.travel/pl/kultura‐i‐rozrywka/teatr‐klinika‐lalek‐stacja‐wolimierz (https://www.polska.travel/pl/kultura‐i‐rozrywka/teatr‐klinika‐lalek‐stacja‐wolimierz) Website: About Wolimierz Station ‐ the history of the place Website's link: https://www.wrozka.com.pl/rozwoj‐osobisty/moje‐miejsce‐na‐ziemi/5184‐swiat‐nalezy‐do‐ przyjaciol (https://www.wrozka.com.pl/rozwoj‐osobisty/moje‐miejsce‐na‐ziemi/5184‐swiat‐nalezy‐ do‐przyjaciol) Photo's author: B‐11 Provide photos of the public space(s) with creative works Caption: Banner "We do not want a landfill, we want a Pool" by children from Wolimierz Station Caption: Wolimierz station ‐ old photo Photo's author: 35 Photo's author: Photo's author: Caption: Workshop with a theatre group "Porywacze ciał" Caption: Wolimierz station playground Photo's author: Caption: Cleaning up Dworcowa street Photo's author: Caption: Łużyczanki_local band_opening of the festival_2021 36 Photo's author: C‐1 Official name of the activity/project Name in local language: Stacja Wolimierz Name in English: Wolimierz Station Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The name Wolimierz Station comes from the railway line that no longer exists. In the 90s of the took place in the analysed public twentieth century a group of artists and friends of the "Klinika Lalek" puppet theatre saved the space(s) historic buildings of the former railway station from demolition. Since then, this place has become a catalyst for various artistic activities, attracting viewers and volunteers from all over the world. The latter also worked for the local community, building, for example, a playground made of natural materials or a bus stop similar to traditional houses in the area. Over time the local community began to actively participate in the events organized by the Station ‐ not only as spectators. Ecological issues have become important: discussions and workshops for students, Photo's author: campaigns for the protection of old trees or cleaning campaigns in the vicinity. Olga Tokarczuk, a Caption: Traditional bus station bulit by the volunteers from Wolimierz station writer and a Nobel laureate, wrote that the Station managed to "blur (...) the boundaries between the artist and the so‐called an ordinary person, between the center and the provinces, between high art and one that bringing joy and a sense of community, is needed every day”. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The challenge was to create a friendly space for people looking for an alternative lifestyle in line (activities) trying to tackle – what with nature. It all started with theatrical activities initiated by people associated with the Klinika was the aim Lalek Puppet Theater, which was established in Wrocław and moved to the Wolimierz Station. The place became famous thanks to the organized festivals, attracting audiences from all over the world. Activists are also active locally, dealing with environmental and artistic education, co‐ create the Social Center, bringing together NGO's. The Foundation also saved the building of the former railway station from destruction which became their seat. C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 7/1/1991 12:00:00 AM Photo's author: End: Caption: Wolimierz station festival Comment: This is a constant process 37 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles What was the targeted impact of Wolimierz station is a place where many meetings, workshops, festivals, performances and the project / activities? concerts take place. It attracts people who not only want to experience something extraordinary, Actor(s): Fundacja na rzecz wspierania Kultur Alternatywnych i Ekologicznych but also immerse themselves in a slightly different, more colorful world where almost everything is possible. It seems that Wolmierz has something for everyone, there is space for both adults and Motivations: The foundation children. The place has a unique atmosphere in which cultural activities have space and freedom Roles: The foundation, which has been operating for over twenty years, is known mainly as Klinika Lalek to exist. Wolmierz station is primarily committed people who are not indifferent to how we live puppet theatre and the Wolimierz Station ‐ the Interplanetary Kingdom of Arts. and the most current topics, such as the threat to the environment. With their actions, they want to influence the local authorities of the commune and, together with its inhabitants, introduce C‐7 Description of the supporting background that existed to make the activities happen: permanent changes in the approach to ecological issues. What kind of supporting The activists and artists were allowed to take over the former railway station which became a C‐13 Achievement of the targeted impact: background existed to make the centre of cultural initiatives in Lesna commune. Klinika Lalek ‐ the puppet theatre moved there Yes/no/partly: Yes activities happen (financial, from Wroclaw and started organizing the events attracting lots of people from outside the Lesna institutional etc.) commune. Comment: Wolimierz station is a place which attracts people lots of people from around the Lesna borough as well as from Poland and around the world. It is a place where creativity and local issues are C‐8 Sectors involved in the development of the creative works with public spaces: equaly important. It aims to tackle local problems , educate and provide workshops to as many Culture  people as possible. The ecological issues are very important therefore it cooperates with local organizations. It creates new possbile solutions and it attracts people who want to visit the place Education  and spend the time together in alternative and colorful space surrounded by natural landscape of Jizera mountains. Health  C‐14 Additional achieved impacts: Sustainability  Were any additional impacts There are no additional achivements of Wolimierz Station. The festivals or any sort of workshops Science  achieved? organized always attract people from all over the world and there is also no lack of the volunteers Tourism  who want to help them. In 2021 there was over 100 of them during the festival. Sport  C‐15 The main beneficiaries of the creative work in public space(s): Industry  Who were the main beneficiaries of The main beneficiaries of the creative works in Wolimierz Station are everyone who want attend, the creative works in public both adults and the children, local community and people from abroad, creative sector and those Other:  spaces(s)? who wants to expierence something new. There are no bariers to attend the workshops or the festival. The people who runs Wolimierz Station are open to take everyone. In 2021 in the festival Specify other: Ecology helped over 100 volunteers. C‐9 Sector which was.. C‐16 Presence (or not) of economic benefits for the local community as a whole or any ..the initiator of the activities: Culture specific actors in particular, resulting from the creative works with/in public spaces: ..the most crucial for the whole case Culture Were there any, no matter how big There are lots of visitors coming to the festival in Wolimierz Station in Summer. Local shops, study: or small, economic benefits for the farmers, agritourism farms benefits selling goods and handicrafts and booking people in. local community as a whole or any Comment: specific actors in particular, resulting from the creative works C‐10 How was the local community involved in the project/activities: with/in public spaces? How was the local community The local community was initially distrustful of the activities at the Wolimierz station. However, a C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that involved in the project/activities? lot has changed since the 1990s. With time, the inhabitants of Pobiedna and the surrounding potentially empowered the actors to prosper in their future development: villages got used to the colorful people visiting this place. Some of them began attending organized workshops and festivals. The local band "Łużyczanki" (established in 2007) takes part Were there any exchanges of Wolimierz Station organizes workshops on different subjects which potentially might empower in the festival organized by Wolimierz station every year. knowledge or other activities the people who want to attend them and the actors themselves. Self‐development and performed that potentially educational workshops are important part of the activites in the creative place. C‐11 The role of natural/cultural heritage in the project/activities: empowered the actors to prosper in Did cultural and/or natural heritage There are many important issues Wolimierz Station tries to resolve with help of the local their future development? play any specific role in the community. The project of the mine in Giebułtów or the planned construction of a windmill field C‐18 Monitoring (or not) of the impact of the project: project/activities? in the meadow adjacent to the Giebułtów palace are serious threats, not only for the landscape, but also for people and tourism itself. Hence the meetings, posters and discussions with the How was the impact of the project / There is no monitoring system over the activites taking place in Wolimierz station. All the events inhabitants of Wolimierz, Pobiedna and Mirsko. The particularly sensitive issue of windmills must activities monitored? If it wasn’t – are comunicated on � website and on websites dedicated to volunteers who are invited to the be thoroughly discussed ‐ over two hundred people attended the meeting in the town hall. how do you think it could be place. Opponents of the investment point out that the point is not to ban windmills, but to place them monitored? in the immediate vicinity of houses and in a place where windmills would particularly disfigure the landscape. Prof. Henryk Wojciechowski, a specialist in the field of renewable energy sources, C‐19 Way in order to communicate the impact of the project: talked about the damage that can be caused by windmills located too close to housing estates. "Fighting with windmills" continues, but by cooperating with the action "Stop the windmills in How was the impact of the project / The impact of the the activites is not monitored all the time in terms of relations on the media, places of natural value". The station and the association Unia Izerska hope to preserve the Jizera activities disseminated or written or online. Every year, in the middle of summer Wolimierz Station organizes a festival landscape intact. communicated? gathering people in a peaceful and friendly ambiance surrounded by music, art, and nature. The main chanel for the communication is � website. C‐12 The targeted impact of the project/activity: C‐20 Perception of the creative works in public space(s) by the final users and the reactions 38 of the general public: How were the creative works in Nowdays, the activites are well perceived both by attendees and by the local organizations. They public space(s) perceived, are curious, open to communicate and share their doubts. The local residents in the village got evaluated, judged by the final users used to see different looking people and trying to adjust to the festivals by selling the local goods – what were the reactions of the and providing accommodation. But the beginning was difficult, there was not lack enthusiasm general public? thought. In the summer of 1995, the residents of Wolimierz station prepared the "Ekotopia" Festival in cooperation with the European Youth Forest Action. 400 people came from all over the world to create an ecological settlement for three weeks. The locals were afraid that some hooligans would come. C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: The main success of the activites organized by Wolimierz Station is focusing on peoples and local community needs. The station organizes the meeting, workshops and activites where everyone is welcome. Main failure: N/A C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader Wolimierz station houses a gallery of folk and ecological art, where vernissages, exhibitions, conditions (e.g. the supporting concerts and chamber performances are held; accommodation rooms; a theater studio; an state of the art in the community, entertainment, concert and workshop hall and a campsite. All this surrounded by forests, infrastructure, institutional support, meadows and mountains. At the local level, the organizers initiate activities that integrate the Picture's author: Agnieszka Prymon financial sources, local or community, raise awareness and build the local social economy, especially in the area of Picture's date: 7/13/2019 12:00:00 AM "imported" know‐how etc.) for the ecological education and promotion of ecological food and handicrafts. main success and main failure factor Picture's source: from the author C‐23 Provide the links to public data on the creative works Picture's caption: Wolimierz festival_2020_Kosmos Link to public data to better https://www.facebook.com/StacjaWolimierz/ (https://www.facebook.com/StacjaWolimierz/) understand the activities and actors, as well as impacts: The link: Fb Wolimierz station Link to public data to better https://www.goryizerskie.pl/?file=art&art_id=303 (https://www.goryizerskie.pl/?file=art& understand the activities and actors, art_id=303) as well as impacts: The link: Wolimierz station ‐ description Link to public data to better http://dolinaharmonii.pl/project/stacja‐wolimierz/ (http://dolinaharmonii.pl/project/stacja‐ understand the activities and actors, wolimierz/) as well as impacts: The link: Wolimierz station ‐ description D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Malgorzata Jarema Organization: Zamek Cieszyn Picture's author: Agnieszka Prymon Email: mjarema@zamekcieszyn.pl Picture's date: 7/17/2020 12:00:00 AM Role: author Picture's source: from the author D‐2 Representative pictures Picture's caption: Festival de la Conciencia Colectiva_Wolimierz station_2019 Picture's caption: Festival de la Conciencia Colectiva_Wolimierz station_2019 39 Picture's author: Agnieszka Prymon Picture's author: Agnieszka Prymon Picture's date: 7/12/2019 12:00:00 AM Picture's date: 7/17/2020 12:00:00 AM Picture's source: from the author Picture's source: from the author Picture's caption: Festival de la Conciencia Colectiva_Wolimierz station_2019 Picture's caption: Wolimierz festival_2020_Kosmos Picture's author: Agnieszka Prymon Picture's author: Agnieszka Prymon Picture's date: 7/13/2019 12:00:00 AM Picture's date: 7/18/2020 12:00:00 AM Picture's source: from the author Picture's source: from the author Picture's caption: Wolimierz festival_2020_Kosmos Picture's caption: Wolimierz festival_2020_Kosmos 40 Picture's author: Agnieszka Prymon Picture's author: Agnieszka Prymon Picture's date: 7/18/2020 12:00:00 AM Picture's date: 7/18/2020 12:00:00 AM Picture's source: from the author Picture's source: from the author Picture's caption: Wolimierz festival_2020_Kosmos Picture's caption: Wolimierz festival_2020_Kosmos Picture's author: Agnieszka Prymon Picture's author: Agnieszka Prymon Picture's date: 7/18/2020 12:00:00 AM Picture's date: 7/18/2020 12:00:00 AM Picture's source: from the author Picture's source: from the author Picture's caption: Wolimierz festival_2020_Kosmos D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 41 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) The Hidden Town Dense settlement Ukryte Miasto +5 +4  +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Polska ‐1 Region name (in local language): województwo podlaskie ‐2 Place name (in local language): Sejny ‐3 Country name (in english): Poland ‐4 Region name (in english): Podlaskie province ‐5 Place name (in english): Sejny Open landscape Small town of 5 000 people (the smallest district in Poland). The Sejny commune is a rural commune. It belongs to the Podlaskie province. The commune constitutes 25.4% of the district's area. Historical unique urban character means also high density but Comment: surrounding open landscapes, lakes and forest have much smaller density (19 inhabitants/km ). Sejny commune is situated close the Lithuanian border. Difficult terrain +5 +4  +3 Map of the network of public spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: town Sejny map ‐4 Legend of the map: Purple area ‐ Sejny commune Black line ‐ state border Purple line ‐ main roads ‐5 Effortless terrain There is not easy access by public communication. No train station (the nearest in Suwalki - 30 km distance). Bus connection is Comment: better from Bialystok (capitol of region) and from Warszawa. Infrastructure is much better in the town, but very poor in neighboring villages - lack of gas net connection, poor sewage system, and still existing wells in the villages. 42 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2  +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2  0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The economy activities in micro companies (96%) - mostly in services: tourism, trading, food industry and construction. Strong Low‐income households prevail Comment: traditional agriculture. Unemployment is on the increase - 15,8% in 2020. There are participatory practices according to the Polish low, but no other experience. Positive - 24 NGO for 5 000 people living Comment: there. The income in the commune is 83.50% of the average Polish monthly income. Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 3  +3 Explanation: Sejny is situated in the east northern part of Poland close to the Lithuanian border. The closest +2 bigger city is Suwalki, ex province main city (30 km, about 1 hour travel by bus). Sejny is situated in close location to Wigry National Park which is part of Masurian lake district. It seems the town is +1 far away from the biggest cities in Poland and the access to is very limited (by car or by bus). The Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound town is not very attractive for the people but surroundings is popular for the people who seek demographic demographic break from the big centres and like to spend time close to the nature with "slow life" approach. structure structure A‐4 Elements that characterise the remoteness of the place: ‐1 Low population density  ‐2 Geographical barrier/allocation  ‐3 No good transportation links  ‐4 Difficulties in accessing daily‐life‐  ‐5 support facilities Daily‐life‐support facilities none‐existing Social specifics and/or divisions  The town deals with depopulation, but also high migration. The working population is still high - 60%, post working -25% but pre - Economic inferiority  Comment: working age 15%. The average age is 43. There are well developed public services: public library,various schools all levels of education, cultural centre, health centre and a museum. There are also a school complex with Lithuanian language. Subjective criteria  Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that The region is very popular during the summer holidays. The values of natural surrounding is characterise this case as a remote enriched by the cultural heritage of Sejny town. After the season the place seemed to be remote place: again. Low population density rank: 5 Geographical barrier/allocation rank: 1 No good transportation links rank: 2 43 Difficulties in accessing daily‐life‐ 3 The quantity and structure of public The infrastructure of Sejny is not sufficient. While preparing for the revitalization program, in 2017 support facilities rank: space network (besides the authorities asked the residents, what is missing in the town space. It turned out that young roads/streets/paths network) in this people have nowhere to spend their free time ‐ they would like, for example, to ride inline skates Social specifics and/or divisions 4 remote place: on one of the squares in the center, but the places are not paved. There is no place for recreation rank: above the river that flows through the city. The city park is neglected and does not encourage people to spend their free time there. There is also a lack of a cafe in the center where the Economic inferiority rank: residents could meet. This function are performed by a pizzeria. There is a landscaped area next Subjective criteria (e.g. community’s to a former Dominican monastery but it is used for tours / pilgrimages rather than by locals. The self‐perception of being remote etc) talks brought a result as the appearance of the park was improved. This year, a park with a track rank: for skaters, pedestrian paths, and additional plantings of greenery is also to be created ‐ ultimately, a "Town of Cultures" will be created here, the theme of which will be the cultural Other rank: diversity of Sejny. A‐5 Provide the links to public data A‐9 General description of the quality of public spaces in this remote place Links to public data on the remote "Sejny. Ugly city. There are no attractions and young people get bored" ‐ the article Answer: The infrastructure of Sejny is not sufficient. While preparing for the revitalization program, in 2017 place the authorities asked the residents, what is missing in the town space. It turned out that young people have nowhere to spend their free time ‐ they would like, for example, to ride inline skates The link: https://plus.wspolczesna.pl/sejny‐miasto‐brzydkie‐brakuje‐atrakcji‐i‐mlodziez‐sie‐nudzi/ar/11871398 on one of the squares in the center, but the places are not paved. There is no place for recreation (https://plus.wspolczesna.pl/sejny‐miasto‐brzydkie‐brakuje‐atrakcji‐i‐mlodziez‐sie‐nudzi/ar above the river that flows through the city. The city park is neglected and does not encourage /11871398) people to spend their free time there. There is also a lack of a cafe in the center where the Links to public data on the remote Sejny website residents could meet. This function are performed by a pizzeria. There is a landscaped area next place to a former Dominican monastery but it is used for tours / pilgrimages rather than by locals. The talks brought a result as the appearance of the park was improved. This year, a park with a track The link: https://www.um.sejny.pl/ (https://www.um.sejny.pl/) for skaters, pedestrian paths, and additional plantings of greenery is also to be created ‐ ultimately, a "Town of Cultures" will be created here, the theme of which will be the cultural Links to public data on the remote Sejny website diversity of Sejny. place B‐1 Name(s) of the public space(s) The link: https://sejny.net/ (https://sejny.net/) Name(s) of the public space(s) (in Biała Synagoga /Dawna Jesziwa w Sejnach A‐7 The type of public spaces that can be found in this remote place (besides the local language): roads/streets/path network) Name(s) of the public space(s) (in White Synagoque/Former Jeshiva in Sejny Square/s, Plaza/s  English): Park/s, Garden/s  Latitude of the public space(s): 54° 6′ 20.3″ N Market space/s  Longitude of the public space(s): 23° 21′ 3.24″ E Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Ground plan showing the land use Parking area  of the public space(s): Service yard  Other types:  Specify other types: Market outdoor space Type of indoor public spaces that Culture House and Library can be found in this remote place: A‐8 General description of.. Caption's map of the public space: Sejny_map The network of roads, streets, paths Three public roads, classified as provincial or higher, pass through the city of Sejny. DW 651 Legend's map of the public space: Key figure: Yellow ‐ build structure of creative works Black ‐ build structure White ‐ streets and alike elements that tie this provincial road No. 651 DW 653 provincial road nr 653 DW 663 provincial road nr 663 (Pomorze ‐ remote place together: Posejanka ‐ Sejny) Cycling routes 2 km. No train line. Main location  B‐2 Describe the physical environment 44 Physical environment description of Sejny is a climatic, tiny town located on the Marycha River, originally called the Sejna River, from Activity: tourist the public space(s) with creative which the city takes its name. This name derives from the Yotvingian language and it meant grass works: growing on the banks and bends of the river. Although today Sejny is inhabited mainly by Poles, a Activity: librarians large group is made up of the Lithuanian minority. It is also worth remembering that even before Activity: publishing the outbreak of World War II, it was a multicultural town. Apart from Poles and Lithuanians, Jews, Russians, Germans and Belarusians made up a large part of the population. And each nationality Activity: artistic contributed to the development of Sejny and its multidimensional character. The important place in Sejny is The Borderland Center which operates in nineteenth century buildings associated with B‐8_b Who are the main users of this public space(s)? the Jewish community, the Borderland House (former Jewish gymnasium), the White Synagogue and the former Yeshiva. There is an old manor house in the neighboring Krasnogruda which is User: artists famous with the family of the Nobel Prize winner Czesław Miłosz. The manor house is under the User: animators care of The Borderland Centre. User: educators Physical environment elements The multicultural history of the town was very important for the people who organized the were important and/or actually creative works. The activites based on the memories from the past were used to bulid the new User: tourists "used" by creative people for their identity of the young people who discover their roots. activities: User: multicultural enthusiasts B‐3 Describe the general functions User: residents Functions and land uses description The main functions are: 1. cultural (exhibition, concerts, theatre performances, workshops), 2. B‐8_c What are the users activities of this public space(s)? in the area of the public space: educational different activities for young children and seniors (intergeneration), lessons for primary schools, summer schools for children, adults and families. 3.The space is multifunctional, Users Activity Before After easy to adapt for various needs. 4. tourist for visitors who come to Sejny. residents educatiion   Functionalities of space were The Hidden Town project has been thought as the cycle of meetings and workshops engaging residents culture (including multicultural)   important and/or actually "used" by both the children and the seniors from Sejny. Covid restrictions has changed the plans of the creative people for their activities: project into interviewing people by phone and organizing workshops in smaller groups. Despite residents artistic   of the restirictions the aims of the project was achieved. The final result of the project: a symbolic sculpture of the town and the subjective Sejny map are shown in Old Yeshiwa. The idea of the animators culture (including multicultural)   whole project was not only concentrated on the Jewish heritage but discovers vanishing   minorities in Sejny. animators educatiion animators artistic   B‐4 General demographic characteristics of the area around the public space: educators culture (including multicultural)   Describe the general demographic At the end of 2020 the were 5079 people living in Sejny (in 2006 it was 5934). The average age is characteristics 43, majority of women (52,8%). 59,5% citizens are in production age. Demographic dynamics rate is educators tourist   0,51 and is much smaller than in Poland (0,74). tourists culture (including multicultural)   B‐5 Type of the public space(s) with creative work tourists educatiion   Form and function: The most of the activites took place in the White synagogue ‐ indoor space. Today it is a cultural tourists artistic   centre. Ownership: Public space run by the Borderland Center. B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Access regarding entry‐control: The space is open for visitors, coming for concerts, theatre performances, exhibitions. The entry to the events is paid. Describe what parts seem to be the Sejny hasn't got many attractive public spaces. The local park, bank of the river or the playground most attractive to people aren't very good quality and therefore not visited often by both the tourist and the residents of Access regarding time of day/week The entrance to the White Synagogue is limited ‐ the Centre is open every day 10‐17 and later the town. The white synagogue and the former Jeshiva house wouldn't be attractive and visited /year: during the events for longer if there weren't organised activities (concerts, theatre performances etc.) by the The Borderland Center. During the affairs people can stay there and also admire the architecture of B‐7 Kind of activity initially designed for this public space: the synagogue and often want to return or discover history of the place and Sejny town itself. Jeshiva house is used for organizing the workshops and the exhibitions. What kind of activity has been this The brick synagogue was built at the end of the 19th century and it was originally of a sacred public space designed for initially character. During the war It was used by the Nazis as a fire station, the interior was gutted and all B‐10 Provide the links to public data on the public space(s) furnishings were destroyed. Later used as a fire station, fertilizer warehouse, and even a depot for city buses. The synagogue was restored ‐ with a plain, modern interior ‐ in 1987 and now Website: http://www.pogranicze.sejny.pl serves as a cultural center, theater and museum. After renovation the seat of the Municipal Cultural Center. Since 1990 the synagogue belongs to the Borderland Center ‐ a place of Website's link: performances, exhibitions, workshops and concerts. The building of the former Yeshiva is located in the immediate vicinity of the White Synagogue. The yeshiva was probably founded in 1846. It B‐11 Provide photos of the public space(s) with creative works was there that conferences of the most outstanding rabbis took place. The Jewish Talmudic Caption: The Hidden Town project school existed until 1939. After the war, the building housed a slippers factory. From 1990 the Borland centre took over the place. B‐8_a Which are the activities in this public space(s)? Activity: culture (including multicultural) Activity: educatiion 45 Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project 46 Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project 47 Caption: The Hidden Town project Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project Photo's author: The Borderland Center, Sejny Caption: The Hidden Town project Photo's author: The Borderland Center, Sejny Photo's author: The Borderland Center, Sejny 48 Caption: The Hidden Town project Describe the project (activities) that The Hidden town ‐ was a new action of the Borderland Center, the implementation of which took took place in the analysed public place throughout 2020. A group of young people gathered around the Sejny Chronicles met the space(s) oldest inhabitants of Sejny, who shared with the younger generation their remembered stories, discovering the history of the town from decades ago. The stories collected in this way was used to create a city map so unique that individual topographic elements was enriched with a subjective and emotional story about related events from years ago. Under the supervision of the artists, during art workshops, the youth of each story they hear shaped it, making it an element of a map containing these short stories, anecdotes, memories of places or characters related to them. An important element of this unique map was the most important places for young people participating in the task, related to their family stories. Discovering the hidden city ended with a ceremonial presentation of the prepared map, combined with a story about individual stages of work, and a presentation of reportage material from meetings with the oldest inhabitants of the city. The map, created as a result of many months of work, was an important teaching aid not only for schools in Sejny, but also a beautiful, unique showcase of the city. MAPA + "rzeźba ‐ symboliczny model DOMU C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The problem was disappearing neighborhood of the Old multicultural Sejny. The challange of the (activities) trying to tackle – what project was to collect the family stories and to find a form how to keep them in safe place. The was the aim form had be atractive for the young people who discovered the history of their families and in at the same time history of their town. C‐4 Time frequency: Time Frequency One‐time activity Other information: C‐5 Time period Start: 4/1/2020 12:00:00 AM End: 7/30/2021 12:00:00 AM Comment: The project was planned for 2020 but due to pandemia the works have been finished in June 2021 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): groups of 12 children from Sejny Motivations: curiosity, interest in art, family connections with previous projects Roles: interviewing the older relatives, story telling, visual map creation, building symbolic house Actor(s): artists working with children Photo's author: The Borderland Center, Sejny Motivations: creation, curiosity in new hidden stories but also new methods of work together with different C‐1 Official name of the activity/project generation Name in local language: Ukryte Miasto Roles: teachers, translators, story tellers Name in English: The Hidden town Actor(s): Border Centre Nickname: ‐ Motivations: local memory protection Overall name:  Roles: the main organizer, the owner of the space, the connector C‐2 Description of the project (activities) that took place in the analysed public space(s): Actor(s): the families ‐ grandfathers, grandmothers and parents Motivations: interest in family histories, art education of children Roles: witnesses of the history, parents were intermediaries between children and grand mothers/fathers in covid isolation Actor(s): Lituanian communities Motivations: lituanian culture protection Roles: sharing knowledge Actor(s): Old Believers Motivations: help to understand the history, tradition and rules of this ortodox church 49 Roles: sharing knowledge and experience. Witness of the history C‐7 Description of the supporting background that existed to make the activities happen: Were any additional impacts The COVID time required bigger involvement of the young participants parents into the logistical achieved? matters related to the project. As a result, they got to know the types of activities better and What kind of supporting The Border Center is the culture institution with necessary infrastructure and experienced staff. participated in the program more consciously. In this way, they proved how important it is for background existed to make the The program of the Centre is unique and became a model for other communities dealing with them to experience the multiculturalism of Sejny. activities happen (financial, "Difference" not only in Poland. The permanent long time work with local history build the institutional etc.) understanding of neighborhood which has been so different. The Centre is financed by Podlaskie C‐15 The main beneficiaries of the creative work in public space(s): Voivodship and Ministry of Culture. Described project "Hidden town" got the additional financial support of Culture Ministry. Who were the main beneficiaries of The main beneficiaries are local residents, but also members of small communities (Lithuanian, the creative works in public Orthodox, Roma families) who received more attention and understanding. The unique map and C‐8 Sectors involved in the development of the creative works with public spaces: spaces(s)? sculpture "The House" gives visitors of Sejny a chance to experience the otherness and the forgotten history of Poland. Culture  C‐16 Presence (or not) of economic benefits for the local community as a whole or any Education  specific actors in particular, resulting from the creative works with/in public spaces: Health  Were there any, no matter how big The attractiveness of the project again focus culture people attention on Sejny phenomena. This Sustainability  or small, economic benefits for the kind of action underlies the unique value of the small far away town. local community as a whole or any Science  specific actors in particular, resulting from the creative works Tourism  with/in public spaces? Sport  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Industry  potentially empowered the actors to prosper in their future development: Other:  Were there any exchanges of The participants get deep understanding how valuable is their place of living. With such a knowledge or other activities consciousness they can live everywhere without complex of minority. The artists born in Sejny are Specify other: performed that potentially the proof that this kind of education has important impact on future development. empowered the actors to prosper in C‐9 Sector which was.. their future development? ..the initiator of the activities: Culture C‐18 Monitoring (or not) of the impact of the project: ..the most crucial for the whole case Education How was the impact of the project / The project was created before Covid ‐ has got "normal" indicators (mostly in numbers). The study: activities monitored? If it wasn’t – Covid procedure unabled working with bigger group and demanded big flexibility (phone calls, Comment: the experience of hidden ‐ common and different history of the town how do you think it could be work in small groups). Changes did not influenced on the quality of final work ‐ in addition the monitored? films were created and the audience were bigger. C‐10 How was the local community involved in the project/activities: C‐19 Way in order to communicate the impact of the project: How was the local community The project couldn't be realised without the commitment of the local community, especially involved in the project/activities? families which were open to share their private histories and memories. Small group of 12 children How was the impact of the project / The invitation to project was mainly communicated in the local newspaper and on the website. were working together with artists to find out the way to express true stories with its emotion. activities disseminated or The pictures were published on �. The summery of the projects was communicated on the Because of the pandemic situation, the the help of the parents was important value of the communicated? website and there was also the interview with the organizers which was recorded by radio from process. Bialystok. C‐11 The role of natural/cultural heritage in the project/activities: C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: Did cultural and/or natural heritage Sejny cultural heritage has multi‐cultural/multi‐religious character. To live together ‐ play any specific role in the understanding and appreciating differences is very important today. There fore project was How were the creative works in Residents know the activities of the centre, some of them are enthusiastic about it but there are project/activities? focused on discovering common and forgotten/not seen private histories.Together they have public space(s) perceived, some who are more sceptical. There are also residents who might be proud about young people made the unique map of Sejny. In this action the natural environment was not so important. evaluated, judged by the final users learing about the local history. The local community might not appreciate the activites as much as – what were the reactions of the they are percieved nationwide. C‐12 The targeted impact of the project/activity: general public? What was the targeted impact of Better understanding by young people of the place where they live. Building the ability to be C‐21 The (one) main success and the (one) main failure of the project/activities the project / activities? attentive and sensitive to others, history and the immediate environment. The goal is to make young people believe that they are living in the best place in the world. Thanks to this, they will Main sucess: The organizers do not work in success/failure format and are happy that the next generations are not have complexes, limitations or a sense of low value just because they come from a small taking part in the project and the history are being discoverd of the town. town. Main failure: The most difficult were the Covid restrictions ‐ common work in planned group of 12 children was C‐13 Achievement of the targeted impact: impossible. It was also difficult to keep positive energy and attention of children ‐ without normal meetings and activities. The project that involved contact with another person and establishing a Yes/no/partly: Yes bond had to be done remotely. There was also planned the presentation of the map to the wide public but had to be postponed for another days, after the pandemic. Relations with a living Comment: In this project, the most important thing is the continuity of work so as not to break the thread of person and face‐to‐face conversation were to be a great asset of the project which unfortunately memory. The goal cannot be achieved with just one effort. The residents still have to make sure didn't happen. that their predecessors ‐ the people who lived here before them ‐ are not forgotten. For this reason, Pogranicze Centre has been regularly cooperating with children and adult residents for 30 C‐22 Importance of broader conditions for the main sucess and main failure factor: years. C‐14 Additional achieved impacts: 50 How important were the broader The Borderland centre has been in the city for 30 years and has employees who are experienced conditions (e.g. the supporting in all sort of projects. It also attracts specialist, educators and artist from outside Sejny who can state of the art in the community, add an extra value to the centre. The Hidden city project was financed from the Ministry of infrastructure, institutional support, Culture as a support to developed the project. financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better https://www.wrotapodlasia.pl/pl/kultura/kultura_sztuka/orodek_pogranicze_w_sejnach/w‐ understand the activities and actors, pograniczu‐dobiega‐konca‐program‐ukryte‐miasto.html (https://www.wrotapodlasia.pl/pl/kultura as well as impacts: /kultura_sztuka/orodek_pogranicze_w_sejnach/w‐pograniczu‐dobiega‐konca‐program‐ukryte‐ miasto.html) The link: Hidden town project Link to public data to better https://sejny.net/artykul/ukryte‐miasto/1122737 (https://sejny.net/artykul/ukryte‐miasto/1122737) understand the activities and actors, as well as impacts: The link: Hidden town project D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Ewa Gołębiowska Organization: Zamek Cieszyn Email: Role: author Name and surname: Małgorzata Jarema Organization: Zamek Cieszyn Email: mjarema@zamekcieszyn.pl Role: editor Name and surname: Beata Mońka Organization: Zamek Cieszyn Email: bmonka@zamekcieszyn.pl Role: editor D‐2 Representative pictures Picture's caption: *** Picture's author: Picture's date: Picture's source: D‐3 Additional information Additional information: https://bialystok.stat.gov.pl/vademecum/vademecum_podlaskie/portrety_powiatow /powiat_sejnenski Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 51 CE Pilgrims Προσκυνητές Stray Art Festival Περιπλανώμενη Γιορτή της Τέχνης του Δρόμου Cooperatively design and manufacture tools for smallscale agricultural production Συνεργατικός σχεδιασμός και κατασκευή εργαλείων για γεωργική παραγωγή μικρής GREE κλίμακας Grampus Heritage and Training Ltd Interactive Installation in the Museum of Marble Crafts Διαδραστικό Installation στο Μουσείο Μαρμαροτεχνίας 52 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Pilgrims Dense settlement Προσκυνητές +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ελλάδα ‐1 Region name (in local language): Αττική, Δήμοι της Ελλάδας ‐2 Place name (in local language): Ελευσίνα, Χωριά της Ελλάδας ‐3  Country name (in english): Greece ‐4 Region name (in english): Attica, Regions of Greece ‐5 Place name (in english): Elefsina, Villages of Greece Open landscape •Network of places: This case study is not about one remote place but many. It is about villages and towns over Greece which in general are in open landscapes, and closer to the rural than urban character. This case study explores the contrast between urban Comment: and rural and between dense and open landscapes. In the map presented in A-VI there is the network of places. Each of these places has urban and rural parts which will be “explored” in the concept of this case study. •Elefsina: is one of these places and will be the last stop of the actors in this case study. That is the reason why it is selected to be represented in these graphs. Difficult terrain +5 +4 Map of the network of public spaces in the remote place +3  +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Caption of the map: Figure‐ground plan of Elefsina Archeological site & Old Elaiourgeio ‐3 Legend of the map: black – built structure; light grey – paved open public space; dark grey – road network. diagonal x ‐ sea ‐4 ‐5 Effortless terrain •network of places: there are many different places with diverse infrastructure for access. If it had to place somewhere probably Comment: would be a bit closer to good access and effortless terrain, as most of the places are relatively easy to access. 53 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1  +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity •network of places: Most of the places have a creative sector when some of them are more developed. Of course, economic Low‐income households prevail Comment: activities are diverse as these places cover almost all of Greece. •network of places: This cannot be answered for all places at the same time, there is diversity in income and participatory practices. Comment: Besides the diversity of these characteristics between places, there is a diversity within each place, which is common when it is Daily‐life‐support facilities well developed about a town and not a village. +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +4 at all) to 5 (extremely remote) +3 Estimation: 2 +2 Explanation: •network of places: if we consider the average feeling, would be somewhere in the middle (2). •Elefsina: An example of these places as mentioned above is Elefsina, which will be used as a  +1 specific place, to understand this case study on a deeper level. Even though Elefsina is located at Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound about 20 km from the center of Athens and has a population of 24,910 inhabitants, the true demographic demographic distance from a life in the city is not that small. Elefsina is a city torn between the glorious structure structure mysterious past, the sanctuary, and the everyday life drowned by industrial domination and an ancient port that became a graveyard of ships and waste. This image remains dominant in public ‐1 perception. ‐2 A‐4 Elements that characterise the remoteness of the place: ‐3 Low population density  ‐4 Geographical barrier/allocation  ‐5 No good transportation links  Daily‐life‐support facilities none‐existing Difficulties in accessing daily‐life‐  •network of places: Especially in the villages the daily life support facilities are not so well developed. In towns, the situation is better, support facilities Comment: but this depends also on their location. For example, an island cannot be reached easily for supplies on some days during winter Social specifics and/or divisions  Economic inferiority  Subjective criteria  Specify subjective criteria (e.g. In the example of Elefsina, even though is not far from Athens people living in Elefsina feel it’s a community’s self‐perception of remote place. being remote etc): Other  Specify other: 54 Summary of the elements that •Network of places: Our case study is not one remote place but a collection of places that could Type of indoor public spaces that ·Municipality buildings characterise this case as a remote be considered as remote regarding their access to creative events and more specifically theater & can be found in this remote place: place: dance. •Elefsina: In the example of Elefsina, some words to describe this town, could be ·Gym mythology, drama, archeology, history, population movement, internal exile, environmental ·Library degradation, industrial development, unemployment, industrialization, Aeschylus, and a woman in a special position for the society of the city. The image of Elefsina as a city hit hard by the ·Churches industry remains, however, dominant in public perception. The abandoned industries and port are basic characteristics of the city which unfortunately cause economic inferiority and unemployment. In addition, the largest population of Elefsina belongs to the working class and A‐8 General description of.. citizens have developed a community which even though is so close to the city at the same time is so far away. The network of roads, streets, paths There is an adequate transport connection with the basin such as: ‐ Attiki Odos ‐ New highway ‐ and alike elements that tie this Suburban train In the city, there is the main road network (see map below, magenta lines) which Low population density rank: 5 remote place together: connects different parts of the city and connects the city with the new highway (see map below, Geographical barrier/allocation rank: 4 green line). There is an existing railway network that crosses the city (see map below, blue dotted line). No good transportation links rank: The quantity and structure of public In Elefsina, there are some poles of leisure and culture (see map above, green circles) and an Difficulties in accessing daily‐life‐ space network (besides archeological place (see map above, yellow circle). Regarding structure, most of these public support facilities rank: roads/streets/paths network) in this spaces are not so well organized and look abandoned. In addition, there is Old Olive Oil Factory remote place: where various happenings take place (such as theatre) and Elefsina beach summer cinema. Both Social specifics and/or divisions 2 have appropriate structures to support this kind of activity and they are located close to the city rank: center. Economic inferiority rank: 1 A‐9 General description of the quality of public spaces in this remote place Subjective criteria (e.g. community’s 3 self‐perception of being remote etc) Answer: Regarding the old olive oil Factory, is a place which every year hosts events of high aesthetics and rank: quality, performances, concerts, an art installation, and film screenings. As a place is inextricably linked to Aeschylus and has been loved by the art‐loving public. The Elefsina Open Air Cinema ‐ Other rank: Until the early 80s, the citizens had restricted access to the sea‐front due to the presence of the American military base. When the American base was abandoned, a group of citizens in 1985, A‐5 Provide the links to public data members of the Elefsina Cinema Club (ECC), discovered an open‐air cinema that was built inside the former military base. Initially, they “squatted” the place and then they operated it with the Links to public data on the remote Elefsina Website support of the local authorities. The “rediscovery” of the cinema offered the chance to the place citizens to re‐occupy the public place in the formerly deprived seafront. The ECC, up to this day, The link: https://www.elefsina.gr (https://www.elefsina.gr) operates with a bottom‐up participatory approach not only in its cultural activities but also in issues related to the open‐air cinema’s operation and preservation. A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) B‐1 Name(s) of the public space(s) Name(s) of the public space(s) (in Κρόνος βιομηχανικό κτήριο Square/s, Plaza/s  local language): Park/s, Garden/s  Name(s) of the public space(s) (in Kronos industrial building Market space/s  English): Playground/s  Latitude of the public space(s): 38.036825033103234 Recreational space/s, Sport‐field/s  Longitude of the public space(s): 23.549656168849157 Community open‐air space/s  Ground plan showing the land use of the public space(s): Institution‐related open‐air space/s  (e.g.University grounds) Caption's map of the public space: Watersides  Legend's map of the public space: Meadows  Main location  Parking area  Name(s) of the public space(s) (in Παλαιό Ελαιουργείο local language): Service yard  Name(s) of the public space(s) (in Palaio Eleourgio Other types:  English): Specify other types: Latitude of the public space(s): 38.03927357793704 Longitude of the public space(s): 23.535381606931434 55 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: palaio elaioyrgio ground plan Legend's map of the public space: Main location  Name(s) of the public space(s) (in Θερινός κινηματογράφος παραλίας Ελευσίνας local language): Name(s) of the public space(s) (in Elefsina beach summer cinema English): Caption's map of the public space: Network of places Latitude of the public space(s): 38.95058164102683 Legend's map of the public space: Longitude of the public space(s): 20.754327118599207 Main location  Ground plan showing the land use of the public space(s): B‐2 Describe the physical environment Caption's map of the public space: Physical environment description of •It has not decided yet where exactly the creative works will take place. They will be hosted in Legend's map of the public space: the public space(s) with creative one of the places cultural/creative events happen already or in the square of village/town, works: somewhere with access to everyone. •More specifically about Elefsina, there are old industrial Main location  buildings which are renovated to fulfill their purpose but at the same time maintain the ravages of time. New constructions co‐exist with ancient elements and natural landscape as the public space Name(s) of the public space(s) (in Αρχαιολογικός χώρος is near the sea. The old port in the sea looks like a graveyard of ships. local language): Physical environment elements •When it comes to the rest of the places (B‐VI, Villages/places they will visit for this case study) Name(s) of the public space(s) (in Archaeological site were important and/or actually there are many differences in the physical environment based on the location and their distance English): "used" by creative people for their from bigger cities. For example, there are islands, mountains, sea costs, some of the more remote activities: and others not so much. •The contrast between the old and the new serves as an inspiration to Latitude of the public space(s): 38.04395816726723 express the meaning of transition. Also, as Elefsina is famous for Eleusinian mysteries, every Longitude of the public space(s): 23.5393258418631 aspect of the city has the indefinite feeling of the connection between the upper and underworld, which indicates a transition in time and place. Ground plan showing the land use of the public space(s): B‐3 Describe the general functions Caption's map of the public space: Functions and land uses description Most of the public spaces in Elefsina have an industrial character which support cultural functions in the area of the public space: and at the same time connected to the natural environment. Also, as mentioned above, there is Legend's map of the public space: an archaeological museum, an archaeological site, Kronos industrial building and an old railway station. Material cultural heritage • The archaeological site and Archaeological Museum, which Main location  hosts major exhibits of world cultural heritage value. The archaeological site is located in the Name(s) of the public space(s) (in Χωριά/μέρη που θα επισκεφθούν center of the city and is surrounded by the main pedestrian area that links the city center to the local language): coastline. • The city’s cultural assets dating from up to the mid‐19th century include Hadrian’s aqueduct and bridge, samples of the engineering genius of the time, as well as the chapels of Name(s) of the public space(s) (in Villages/places they will visit for this case study Panagitsa in the archaeological site and Saint Zacharias, from the late Byzantine era. •The Kronos English): and Iris industrial buildings and the old Eleourgio, together with modern‐day industries, constitute the city’s contribution to the industrial and post‐industrial landscape of contemporary Greece. Latitude of the public space(s): not applicable Longitude of the public space(s): not applicable 56 Functionalities of space were The industrial and post‐industrial landscapes are the most important in our case study. All though Caption: Danae & Dionysios important and/or actually "used" by all the other functions are not excluded as in our case study place is treated as a whole creative people for their activities: connecting the past and present. More specifically the area of Elefsina favors this symbolic understanding since the old and the new coexist. B‐4 General demographic characteristics of the area around the public space: Describe the general demographic Today, Elefsina has a registered population of 30,000, while it is estimated that 50,000 people live characteristics in the city. Thus, from ancient times to the present day, Elefsina can be described as a city of immigrants and refugees. From the agricultural to the post‐industrial revolution, Eleusis narrates 4,000 years of history of humans as producers, creators, and workers. From those times to the present, Elefsina is a symbol of humans driven by the quest for a better future, which they create with their own hands, while at the same time producing knowledge and wealth for their societies. B‐5 Type of the public space(s) with creative work Form and function: community open‐air space/s abandoned space. public building square Ownership: mixed Access regarding entry‐control: Open access in general, controlled when there is a specific event so there is an entrance fee. Access regarding time of day/week No limitations regarding time. /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this As mentioned before the specific place for this case study has not decided yet. One of the options public space designed for initially is the old oil factory which is now used for creative and cultural activities as you can see in the ground plan above. The initial activity that was taken place in this space was the creation of olive oil. Nowadays it looks like an open‐air theatre with a cultural and recreation role. B‐8_a Which are the activities in this public space(s)? Activity: Walking/running Activity: Observe/watch/see Activity: Sightseeing B‐8_b Who are the main users of this public space(s)? User: Event visitors User: People interested in ancient history and mythology User: Athletes B‐8_c What are the users activities of this public space(s)? Users Activity Before After   Photo's author: Barlas Sahinoglu B‐9 Parts/sections/spots seem most attractive within the public space (location and Caption: Danae & Dionysios on stage duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the As it seems on the map B‐VI (Palaio Elaioyrgio) where are footprints are the paths/places more most attractive to people attractive to people. People use to gather close to the stage (so they can view any act) and use the seats. Also, they use to avoid the stage, as usual, events take place most of the time. When there are no events people move around in the stage area and kids might play there, which probably can be an aspect of how the creative works change the situation. In addition, on the right side of the map, there are usually other exhibits that people love to see especially before the main event which takes place on the stage. B‐10 Provide the links to public data on the public space(s) Website: •Elefsina website •Aisxylia festival •Topographic maps Website's link: •https://www.elefsina.gr/en •https://aisxylia.gr/en/ •http://gis.ktimanet.gr/wms/ktbasemap /default.aspx (•https://www.elefsina.gr/en •https://aisxylia.gr/en/ •http://gis.ktimanet.gr /wms/ktbasemap/default.aspx) B‐11 Provide photos of the public space(s) with creative works 57 Photo's author: Barlas Sahinoglu Caption: Danae & Dionysios on stage Photo's author: Barlas Sahinoglu Photo's author: Barlas Sahinoglu C‐1 Official name of the activity/project Caption: Danae & Dionysios on stage Name in local language: Προσκυνητές Name in English: Pilgrims Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): 58 Describe the project (activities) that ** These activities will happen if the project be approved** "Pilgrims" is an action umbrella Tourism  took place in the analysed public designed for outside/public places, to travel to as many as possible provincial places of Greece,  space(s) from the South to the North. The strong need to bridge two worlds that have not been Sport established is the driving force behind the creation of this project. Citizens who for either Industry  geographical or social reasons do not have access to the art world will meet through the world of dance. The strong need for artistic extroversion combined with the desire to strengthen modern Other:  dance in the provinces, establish the "Pilgrims". The main source of inspiration is the pilgrims' journey from various parts of Europe to Santiago de Compostela Spain, also known as the Camino Specify other: de Santiago. With "Pilgrims", Danae and Dionysios will tour small towns and villages of the Greek countryside, carving their own trekking. A road trip with a van from place to place, at 54 selected C‐9 Sector which was.. locations that will end in Elefsina. A redesign of the "Ieras odou", uniting the Greek region with ..the initiator of the activities: Culture the cultural capital of Europe. ..the most crucial for the whole case Culture C‐3 Challenge that the project (activities) tried/is trying to tackle: study: What challenge was the project As already mentioned, the strong need to bridge two worlds that have not been established, is Comment: (activities) trying to tackle – what the driving force behind the creation of this project. Citizens who for either geographical or social was the aim reasons do not have access to the art world will meet through the world of dance. The strong C‐10 How was the local community involved in the project/activities: need for artistic extroversion combined with the desire to strengthen modern dance in the provinces,establish the "Pilgrims". How was the local community This case study consists of 5 different activities/performances. One example of the involvement of involved in the project/activities? the local community is “Farisa”. Farisa is a fifteen‐minute duet that is presented in public, C‐4 Time frequency: outdoors. Their purpose is to share a modern dance performance with the Greek audience provinces, transferring the project to their own place. The pilgrimage, animals, and natural Time Frequency Other landscapes of Spain inspired them to create Farisa, a work that the trekking adventure can be likened to the course set we go through in life. How two different paths meet constantly goes Other information: It was periodical activity but at the same time a constant process of dancing and connecting with hand in hand, how relationships interact and support each other. Constantly connected and in the physical and industrial environment, the moment of dancing was not the only moment of the love with nature and its creatures, they see themselves in the work as wild horses galloping, and activity instantly, opportunities appear to observe and share the romantic relationship between animal C‐5 Time period and human. Really, where can this trek end? Could we ever live in perfect balance with nature and animals? Wild horses never ask. After the presentation of the project and where possible, they Start: 8/20/2021 12:00:00 AM would be happy to organize an open discussion with its viewers of the community. That way, they will be able to communicate the main axes around which was built the project, while at the same End: time they will be available to discuss any questions and concerns arise from the local public about the experience they had watching the project. Another example under the Pilgrims umbrella, is Comment: the event of a workshop with participants from each place. The workshop is open to people who C‐6 Actors in relation to the analysed creative work, their main motivation and their roles are either familiar with the movement or no, without age restriction. Upon completion, it will become one open presentation/sharing of the project they will create with them, in a public space Actor(s): Dionysios Alamanos that will serve its conduct. The purpose of the workshop is to attract people in active and experiential way. D&D will share the central ideas of the project and based on the suggestions of Motivations: Artistic Extroversion each group, each time they will co‐create a different version of it. They will make a trip that will carry different perceptions, different instincts, and perspectives, based on the paths each follows Roles: Dancer/choreographer as a unit, while at the same time they will investigate what happens when they meet. It is a lively Actor(s): Danae Dimitriadi project, flexible to change and receptive to new conditions depending on the proposed material. At the same time, they plan to take care of the participants and especially those who come to Motivations: Artistic extroversion contact with modern dance for the first time, regardless of age, to live this process with creativity and play. Sharing it with the local public, their main goal will be security both mentally‐ Roles: Dancer / choreographer emotionally and physically. The pleasure of co‐creation by people first exposed to the experience that modern dance can offer. C‐7 Description of the supporting background that existed to make the activities happen: C‐11 The role of natural/cultural heritage in the project/activities: What kind of supporting A van will be used as their means of transportation from one place to another, while at the same background existed to make the time it will transport the necessary equipment for Pilgrims actions (props, speakers, costumes, Did cultural and/or natural heritage The research will be conducted before their arrival at each place and as they are there, it will take activities happen (financial, etc.). But apart from its practical usefulness, it is of particular importance for them because at the play any specific role in the place around two main axes: •The first is the natural landscape, the fauna, and the special institutional etc.) same time it will be their home during travel. This is a supporting aspect as it offers flexibility in project/activities? physical characteristics of the place. Items that will hold lively and flexible actions to adapt to the project, whose life they imagine it will be long. Accommodation and transportation will never specific features of each place. •The second axis is the way they will combine with the above be a restriction, while it will also contribute to the spontaneity of the idea. The van will be enough features. Their goal is to discover diodes that will harmonize them with the locations and will not for some actions to happen even without a great funding. Although there is a potential of funding make their activities to stand out strongly from them. So, when they get to a location, they invest if the proposal of this case study be approved. Elefsina, which will be the cultural capital of time to explore and feel its rhythm, to observe people and then with spontaneity, to attempt an Europe for 2023 can play a great role to this. instantaneous, improvisational composition. C‐8 Sectors involved in the development of the creative works with public spaces: C‐12 The targeted impact of the project/activity: Culture  Education  Health  Sustainability  Science  59 What was the targeted impact of There are many different targeted impacts of the project. One of the most important is the How was the impact of the project / The video of the process will be a way of communicating the whole experience. From this the project / activities? bridging of two worlds that have not been established. Citizens who for either geographical or activities disseminated or documentation, the impact also is anticipated to arise at least from actors and viewers of the social reasons do not have access to the art world will meet through the world of dance. It is communicated? video point of view. expected through this project, modern dance to be strengthened in the provinces and people to get familiar with activities unknown to them, explore their connection with their body and nature, C‐20 Perception of the creative works in public space(s) by the final users and the reactions and communicate their deeper thoughts and ideas about the whole experience. This process will of the general public: bring viewers/participants closer to their place and instincts. Also, the collection of these responses will be gathered. The expected outcome is different cultures and ideas to emerge from How were the creative works in Everyone likes to dance. Dance is a language to communicate emotions, to get closer to each this observation and probably provide a deeper understanding of peoples’ lives. public space(s) perceived, other, to tell a story. For these reasons, it is very possible even the more unfamiliar evaluated, judged by the final users viewers/participants will gain a unique experience. There is also an act tailored for kids, inspired C‐13 Achievement of the targeted impact: – what were the reactions of the by Hayao Miyazaki films, in which kids will be involved and “play” while dancing. This will add a general public? playful aspect to the whole experience and a show that is usually made for adults will be also Yes/no/partly: ‐1 interesting for kids. Of course, there are some unknown impacts of the project which cannot be predicted and be understood beforehand. Comment: It is expected for the targeted impact to achieved at least partially. For sure people will learn about dance and maybe attend an event that have not before. For some of them, it will be a first‐ C‐21 The (one) main success and the (one) main failure of the project/activities time experience, and this may trigger a connection with the acting of dance and their bodies. The planned workshop will be a way to understand peoples’ reactions and ideas, and individual ways Main sucess: of connecting with dance will be possible to be perceived. In addition, group intersubjective experience will emerge in the discussion that will follow the activities, which will probably differ Main failure: based on the place and the collection of audience. C‐22 Importance of broader conditions for the main sucess and main failure factor: C‐14 Additional achieved impacts: How important were the broader Were any additional impacts It is expected for other additional impacts to be achieved. It is a long journey with various conditions (e.g. the supporting achieved? interactions, so any other impact cannot be predicted. state of the art in the community, infrastructure, institutional support, C‐15 The main beneficiaries of the creative work in public space(s): financial sources, local or "imported" know‐how etc.) for the Who were the main beneficiaries of One of the aims of this project is the involvement of the local community and the creative sector. main success and main failure factor the creative works in public This means that in any case, these activities will be beneficial for locals. They will learn about spaces(s)? dance; they will discuss dance and dance will be used as a means to get closer to each other and C‐23 Provide the links to public data on the creative works to themselves. In addition, the local creative sector will be involved and develop an understanding of different creative practices, connections with the actors, and their approach. Non‐local ones Link to public data to better who will be present will have the opportunity to be a part of these activities and get connected understand the activities and actors, with locals. as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: specific actors in particular, resulting from the creative works with/in public spaces: D‐1 Main editor in charge of this entry and potential other authors of this case study Were there any, no matter how big The creative works in the public space are aiming to be a pole of attraction for people, an description or small, economic benefits for the interactive performance in many different places, even in exceedingly small remote places. Name and surname: Kyproula Bartzoka local community as a whole or any Especially, in this case, the local community may have economic benefits as they will support the specific actors in particular, environment for these activities to happen. Organization: University of the Aegean resulting from the creative works with/in public spaces? Email: kyproula.bartzoka@aegean.gr C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Role: author potentially empowered the actors to prosper in their future development: Name and surname: Spyros Bofylatos Were there any exchanges of The actors of this project are dancers who are traveling around the world already to share with Organization: University of the Aegean knowledge or other activities others their approach in life through dance. The specific project even though will not take place performed that potentially abroad, will be all around Greece. For them, this will be an opportunity to see how people who Email: bofy@aegean.gr empowered the actors to prosper in are not related to dance react to their performance, exchange ideas with locals, and enrich their their future development? performance with inspiration from people and nature. Role: editor Name and surname: Eleni Haroupia C‐18 Monitoring (or not) of the impact of the project: Organization: University of the Aegean How was the impact of the project / From the preparation of the trip to its completion, the actors will record in the video all the stages activities monitored? If it wasn’t – of the process: The journey itself, the contact with each place, its landscapes, and the people, the Email: hcharoupia@syros.aegean.gr how do you think it could be research, the show, the workshops, the reactions, the impressions, will be recorded on video by monitored? them and their partners. Creating a strong memory and bond, recording it and at the same time, Role: editor the capture of material for further research and study are the essential components of this project. The video material from the areas they will visit on the one hand will is shared online and D‐2 Representative pictures will be available after each site, helping to maintain the connection, on the other hand, will Picture's caption: constitute the material of comprehensive documentation, of a research movie that will be presented after the end of their tour. *** C‐19 Way in order to communicate the impact of the project: Picture's author: Picture's date: 60 Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any •This case study is at the final stage of evaluation for funding. •Elefsina (a small town close to additional information that was not Athens), will be presented as an example of this case study. It is chosen because it is planned to communicated through the be the last stop of the “Pilgrims” journey, which is planned around 2023 when Elefsina will be also template the cultural capital of Europe. •The section on “impact” couldn’t be filled properly as this case study will happen in the future. 61 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Stray Art Festival +5 Περιπλανώμενη Γιορτή της Τέχνης του Δρόμου +4 +3 +2  +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ελλάδα ‐1 Region name (in local language): Σύρος ‐2 Place name (in local language): Ερμούπολη ‐3 Country name (in english): Greece ‐4 Region name (in english): Syros ‐5 Place name (in english): Ermoupoli Open landscape Comment: Ermoupoli is more urban than rural and its cultural centre has a lot of houses that create quite a dense settlement. Difficult terrain +5 +4 +3 +2  Map of the network of public +1 spaces in the remote place Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Caption of the map: Figure‐ground plan of Ermoupoli Effortless terrain Legend of the map: black – built structure; light grey – paved open public space; dark grey – road network. diagonal x Accessibility is fluctuating, with numerous steps in various areas of the city. In general, though, the terrain could be deemed of ‐ sea Comment: medium difficulty, especially in the city center. 62 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3  +2 +1 +1  None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comparing Ermoupoli with smaller islands, the activities taking place are relatively diversified. The creative sector is quite developed Low‐income households prevail Comment: for a city of its size and its remoteness. Comment: Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +5 Estimation: 3 +4  Explanation: From our perspective, the island itself is not as remote as other faraway islands of the Aegean +3 sea. Nevertheless, we believe that there are a lot of people who might perceive it as such. +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound  demographic demographic Geographical barrier/allocation structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. community’s self‐perception of being remote community’s self‐perception of The daily-life-support facilities are well developed but can be dysfunctional if there is any disruption to sea transport. According to Comment: being remote etc): data from 2011 the age group 24-64 corresponds to the 57,6% of the island population. Other  Specify other: Difficulties in accessing culture/entertainment (theaters, live music, etc) Summary of the elements that What characterizes Ermoupoli as a remote place, first and foremost, is the fact that it is characterise this case as a remote enveloped by the Aegean Sea. This deems the city dependent upon the transporting of goods by place: boat. Given the current unstable climate, this is a precarious situation since the goods that are being transported are essential, and the weather quite unstable, especially in the winter months. This situation sums up the first three characteristics. The final, subjective, characteristic refers to the idea that some inhabitants of the island have concerning its remoteness. The tight‐knit communities, often with familial bonds, create a networking landscape that resembles a village. There is also a social separation between, on the one hand, the people who were born and live on the island and, on the other, the ones who chose it as their permanent (or impermanent) home. Low population density rank: 4 Geographical barrier/allocation rank: 1 63 No good transportation links rank: 3 Difficulties in accessing daily‐life‐ 2 The network of roads, streets, paths In the center of Ermoupoli, there are roads connecting the main house settlements. Throughout support facilities rank: and alike elements that tie this the city, there are paths with steps that create a rather chaotic way‐finding network. The remote place together: condition of most streets is quite poor, while there's scarce public transportation (which is Social specifics and/or divisions fortunately free inside the city center). rank: The quantity and structure of public The central square is probably the public space that is used by most people, because of its Economic inferiority rank: space network (besides location, the proximity to shops, the sea and the available space to sit. There exist very few roads/streets/paths network) in this clusters of greenery and nature. Where they do exist, they are not always properly utilized and Subjective criteria (e.g. community’s 5 remote place: are rarely populated by people. Beyond that, there are some playgrounds close to the city which self‐perception of being remote etc) are more frequently used by families. There are also some fields for athletic activities and public rank: cultural spaces that can host performances or entertainment happenings. Other rank: 6 A‐9 General description of the quality of public spaces in this remote place A‐5 Provide the links to public data Answer: Most public spaces that exits have places to sit, are close to some natural elements (trees or the Links to public data on the remote sea) or have infrastructure for kids play. Unfortunately these places are scarce and their place infrastructures quite poor. The link: https://www.syrosisland.gr/ (https://www.syrosisland.gr/) B‐1 Name(s) of the public space(s) Links to public data on the remote Name(s) of the public space(s) (in Αθλητικό Κέντρο Δημήτριος Βικέλας place local language): The link: https://www.syros‐ermoupolis.gr/ (https://www.syros‐ermoupolis.gr/) Name(s) of the public space(s) (in Sport's Center Dimitrios Vikelas English): Links to public data on the remote place Latitude of the public space(s): 37.432302662148516 The link: https://www.e‐kyklades.gr/travel/tourism/syros_map?lang=en (https://www.e‐kyklades.gr/travel Longitude of the public space(s): 24.9362161793932 /tourism/syros_map?lang=en) Ground plan showing the land use A‐7 The type of public spaces that can be found in this remote place (besides the of the public space(s): roads/streets/path network) Caption's map of the public space: Figure‐ground plan of Ermoupoli Square/s, Plaza/s  Legend's map of the public space: black – built structure; light grey – paved open public space; dark grey – road network. diagonal x Park/s, Garden/s  ‐ sea Market space/s  Main location  Playground/s  B‐2 Describe the physical environment Recreational space/s, Sport‐field/s  Physical environment description of Building complex of open courts and closed gyms. Specifically there are: 2 indoor basketball / the public space(s) with creative volleyball courts, an outdoor swimming pool that is not accessible in the winter/autumn months, Community open‐air space/s  works: 2 tennis courts and 2 outdoor basketball courts. There is also a playground, a park with trees, a parking lot and a small amphitheater with a chess board on the floor. Institution‐related open‐air space/s  (e.g.University grounds) Physical environment elements The faces of the buildings (used for the creation of the murals), the parking lot (used for concerts were important and/or actually and performances), the park (used for workshops), the amphitheater (used for theatrical Watersides  "used" by creative people for their performances) Meadows  activities: Parking area  B‐3 Describe the general functions Service yard  Functions and land uses description Civic (athletic), natural, recreational. The functional nodes of the infrastructure is centered in the area of the public space: around team sports, play and leisure. Other types:  Functionalities of space were The functionalities themselves where not directly used by the creative people. Rather, the Specify other types: Entertainment spaces (theatres, music venues) important and/or actually "used" by infrastructure was a canvas for the work that had been done. The theme of the artworks, though, Type of indoor public spaces that ▪ Sport courts creative people for their activities: was derived from the use of the buildings. can be found in this remote place: ▪ Municipality buildings ▪ Entertainment spaces (theatres, music B‐4 General demographic characteristics of the area around the public space: venues) Describe the general demographic The general demographic characteristics of the area is the same as the rest of the island, but it is ▪ Churches characteristics not as densely inhabited compared to the center of the city. It is not a place with plenty of cafes, ▪ Museums bars, or any culturally interesting attractions, hence, it is not a place often visited by tourists. It is mainly visited by a specific type of user group, which may be training, attending sports, when it comes to the Sport's Center and parents and children when it comes to the playground. A‐8 General description of.. B‐5 Type of the public space(s) with creative work Form and function: The type of public spaces with creative works include sport's fields, the parking area of the building complex and the infrastructure of the Athletic Centre. 64 Ownership: The ownership type is public. B‐11 Provide photos of the public space(s) with creative works Access regarding entry‐control: Entry to the inside of buildings is granted to the people who play or attend sports, and any staff, Caption: Stray Art Festival Letters in front of a basketball court with walls being painted by the street which makes the access controlled. artists. Access regarding time of day/week There is 24‐7 access to the open areas of the athletic center. /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The main role of this public space is relaxation/recreation as well as training and athletic activities. public space designed for initially Adjacent to the courts there is a bus stop for the public minibus, serving as transit. There is also a lot of parking space, which was used for the festival's happenings. B‐8_a Which are the activities in this public space(s)? Activity: Visiting to see the art Activity: Walking Activity: Parking Activity: Sitting Activity: Exercising ‐ Playing B‐8_b Who are the main users of this public space(s)? User: Athletes Photo's author: Andromachi Boliou User: Viewers of events Caption: Murals by Fro User: People interested in street art *** B‐8_c What are the users activities of this public space(s)? Photo's author: Tatiana Kasimati Users Activity Before After Caption: Murals by Achilles Athletes Walking   *** Viewers of events Sitting   Photo's author: Tatiana Kasimati People interested in street art Visiting to see the art   Caption: Mural by AIVA Viewers of events Visiting to see the art   *** People interested in street art Sitting   Photo's author: Tatiana Kasimati People interested in street art Walking   Caption: Murals by the Really? Team and Gospel with Onebran Athletes Parking   Athletes Sitting   Viewers of events Walking   Viewers of events Parking   People interested in street art Parking   Athletes Exercising ‐ Playing   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the People prefer to sit around the court area or around the park and amphitheater area. There is an most attractive to people area under the outdoor swimming pool that is not often visited by people. Also there is a place where there are trees but no playground toys, which people do not usually select to pass their time. B‐10 Provide the links to public data on the public space(s) Website: Stray Art Festival's Photo Gallery of the Murals on Facebook Photo's author: Tatiana Kasimati Website's link: https://www.facebook.com/media/set/?vanity=strayartfestival&set=a.471438126681561 (https://www.facebook.com/media/set/?vanity=strayartfestival&set=a.471438126681561) Caption: Murals by Gospel and Onebran 65 *** Start: 9/21/2018 12:00:00 AM Photo's author: Tatiana Kasimati End: 9/23/2018 12:00:00 AM Caption: Murals by Silver Formz Comment: start and end date indicate the dates of this instance of the festival *** C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Photo's author: Tatiana Kasimati Actor(s): Stray Art Festival Team Caption: The Athletic Center painted and a muralist in front of it, creating art on the car of a Strayer. Motivations: Creativity output, love for art, events, community Roles: Organizing, setting up Actor(s): Artists & Musicians Motivations: Artistic expression, exposure Roles: Creating, performing Actor(s): Volunteers Motivations: Collaborating with the team Roles: Assisting in setting up, enhancing the experience of the visitors C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting There was financial help from the Municipality of Syros ‐ Hermoupolis, the South Aegean Region, background existed to make the as well as some small funds from local enterprises. Furthermore, the building walls, sport's fields activities happen (financial, and public parking space were given for the three days of the festival to the organizers from the institutional etc.) municipality in cooperation with the Sports Center Dimitrios Vikelas C‐8 Sectors involved in the development of the creative works with public spaces: Photo's author: Tatiana Kasimati Culture  C‐1 Official name of the activity/project Education   Name in local language: Περιπλανώμενη Γιορτή της Τέχνης του Δρόμου Health  Name in English: Stray Art Festival Sustainability  Nickname: Science  Overall name:  Tourism  C‐2 Description of the project (activities) that took place in the analysed public space(s): Sport Industry  Describe the project (activities) that In 2018, the Stray Art Festival in collaboration with 20 muralists, 50 musicians and performers took place in the analysed public from all over Greece, created the second Art Festival in Syros. This time the "Dimitrios Vikelas" Other:  space(s) Sports Center was given color and liveliness. The previously externally neglected building was renewed and Stray Art Festival offered guests three days full of music, colors, events and Specify other: performances. The team tried to organize a festival away from the urban center of Ermoupolis, utilizing other neighborhoods of the island. They wanted to strengthen the view that there are C‐9 Sector which was.. other corners of Syros that can be appropriated and integrated into the culture of the Street, with ..the initiator of the activities: Culture some distance from foreign influences that we so often connect with this subject. They also wanted to create opportunities for the development of cultural institutions and alternative ..the most crucial for the whole case Other tourism in Syros island. study: C‐3 Challenge that the project (activities) tried/is trying to tackle: Comment: Community What challenge was the project Give color and life to old buildings, making the infrastructure more welcoming and interesting to C‐10 How was the local community involved in the project/activities: (activities) trying to tackle – what visitors as well as leaving something behind for the place that hosted a lively festival. was the aim How was the local community Witnessing the process of creation of the murals, attending the musical shows and theatrical involved in the project/activities? performances eating and drinking from the bar, attending the workshops. C‐4 Time frequency: C‐11 The role of natural/cultural heritage in the project/activities: Time Frequency Periodical activity Did cultural and/or natural heritage Cultural heritage played a role in the selection of the visual elements that have been created on Other information: A periodical activity, with lasting visual elements, repeating each year for three days in the late play any specific role in the the walls of the sport's center. The tradition and culture had informed the modern medium of summer . project/activities? street art and created a musical dialogue between different genres during the shows. C‐5 Time period C‐12 The targeted impact of the project/activity: 66 What was the targeted impact of The festival had as its main goal to create a lasting creative impact with the murals created in How were the creative works in As mentioned above, the works were perceived quite positively by the local community and the the project / activities? public space, while at the same time offering an experience to the visitors of the three day public space(s) perceived, visitors of the island enjoyed them so much as to talk about them with other people, spreading celebration. By bringing street culture to an island like Syros, the festival explores the possibilities evaluated, judged by the final users the festival's message. of a symbiosis of the traditional and the new, the classic and the innovative ‐ in hopes that visitors – what were the reactions of the and island's inhabitants notice that we all have more in common than we think we do, no matter general public? our background. C‐21 The (one) main success and the (one) main failure of the project/activities C‐13 Achievement of the targeted impact: Main sucess: Bringing together a varied demographic and creating dialogue concerning the converging and Yes/no/partly: Yes diverging ideas of the visitors. Comment: Even though there has not been any research conducted, most of the feedback from the visitors, Main failure: Lack of organization from the team, resulting in fragmented and diverse (good but also bad) the inhabitants and the municipality has been positive. We can confirm that by seeing that the experiences from the visitors festival continues to this day and grows stronger. Formal proposals have been made for its presentation in new locations. Some people have connected over the murals and others have C‐22 Importance of broader conditions for the main sucess and main failure factor: argued about their iconography questioning whether traditional themes can be expressed through such a medium as graffiti. Nevertheless, the dialogue has started and the organizational How important were the broader Concerning the success of the festival the support of the municipality, the "imported" know‐how team of the festival believes that this is what matters. conditions (e.g. the supporting of the creators and the community (team and visitors) had a very important role. Concerning the state of the art in the community, failure, the inability of the team to organize itself and create a coordinated and concise plan C‐14 Additional achieved impacts: infrastructure, institutional support, brought to the surface the importance of design in the early stages of creation. Furthermore the financial sources, local or management of human resources, especially when it concerns volunteer work, seems like a Were any additional impacts Creating a reserve of Street Art works, an open gallery of sorts ‐ placing Syros on the world map "imported" know‐how etc.) for the sector that some additional know‐how would be appreciated. achieved? of Street Art. Some people who visited Syros just for the festival got to know the island and its main success and main failure factor people and are considering visiting more frequently. C‐23 Provide the links to public data on the creative works C‐15 The main beneficiaries of the creative work in public space(s): Link to public data to better https://fermouart.gr/2018/08/13/2‐stray‐art‐festival‐2018/ (https://fermouart.gr/2018/08/13/2‐stray‐ Who were the main beneficiaries of Benefiting the most from the creative works in the Sports Center of Ermoupolis, was, first of all understand the activities and actors, art‐festival‐2018/) the creative works in public the local community. Also some small businesses and creators that got exposure from the three as well as impacts: spaces(s)? day festival. The municipality has also benefited a great amount, with a lot of press being produced around the murals and the island that hosts such a creative festival. The link: Press release in the summer of 2018 Link to public data to better https://www.gnoristetinellada.gr/politismos/ekdiloseis/2664‐stray‐art‐festival‐2018 C‐16 Presence (or not) of economic benefits for the local community as a whole or any understand the activities and actors, (https://www.gnoristetinellada.gr/politismos/ekdiloseis/2664‐stray‐art‐festival‐2018) specific actors in particular, resulting from the creative works with/in public spaces: as well as impacts: Were there any, no matter how big People who visited the island for the festival had a part in supporting the local businesses, adding The link: Press release in the summer 2018 or small, economic benefits for the to some small, but still existent, economic benefits. Furthermore, hotels, travel agencies and local local community as a whole or any restaurants aid in the hospitality of the artists and performers while getting exposure. Link to public data to better https://www.youtube.com/watch?v=iwl0mTPMato&ab_channel=syrostoday specific actors in particular, understand the activities and actors, (https://www.youtube.com/watch?v=iwl0mTPMato&ab_channel=syrostoday) resulting from the creative works as well as impacts: with/in public spaces? The link: Video documenting the event by a news outlet of the island C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Link to public data to better https://www.facebook.com/watch/?v=1109327839223776 (https://www.facebook.com/watch understand the activities and actors, /?v=1109327839223776) Were there any exchanges of There was cultural and social interaction between people visiting the island for the first time, as well as impacts: knowledge or other activities artists, musicians, performers and the local community. There were dialogues and knowledge was The link: Promo Video of the Festival performed that potentially shared between the participants. empowered the actors to prosper in D‐1 Main editor in charge of this entry and potential other authors of this case study their future development? description C‐18 Monitoring (or not) of the impact of the project: Name and surname: Helen Charoupia How was the impact of the project / The impact was monitored quantitatively in the form of walls that were painted, the number and Organization: University of the Aegean activities monitored? If it wasn’t – cost of paints (spray cans, colors, tools), the amount of artists that took part and finally the how do you think it could be expenses/revenue have been monitored at an organizational level as well as visually represented Email: hcharoupia@aegean.gr monitored? through an infographic. Further qualitative monitoring could possibly be done through qualitative methods ‐ like questionnaires, interviews or focus groups. Role: Author C‐19 Way in order to communicate the impact of the project: D‐2 Representative pictures How was the impact of the project / Through press releases, interviews on the radio and newspapers. Also through the social media of Picture's caption: Puta Volcano on the stage activities disseminated or the festival and through word of mouth. communicated? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: 67 Picture's author: Tatiana Kasimati Picture's author: Georgia Gavriiloglou Picture's date: 9/23/2018 12:00:00 AM Picture's date: 8/23/2018 12:00:00 AM Picture's source: Festival Arcive Picture's source: Festival Archive Picture's caption: Organisation before the beginning of the festival by the volunteers D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Picture's date: 9/23/2018 12:00:00 AM Picture's source: Festival Archive Picture's caption: Festive flags 68 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Cooperatively design and manufacture tools for smallscale Dense settlement agricultural production +5 Συνεργατικός σχεδιασμός και κατασκευή εργαλείων για +4 γεωργική παραγωγή μικρής κλίμακας +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ελλάδα ‐1 Region name (in local language): Ιωάννινα ‐2 Place name (in local language): Καλέντζι (Τζουμέρκα), Δεμάτι (Ζαγοροχώρια) ‐3 Country name (in english): Greece  ‐4 Region name (in english): Ioannina ‐5 Place name (in english): Kalentzi (Tzoumerka), Demati (Zagorochoria) Open landscape The dot in the graphs represents the situation both in Demati and Kalentzi. Both places are small villages far away from cities and Comment: with small populations. Difficult terrain +5 +4  +3 Map of the network of public +2 spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: Figure‐ground plan of Kalentzi ‐4 Legend of the map: black – built structure; light grey – paved open public space; dark grey – road network. diagonal ‐ ‐5 green area Effortless terrain Comment: 69 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1  ‐2 ‐3  ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 4 +3 Explanation: +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions   ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that In this case study, the remote place is a network of places connected through the exchange of characterise this case as a remote products, culture, and creativity. Demati and Kalentzi are the places that compose this network. place: Both of them have a low population, are far from cities and their citizens have difficulty in accessing daily life‐support facilities as there are no good transportation links to the cities. In general, the population is aged with low income, the unemployment is high which causes economic inferiority. In fact, Epirus, the region to which Tzoumerka belongs, is suffering from significant population decline and the second‐highest long‐term unemployment rate in the EU (2018). When the tourists leave, most of Tzoumerka’s villages are virtually empty. More specifically: •Demati is a village of Epirus and belongs to the prefecture of Ioannina. Is located on the slopes of Northern Pindos at an altitude of 1020 m. Demati is one of the villages of East Zagori, in which, according to the census of 2011, live about 100 people. •Kalentzi is a mountainous settlement in the prefecture of Ioannina and is located at the southern end of the prefecture, 31 km SE of Ioannina, in the former province of Dodoni. It was the seat of the municipality of Katsanochoria at an altitude of 620 meters. According to the 2001 census, it had 365 inhabitants, who are mainly engaged in animal husbandry and agriculture. 70 Low population density rank: 1 Parking area  Geographical barrier/allocation rank: 2 Service yard  No good transportation links rank: 3 Other types:  Difficulties in accessing daily‐life‐ 4 Specify other types: support facilities rank: Type of indoor public spaces that · Municipality buildings Social specifics and/or divisions can be found in this remote place: rank: · Churches · Health centre Economic inferiority rank: 5 Subjective criteria (e.g. community’s self‐perception of being remote etc) A‐8 General description of.. rank: The network of roads, streets, paths Each of these villages has a poor network of streets connecting houses with the main square of Other rank: and alike elements that tie this the village. There is also a wide unpaved street network and smaller paths. The roads connecting A‐5 Provide the links to public data remote place together: these villages are bigger but usually a bit dangerous as there is poor street lighting and steep turns. Important connections: •Demati is 37 km. away from Ioannina. From Thessaloniki (a Links to public data on the remote Demati map second bigger city in Greece) the distance is 260 km. From Athens the access is via Patras, place covering 445km., or via the National Road Athens ‐ Lamia. •Kalentzi Access to the area of Tzoumerka ‐ Katsanochoria has improved in recent years, significantly reducing the time required, The link: http://map‐greece.com/ioannina/en/%CE%A0%CE%BB%CE%B7%CF%81%CE%BF%CF%86%CE%BF%CF while there are alternatives, depending on the final destination or travel possibilities. From the %81%CE%AF%CE%B5%CF%82‐%CE%A7%CE%AC%CF%81%CF%84%CE%B7%CF%82‐%CE%94%CE%B5%CE%BC%CE city of Ioannina, access is via the 2nd provincial road, which passes through Katsanochoria. From %AC%CF%84%CE%B9‐Demati‐14.html (http://map‐greece.com/ioannina/en/%CE%A0%CE%BB%CE Ioannina, if someone takes the direction to Elliniko junction, then he/she can head to Kalentzi. %B7%CF%81%CE%BF%CF%86%CE%BF%CF%81%CE%AF%CE%B5%CF%82‐%CE%A7%CE%AC%CF%81%CF%84%CE %B7%CF%82‐%CE%94%CE%B5%CE%BC%CE%AC%CF%84%CE%B9‐Demati‐14.html) The quantity and structure of public All villages have a square where people can gather. Also, they have churches and points of space network (besides interest/exhibits with access to everyone. Even though the public spaces are not so many, they Links to public data on the remote Tzoumerka info ‐ Kalentzi roads/streets/paths network) in this are enough regarding the number of people. The villages are small so almost all public spaces can place remote place: be accessed by foot except for those where the natural environment doesn’t allow this. The link: https://web‐greece.gr/en/destinations/tzoumerka‐arta‐ioannina‐greece/ (https://web‐greece.gr A‐9 General description of the quality of public spaces in this remote place /en/destinations/tzoumerka‐arta‐ioannina‐greece/) Answer: The public spaces in remote places are not so well equipped especially during the winter months. Links to public data on the remote Zagorochoria info During summer because of tourism public spaces are more “alive” and well organized. Although place each of the villages has some great points of interest and gathering spots. Of course, the physical The link: https://izagori.gr/xoria/94‐items/xoria/1146‐%CE%B4%CE%B5%CE%BC%CE%AC%CF%84%CE%B9.html environment and green polls of leisure are more than enough which are open to the public any (https://izagori.gr/xoria/94‐items/xoria/1146‐%CE%B4%CE%B5%CE%BC%CE%AC%CF%84%CE%B9.html) time, surrounding the villages. More specifically: Demati: In Demati there is the bridge of Ali Pasha, which is located outside Demati in place Baklani, on the road leading from Ioannina to Links to public data on the remote Kalentzi info Metsovo. The bridge of Ali Pasha may be ruined, but it is gorgeous. In Demati are also the place Monastery of Agios Nikolaos and the monastery of Agia Marina. Regarding creative spaces in Demati there is “High mountains” a social cooperative founded in 2015 by people who live and The link: http://www.visit‐erymanthos.gr/frontend/villages/view/4/ (http://www.visit‐erymanthos.gr produce in mountainous areas. Members of the cooperative are farmers, food processors, /frontend/villages/view/4/) livestock farmers, beekeepers, but also carpenters, artists, makers, and scientists. High mountains give the opportunity to visitors to customize a tour to see and learn about the lands, history, and Links to public data on the remote Creativity in the countryside / how art and tech are revitalizing culture, projects, productions, and live for a while like them, with them. High Mountains don’t place have a public space but have a space that anyone could visit upon demand. Kalentzi: There is the The link: http://www.greece‐is.com/creativity‐in‐the‐countryside‐how‐art‐and‐tech‐are‐revitalizing‐epirus/ main square of the village and the Holy Church of the Assumption of the Virgin The creative public (http://www.greece‐is.com/creativity‐in‐the‐countryside‐how‐art‐and‐tech‐are‐revitalizing‐epirus/) space in Kalentzi is called “Tzoumakers” which is an open lab for communities to cooperatively design and manufacture tools for small‐scale agricultural production. Their vision is to create such A‐7 The type of public spaces that can be found in this remote place (besides the sites in both villages and cities where citizens may seize technology into their own hands. roads/streets/path network) B‐1 Name(s) of the public space(s) Square/s, Plaza/s  Name(s) of the public space(s) (in Τα ψηλά βουνά Park/s, Garden/s  local language): Market space/s  Name(s) of the public space(s) (in The high mountains English): Playground/s  Latitude of the public space(s): 39.73297902912757 Recreational space/s, Sport‐field/s  Longitude of the public space(s): 21.022353223312564 Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  71 Name(s) of the public space(s) (in Tzoumakers English): Latitude of the public space(s): 39.49060204847397 Ground plan showing the land use of the public space(s): Longitude of the public space(s): 20.977347016541103 Caption's map of the public space: "The high mountains" space Legend's map of the public space: Main location  Name(s) of the public space(s) (in Ιερός ναός κοιμήσεως Θεοτόκου local language): Ground plan showing the land use Name(s) of the public space(s) (in Holy Church of the Assumption of the Virgin of the public space(s): English): Latitude of the public space(s): 39.49232793356814 Longitude of the public space(s): 20.97840514391287 Ground plan showing the land use of the public space(s): Caption's map of the public space: Caption's map of the public space: "Tzoumakers" space Legend's map of the public space: Legend's map of the public space: Main location  Main location  Name(s) of the public space(s) (in Μοναστήρι Αγιος Νικόλαος local language): B‐2 Describe the physical environment Name(s) of the public space(s) (in Monastery of Agios Nikolaos Physical environment description of The public spaces with creative works in the villages are surrounded by nature. There are not so English): the public space(s) with creative many urban design features, just some houses of the villagers, churches, and museums around. Latitude of the public space(s): 39.73388700656209 works: Stone houses, stone paths, and fountains, picturesque squares, historic churches, and arched bridges are around the wider region of East Zagori. Both of them are located close to the Longitude of the public space(s): 21.022106743270143 mountains and inside the forest. Especially “The high mountains” in Demati and are far away from any built landscape. Even though “Tzoumakers” in comparison to Demati, is closer to some Ground plan showing the land use buildings, still is mainly surrounded by the natural landscape. One of the most characteristic of the public space(s): buildings of these places is the stone bridges that are scattered throughout the area and are remarkable examples of the folk architecture of Epirus. Their reputation is known throughout Caption's map of the public space: Greece and the Balkans, while many of them have been declared by the state as historical Legend's map of the public space: monuments. Demati is a part of Zagori which is fortunate to have the most stone bridges of all the other regions of Greece. This is due to the intense relief of the area that made transportation Main location  difficult and made their construction necessary but also to the wealth gathered by the villages since the prominent people of Zagorochoria had the financial ability to finance such expensive Name(s) of the public space(s) (in Καλέντζι πλατεία projects. The stone bridges are characterized by their elegance, the boldness of their local language): construction, their simplicity, their harmonization with the natural environment. Samples of the Name(s) of the public space(s) (in Kalentzi square excellent technique possessed by the Epirus master builders are distinguished in single‐arched, English): double‐arched, or third‐arched with multiple shapes and forms that were dictated each time by the particularities and the difficulties of each construction. The characteristic of the natural Latitude of the public space(s): 39.491077710696594 ecosystem is its rich biodiversity. Of the approximately 1100 species of flora, hosted by Epirus, most can be found in Zagori. The area, which proportionally hosts most species, is that of the Longitude of the public space(s): 20.981977846173066 ravine of Vikos. It is natural that such a rich flora offers ideal conditions for the maintenance of an equally rich fauna. The insect and bird fauna are unique, while in no other part of their country is Ground plan showing the land use there such an abundance of mammals. of the public space(s): Caption's map of the public space: Legend's map of the public space: Main location  Name(s) of the public space(s) (in Τζουμέικερς local language): 72 Physical environment elements The main and common characteristic of the spaces with creative works is their effort to revive the B‐8_a Which are the activities in this public space(s)? were important and/or actually area’s tradition of craft and making things by hand; recovering lost skills, giving people reasons to "used" by creative people for their stay, work, and create; and injecting new energy into rural life. So, one of the most important Activity: Farming activities: elements of the physical environment is the intense presence of nature and rural life. Creativity, Activity: Recreation products, and constructions use nature goods, support the physical environment and most of all are inspired by nature. There is the cultural route of Epirus which is the “qualitative leap from Activity: Building technical projects to life projects” and is the first organized effort of sustainable development focused on monuments. Regarding goods of nature in our case study “The high mountains” and Activity: Observe/watch/see “Tzoumak‐ers” collaborate to make small‐scale, open‐source agricultural tools by adopting the Commons‐Based Peer Production and the Design Global Manufacture Local concept, which gives B‐8_b Who are the main users of this public space(s)? them the chance to be a part of the global village, to lift the barriers of mountainous isolation, to share the knowledge they have with others and take new inputs from them. User: Makers B‐3 Describe the general functions User: Local creative individuals User: Farmers Functions and land uses description Both spaces have a cooperative character that supports cultural functions and at the same time in the area of the public space: connected to the natural environment. The space of “Tzoumakers” is a maker space. In the case User: Visitors/Volunteers from other areas of “The high mountains,” there is a private space designed to support crops, but there is a continuous exchange of knowledge and goods between the two spaces so one can say that this B‐8_c What are the users activities of this public space(s)? network is the public space itself, so what surrounds it is also the nature around the route. There are not so many buildings around creative spaces besides residential buildings. There is no school Users Activity Before After in Demati while in Kalentzi there is just one. Also, in Kalentzi, there is a small traditional coffee shop that also operates as a grocery store and a health center of the village. In general, Epirus is Visitors/Volunteers from other areas Observe/watch/see   known for its grand stone bridges that span the area’s rivers. The most famous of all is the 19th‐ Farmers Farming   century Plaka Bridge, which was the largest single‐arch bridge in the Balkans, spanning the Arachthos River and once the border between the nascent Greek state and the Ottoman Empire. Makers Building   Aside from its villages and stone bridges, what sets the region of Tzoumerka apart is its natural beauty, with its razor‐sharp mountain peaks, freezing waterfalls, rivers tumbling through gorges, Local creative individuals Recreation   lush green hiking trails, Judas trees blossoming with their rose‐colored flowers its' thousand‐and‐ one religious monuments. B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Functionalities of space were Regarding “Tzoumakers” the infrastructure of the building supports the operation of the maker important and/or actually "used" by space, so it used by the creative people. Also, in the case of “The high mountains,” there are fields Describe what parts seem to be the In the past, the maker space of "Tzoumakers" was a cultural center where people use to gather creative people for their activities: that are cultivated to produce crops, and this is usually space where the community of most attractive to people for local events. Now, this maker space is open to everyone for visiting or make use of the “Tzoumakers” goes to observe the building of farming tools and other constructions useful for infrastructures. People usually gather inside to use any available tools and build things or outside agriculture. On the other hand, the people from “The high mountains” often visit the space of when there is the occasion of constructing something bigger. The creative works made the space “Tzoumakers” to acquire a scientific approach and knowledge. This exchange of knowledge is more "alive" and a place for creativity and exchanging ideas. In the picture of B‐VI (map wasn't one of the most important aspects of this case study. In addition, the natural environment plays a available) you can see the arrangement of the place. The space of "High mountains" is not exactly crucial role in this case study, as it provides the creative spaces with valuable materials and offers a creative space but it was made for agriculture activities. Usually, tools that are made in the inspiration for creation. space of "Tzoumakers" are used from "High mountains". B‐4 General demographic characteristics of the area around the public space: B‐10 Provide the links to public data on the public space(s) Describe the general demographic The building of “Tzoumakers” is in the village Kalentzi which at the 2001 census it had 365 Website: Tzoumakers webpage characteristics inhabitants, who are mainly engaged in animal husbandry and agriculture. The farms of “the high mountains” are in the Village Demati in which, according to the census of 2011, live about 100 Website's link: https://tzoumakers.gr/English/ (https://tzoumakers.gr/English/) people. In both places, there are not so many residential buildings or public buildings. People Website: The high mountains webpage usually are farmers or workers with usually low income, enough though for the needs in those places. Also, Epirus, the region to which Demati and Kalentzi belong, is suffering from significant Website's link: https://thehighmountains.org/en/the‐park/ (https://thehighmountains.org/en/the‐park/) population decline and the second‐highest long‐term unemployment rate in the EU (2018). When the tourists leave, most of Tzoumerka’s villages are virtually empty. B‐11 Provide photos of the public space(s) with creative works B‐5 Type of the public space(s) with creative work Caption: "The high mountains" space 2 Form and function: o community open‐air space/s o abandoned space o public building o meadows o yard o watersides o indoor space: maker space Ownership: mixed Access regarding entry‐control: Open access in general, controlled in the case of “The high mountains” for the access to the farms. Access regarding time of day/week Every day mainly during the day. /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this In the case of “The high mountains,” the farm before was also the farm of the owners. On the public space designed for initially other hand, the building of “Tzoumakers” in the past was a cultural center. For many years after this, it was abandoned and then it was renovated to be used as a maker space. 73 Photo's author: https://thehighmountains.org/i‐epichirisi/ Caption: "Tzoumakers" space Photo's author: https://thehighmountains.org/i‐epichirisi/ Photo's author: Nicolas Garnier Caption: "The high mountains" space 3 Caption: Testing the grinder for aromatic plants Photo's author: Alekos Pantazis / https://repository.incredibleforest.net/oppla‐factsheet/20910 Caption: "The high mountains" space Photo's author: https://thehighmountains.org/i‐epichirisi/ Caption: "Tzoumakers" space 2 74 Describe the project (activities) that 1. Cooperatively design and manufacture tools for small‐scale agricultural production: took place in the analysed public Mountainous agricultural communities suffer from fragmentation, lack of infrastructure, and space(s) networking. Moreover, agricultural tools are made mainly for industrial‐scale production. Small‐ scale organic farmers are often compelled to adapt their cultivations to big and expensive tools instead of being capable to adapt their tools to their cultivations. Mountainous agricultural communities suffer from fragmentation, lack of infrastructure, and networking. Moreover, agricultural tools are made mainly for industrial‐scale production. Small‐scale organic farmers are often compelled to adapt their cultivations to big and expensive tools instead of being capable to adapt their tools to their cultivations. Tzoumakers is an open lab for communities to cooperatively design and manufacture tools for small‐scale agricultural production. 2. “Worth living Integrated Development” scheme in mountainous areas: The High Mountains is a social cooperative founded in 2015 by people who live and produce in mountainous areas. Their members are farmers, food processors, livestock farmers, beekeepers, but also carpenters, artists, makers, and scientists. Ther vision is to succeed in a “Worthliving Integrated Development” scheme in mountainous areas. They try to revive our villages holistically, to adopt or create models and techniques of producing, distributing, consuming, and living, customized to the special needs, conditions, and environments of the places they have chosen to live in and attached to the values they want to live by. C‐3 Challenge that the project (activities) tried/is trying to tackle: Photo's author: https://www.tzoumakers.gr/english/ What challenge was the project 1. Cooperatively design and manufacture tools for small‐scale agricultural production: The vision is (activities) trying to tackle – what to create such sites in both villages and cities where citizens may seize technology into their own Caption: "Tzoumakers" space 3 was the aim hands. These sites may be supported by municipalities and/or by multi‐stakeholder cooperatives. 2. “Worth living Integrated Development” scheme in mountainous areas: ‐Boosting Mountainous Economy and Production ‐Reviving Mountainous Societies ‐Protect the Environment, Reclaim Mountainous Space and Abandoned Properties C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 1/1/2015 12:00:00 AM End: 6/28/2021 12:00:00 AM Comment: This is a continuous process C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Alekos Pantazis Motivations: Citizens to seize technology into their own hands Photo's author: https://www.tzoumakers.gr/english/ Roles: Researcher, Maker C‐1 Official name of the activity/project Actor(s): Sotiris Tsoukarelis Name in local language: Συνεργατικός σχεδιασμός και κατασκευή εργαλείων για γεωργική παραγωγή μικρής κλίμακας, Motivations: Rural development Ολοκληρωμένη ανάπτυξη στα βουνά Roles: Researcher, maker, farmer Name in English: Cooperatively design and manufacture tools for small‐scale agricultural production, “Worthliving Integrated Development” scheme in mountainous areas C‐7 Description of the supporting background that existed to make the activities happen: Nickname: What kind of supporting 1. Cooperatively design and manufacture tools for small‐scale agricultural production: This activity background existed to make the was supported by "The INCREDIBLE project" which aims to show how Non‐Wood Forest Products Overall name:  activities happen (financial, (NWFP) can play an important role in supporting sustainable forest management and rural institutional etc.) development, by creating networks to share and exchange knowledge and expertise. ‘Innovation C‐2 Description of the project (activities) that took place in the analysed public space(s): Networks of Cork, Resins, and Edibles in the Mediterranean basin’ (INCREDIBLE) promotes cross‐ sectoral collaboration and innovation to highlight the value and potential of NWFPs in the region. FUNDING European Union‘Innovation Networks of Cork, Resins, and Edibles in the Mediterranean basin’ (INCREDIBLE) project receives funding from the European Commission’s Horizon 2020 program under grant agreement Nº 774632. 2. “Worthliving Integrated Development” scheme in mountainous areas An example could be the construction of a pole cutter to make the benchings. Members of "The high mountains" visit the "Tzoumakers" as they participate in this community and make some of their own tools. To achieve this, Sotiris from "The high mountains" received funding for young farmers in which he used the pole cutter. So a tool made by "Tzoumakers" helped a new farmer of "The high mountains" in the construction he made with the supporting 75 funding. C‐8 Sectors involved in the development of the creative works with public spaces: What was the targeted impact of 1. Cooperatively design and manufacture tools for small‐scale agricultural production / the project / activities? Tzoumakers: Their vision is to create such sites in both villages and cities where citizens may seize Culture  technology into their own hands. These sites may be supported by municipalities and/or by multistakeholder cooperatives. At this stage, however, they are primarily focusing on Education  empowering the local communities to ensure the viability of their pilot. Also, technological Health  sovereignty can empower small‐scale local communities in various ways: from the economic factor (open‐source tools are usually at ⅓ rd of the commercial price) to unleashing the Sustainability  innovative potential of distributed communities that collaborate and exchange knowledge, skills, and tools freely. 2. “Worth living Integrated Development” scheme in mountainous areas / The Science  high mountains: to succeed in a “Worthliving Integrated Development” scheme in mountainous areas: Their goal is to revive their villages in a holistic way, to adopt or create models and Tourism  techniques of producing, distributing, consuming and living, customized to the special needs, Sport  conditions and environments of the places they have chosen to live in and attached to the values we want to live by. Their goals and work include efforts in many different, but interconnected Industry  fields. More specifically they try to boost mountainous economy and production, revive mountainous societies, protect the environment, reclaim mountainous space and abandoned Other:  properties. Specify other: agriculture C‐13 Achievement of the targeted impact: C‐9 Sector which was.. Yes/no/partly: Partly ..the initiator of the activities: Sustainability Comment: 1. Cooperatively design and manufacture tools for small‐scale agricultural production / ..the most crucial for the whole case Sustainability Tzoumakers: Design globally and sharing the knowledge as a commons and manufacture locally in study: local maker spaces, can empower producers to build their own tools, adapted to their needs, and help them towards technological sovereignty. During its first year of operation, the Tzoumakers Comment: community has collaboratively produced twelve tools like a tool for nailing fencing poles, a tilling fork (instead of digging the soil), or a grinder for aromatic plants. Most of them address real C‐10 How was the local community involved in the project/activities: needs and are used and repaired by the community. 2. “Worth living Integrated Development” scheme in mountainous areas / The high mountains: ‐Boosting Mountainous Economy and How was the local community 1. Cooperatively design and manufacture tools for small‐scale agricultural production / Production: In general, they adopt the Commons‐Based Peer Production and the Design Global involved in the project/activities? Tzoumakers: ‐ Participation in a workshop: Everyone can participate in the workshops regardless Manufacture Local concept, which gives them the chance to be a part of the global village, to lift of their level of familiarity with the tools. It is a condition that they follow the instructions of the the barriers of mountainous isolation, to share the knowledge they have with others, and take head of the laboratory, to observe the safety rules and the correct way of using the equipment. new inputs from them. For that, they collaborate with the Tzoumakers maker space ‐Use of equipment and construction of a tool: If someone wants to use the laboratory equipment (tzoumakers.gr/), making their own small‐scale, open‐source agricultural tools. They embrace to repair some of his / her tools, he/she can do so after consultation with the person in charge of traditional products, ways, and methods of production, evolving them by mixing them with the laboratory. If someone wants to use the laboratory equipment to make a tool, they can do so modern technology Trying to create and promote consumer cooperatives and Community in consultation with the laboratory manager. As the goal is to find and build solutions all together Supported Agriculture systems as a way to lift the isolation from the markets that encounter both he/she will be asked if he/she wants to open the process so that others from the community can consumers and producers in mountainous areas. They are a network of people who live and participate. ‐ Borrowing tools or equipment Anyone who wants to borrow one of the tools they produce in the mountains, so we are trying to create a common mountainous brand for our have made can contact them. They leave it to him if he wants and can, returning the tool to products in order that we promote them through practices like collective marketing ‐Reviving contribute to the community by donating some material such as cutting discs, drills, or anything Mountainous Societies: To revive the decimated mountainous societies and make their lives else as a reward. 2. “Worth living Integrated Development” scheme in mountainous areas: In the better, with more social interaction, but also to solve the issue of lack of working force, they use case of "The High mountains", they organize the High Mountains Solidarity Tours to help each platforms like WWOOF , Workaway, HelpX, to attract volunteers from all around the world. Every other in different projects or works, but also to meet and have a nice feast together. They allow year their members host travelers who live their lives, help them in their works, bring new ideas, visitors to customize a tour around their members' places, see and learn about the lands, their live together with their families, and make their villages more vivid. They organize the High history, and culture, their projects, taste their productions, meet their people, live for a while like Mountains Solidarity Tours to help each other in different projects or works, but also to meet and them, with them. They offer consultancy to mountainous municipalities about policies they can have a nice feast together. They give the opportunity to visitors to customize a tour around their adopt, to help people relocate to their territory. members' places, see and learn about the lands, their history, and culture, their projects, taste their productions, meet their people, live for a while like them, with them. Even if it is, they don't C‐11 The role of natural/cultural heritage in the project/activities: consider this a touristic product, but mostly a part of their social life and a deep need and opportunity to communicate the authentic side of their culture and life. The cooperative, though Did cultural and/or natural heritage Of course, natural heritage plays important role in these activities as these places are surrounded its members and their knowledge, offers consulting to whoever wants to leave the city life and play any specific role in the by mountains and forests. Also, one of their main goals, especially of "The high mountains" is to relocate to a mountainous village. Also, they offer consultancy to mountainous municipalities project/activities? protect the environment, reclaim mountainous space and abandoned properties. All of their about policies they can adopt, to help people relocate to their territory. ‐Protect the Environment, members produce in a respectful way towards nature (organic, natural cultivation, permaculture). Reclaim Mountainous Space and Abandoned Properties: All of their members produce in a Developing new ways of cultivation and types of infrastructure to reclaim the difficult and respectful way towards nature (organic, natural cultivation, permaculture) Developing new ways pretentious mountainous space (rocky and hard soil, big sloaps, small pieces of land). They are of cultivation and types of infrastructure to reclaim the difficult and pretentious mountainous trying to restore old infrastructures and make good use of abandoned properties. To do that they space (rocky and hard soil, big sloaps, small pieces of land). They are trying to restore old are mapping all the abandoned infrastructure, houses, fields, resources, etc and they propose to infrastructures and make good use of abandoned properties. To do that they are mapping all the their owners ways of collective investment to make good use of their fortunes, so they can abandoned infrastructure, houses, fields, resources, etc and they propose to their owners, ways benefit themselves and the development of the area. of collective investment to make good use of their fortunes, so they can benefit themselves and C‐12 The targeted impact of the project/activity: the development of the area. C‐14 Additional achieved impacts: 76 Were any additional impacts One of the additional impacts could be that local communities have the opportunity to Main sucess: The main success is the continuous reviving of the mountains and rural areas. Also, the achieved? interconnect on a global scale, sharing their experience, ideas, solutions, and tools globally as a development of the open platform with tools will help other local communities to learn useful common resource (knowledge, design). Then, they can build solutions locally with local practices for their projects. conditions in mind in maker spaces, fabrication laboratories (fab labs), or typical workshops with basic benchtop tools. Main failure: As a weakness can be pointed out the lack of networking and the fragmentation of Greek mountainous agricultural communities. Also, future development could be the creation of C‐15 The main beneficiaries of the creative work in public space(s): functional business models for communities like Tzoumakers is an issue still to be formulated. Local authorities and farmers’ associations can play a key role in supporting these communities. Who were the main beneficiaries of One of the main beneficiaries of the creative works is the people that take part in it, as they Moreover, protocols should be developed that will formulate the establishment and function of the creative works in public created tools to improve rural life and agriculture activities. In addition, the local community had internal and external processes. spaces(s)? the opportunity to gain knowledge even though they are not experts. Anyone could be involved in creative activities. Of course, local businesses were also involved as they provide materials for C‐22 Importance of broader conditions for the main sucess and main failure factor: the creative works to happen. One of the most important benefits of the creative works is the option of sharing tools' designs on an open‐source platform. That’s also the story of the non‐ How important were the broader For the main success one of the most important "conditions" was the human capital. These profit network FarmHack (US) and the co‐operative L’Atelier Paysan (France) which both produce conditions (e.g. the supporting groups consist of people who have extensive knowledge of construction processes and at the open‐source designs for agricultural machines. They have been exploring the contours of an state of the art in the community, same time understanding of agriculture activities. The members are farmers, food processors, emerging mode of production that builds on the confluence of the digital commons of infrastructure, institutional support, livestock farmers, beekeepers, but also carpenters, artists, makers and scientists. This is a strong knowledge, software, and design with local manufacturing technologies. They call this model financial sources, local or composition of people with great potential to succeed in development in mountainous areas. “design global, manufacture local” and argue that it could lead to sustainable and inclusive forms "imported" know‐how etc.) for the Also, this holistic knowledge provides the base for creating a collection of practices valuable for of production and consumption. Accordingly "Tzoumakers" during 2021 will share the main success and main failure factor other communities too. Regarding failure, probably a more suitable word could be a weakness. documentation of their tools (drawings, instructions, photos, software) so that everyone can One weakness is the lack of networking which is mainly because of the location of these places. build them locally. They are far away from big cities and difficult to reach and the obstacle of this lack of face‐to‐face interaction must be overcome through other means of communication, which are not always C‐16 Presence (or not) of economic benefits for the local community as a whole or any adequate. specific actors in particular, resulting from the creative works with/in public spaces: C‐23 Provide the links to public data on the creative works Were there any, no matter how big As already mentioned, the local community had/has a lot of benefits resulting from the creative or small, economic benefits for the work. There were some economic benefits as the local community helps to provide materials for Link to public data to better https://thehighmountains.org/ (https://thehighmountains.org/) local community as a whole or any the creative works. Also, they can take part in these works to learn new skills which may help understand the activities and actors, specific actors in particular, them in an economic aspect. Another important economic contribution is the visitors of the as well as impacts: resulting from the creative works creative space who spend time in the villages and consume local services and products. The link: "the high mountains" webpage with/in public spaces? Link to public data to better https://theconversation.com/design‐global‐manufacture‐local‐a‐new‐industrial‐revolution‐82591 C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that understand the activities and actors, (https://theconversation.com/design‐global‐manufacture‐local‐a‐new‐industrial‐revolution‐82591) potentially empowered the actors to prosper in their future development: as well as impacts: Were there any exchanges of This case study has an important aspect of knowledge exchanging. First, the network of places The link: Design global, manufacture local: a new industrial revolution? knowledge or other activities cooperates to produce tools and designs based on existing needs. More specifically, "The high performed that potentially mountains" have the agriculture knowledge when on the other hand "Tzoumakers" know the Link to public data to better https://youtu.be/Q66rciAJwQc (https://youtu.be/Q66rciAJwQc) empowered the actors to prosper in scientific facts and provide the way of making tools suitable for agriculture activities. Second, as understand the activities and actors, their future development? mentioned in C‐XV "Tzoumakers" are in the process of creating an open‐source platform with as well as impacts: documentation of their tools so everyone can access their designs and gain knowledge from their The link: Τzoumakers: A mountainous community of open source technologies, Greek National Television experience. (ERT3). Accessed July 28, 2020 C‐18 Monitoring (or not) of the impact of the project: Link to public data to better https://repository.incredibleforest.net/oppla‐factsheet/20910 understand the activities and actors, (https://repository.incredibleforest.net/oppla‐factsheet/20910) How was the impact of the project / There is a video on youtube about "Tzoumakers": Τzoumakers: A mountainous community of as well as impacts: activities monitored? If it wasn’t – open source technologies, Greek National Television (ERT3). Accessed July 28, 2020 how do you think it could be https://youtu.be/Q66rciAJwQc. Also, there is a short video: https://www.youtube.com The link: Cooperatively design and manufacture tools for small‐scale agricultural production monitored? /watch?v=VJssswf_T6M&ab_channel=Phygital and two documentaries about "Tzoumakers". This is after the workshop has been set up: https://youtu.be/Q66rciAJwQc This before being set up: Link to public data to better https://www.youtube.com/watch?v=VJssswf_T6M&ab_channel=Phygital https://youtu.be/08KC_nTXRoE understand the activities and actors, (https://www.youtube.com/watch?v=VJssswf_T6M&ab_channel=Phygital) as well as impacts: C‐19 Way in order to communicate the impact of the project: The link: "Tzoumakers" maker space How was the impact of the project / There are some papers speaking about these projects and also some documentaries as activities disseminated or mentioned above. These speak about the importance and impact of this case study. D‐1 Main editor in charge of this entry and potential other authors of this case study communicated? description C‐20 Perception of the creative works in public space(s) by the final users and the reactions Name and surname: Kyproula Bartzoka of the general public: Organization: University of the Aegean How were the creative works in The general public is small in the villages and people usually were excited that something Email: kyproula.bartzoka@agean.gr public space(s) perceived, "different" happens in their place. They usually want to take part in these activities, learn new evaluated, judged by the final users things or at least have the curiosity to know what is going on during these creative works. In Role: author – what were the reactions of the addition, these activities attract people from other places which for some could be annoying but general public? mainly general public want their place to be more alive. Name and surname: Eleni Haroupia C‐21 The (one) main success and the (one) main failure of the project/activities Organization: University of the Aegean Email: hcharoupia@syros.aegean.gr 77 Role: editor Name and surname: Spyros Bofylatos Organization: University of the Aegean Email: bofy@aegean.gr Role: editor D‐2 Representative pictures Picture's caption: Construction Picture's author: Tzoumakers Picture's date: 7/22/2020 12:00:00 AM Picture's source: Picture's caption: Working with others 2 Picture's author: Tzoumakers Picture's date: 7/22/2020 12:00:00 AM Picture's source: Picture's caption: Kalentzi village Picture's author: Tzoumakers Picture's date: 6/16/2020 12:00:00 AM Picture's source: Picture's caption: Working with others 78 Picture's author: Tzoumakers Picture's date: 7/22/2020 12:00:00 AM Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Tzoumakers Picture's date: 7/22/2020 12:00:00 AM Picture's source: Picture's caption: "The high mountains" space Picture's author: The high mountains Picture's date: 6/17/2020 12:00:00 AM Picture's source: Picture's caption: Aromatic plant sander 79 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Grampus Heritage and Training Ltd +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Κυπρός ‐1 Region name (in local language): Λάρνακα ‐2 Place name (in local language): Πάνω Λευκάρα  ‐3 Country name (in english): Greece ‐ Cyprus ‐4 Region name (in english): Larnaka ‐5 Place name (in english): Pano Le�ara Open landscape Pano Lefkara (Greek: Πάνω Λεύκαρα) is a village on the island of Cyprus famous for its lace, known as lefkaritika in (Greek: Comment: λευκαρίτικα) and silver handicrafts. The village takes its name from the white of its silica and limestone: Lefkara is derived from a combination of the Greek words "lefka" (Greek: λευκά, Translation: white) and "ori" (Greek: όρη, Translation: mountains, hills). Difficult terrain +5 +4 +3 Map of the network of public spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2  +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: Figure‐ground plan of Pano Le�ara ‐4 Legend of the map: black – built structure; light grey – paved open public space; dark grey – road network. ‐5 Effortless terrain The village is situated at the foot of the Troodos Mountains in the south eastern region, 650m above sea level, 45 km from Nicosia, Comment: 30 km from the Larnaca airport and just 12 km from the Nicosia – Limassol highway. It is not really far from the sea, yet, it is located high enough for the moist air coming in from the sea to get dry by the time it reaches the village. 80 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2  ‐3  ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 4 +3 Explanation:  +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Population exodus The exodus of the population of Pano Lefkara in the 1930s through to the 1970s resulted in the abandonment of many of the community’s self‐perception of dwellings in the village. The development of tourism has had little impact upon the traditional architecture. The use of new materials being remote etc): Comment: chosen for reasons of comfort and fashion has changed little the façades and interiors of traditional dwellings. There are a number of  dwellings that have remained untouched and are now closed up and uninhabited. For the most part, the traditional architecture of Other Pano Lefkara remains intact. Specify other: Summary of the elements that The exodus of the population of Pano Le�ara in the 1930s through to the 1970s resulted in the characterise this case as a remote abandonment of many of the dwellings in the village. place: Low population density rank: Geographical barrier/allocation rank: No good transportation links rank: Difficulties in accessing daily‐life‐ support facilities rank: Social specifics and/or divisions rank: 81 Economic inferiority rank: Subjective criteria (e.g. community’s Name(s) of the public space(s) (in Πάνω Λευκάρα self‐perception of being remote etc) local language): rank: Name(s) of the public space(s) (in Pano Le�ara Other rank: English): A‐5 Provide the links to public data Latitude of the public space(s): 34.86755082700869, Links to public data on the remote Official website site of Le�ara Municipality Longitude of the public space(s): 33.30541501745475 place Ground plan showing the land use The link: https://www.le�ara.org.cy/en/ (https://www.le�ara.org.cy/en/) of the public space(s): Links to public data on the remote Cypriot Agrotourism portal Caption's map of the public space: Map of le�ara place Legend's map of the public space: Figure‐ground plan of Le�ara The link: https://www.le�aravillage.com/ (https://www.le�aravillage.com/) Main location  Links to public data on the remote Cypriot tourims portal place B‐2 Describe the physical environment The link: https://www.visitcyprus.com/index.php/en/discovercyprus/villages/item/455‐le�ara‐village Physical environment description of Pano Le�ara is situated on a altitude of 500m. Climate is typical mediteranean.The village is a (https://www.visitcyprus.com/index.php/en/discovercyprus/villages/item/455‐le�ara‐village) the public space(s) with creative dense urban environmant surrounded by the fields where the farming takes place. Workshops works: exists around the village. The main public space is the village plaza (Πλατεία) . At the edge of the A‐7 The type of public spaces that can be found in this remote place (besides the plaza the Le�ara cultural Center exists as another important public place in the village. Finally the roads/streets/path network) athletic stadium exists at the northeast edge of the village. Square/s, Plaza/s  Physical environment elements The plaza is the heart of the village. The kindergarden and the school are next to it making it the were important and/or actually most important public space in the village. In addition the different churches, chapels and Park/s, Garden/s  "used" by creative people for their mosques in the village are another meeting point for the community, activities: Market space/s  B‐3 Describe the general functions Playground/s  Functions and land uses description Plaza: civic Places of worship: Cultural Folk Art Museum: Cultural Museum of Needlecraft: Cultural Recreational space/s, Sport‐field/s  in the area of the public space: Village water spring (Χαβούζα): Civic Community open‐air space/s  Functionalities of space were The crux of the creative works undertaken is sustainability and the idea that in many forms pre Institution‐related open‐air space/s  important and/or actually "used" by modern,rural life was closer to sustainability's principles. By engaging in the valorisation of (e.g.University grounds) creative people for their activities: knowledge from the glorious past of the village Grampus aims to go beyond documenting and preserving this. The goal is to reengage in these crafts to create meaningful employment and Watersides  rural regeneration. Meadows  B‐4 General demographic characteristics of the area around the public space: Parking area  Describe the general demographic The population on the villages is ageing largely due to younger people leaving to work in large characteristics cities like Nicosia or London. Most of the people still living in the island are older or retired. Service yard  Other types:  B‐5 Type of the public space(s) with creative work Specify other types: Form and function: Village Square Sports field Place of worship Open air space Type of indoor public spaces that Ownership: Public Public Private Mixes can be found in this remote place: Access regarding entry‐control: Open access Controled access (open specific times of day) Controled access (open specific times A‐8 General description of.. of day) Open access Access regarding time of day/week The network of roads, streets, paths The village is located on the southern slopes of the Troödos Mountains in the Larnaca District of /year: and alike elements that tie this Cyprus, off the main Nicosia‐Limassol highway. It is well connected with the two nearby villages, remote place together: Kato Le�ara and Kato Drys by paths and roads. B‐7 Kind of activity initially designed for this public space: The quantity and structure of public The village is dense in its center but surrounded by open space. There is a couple of plazas in the What kind of activity has been this The main interesting public space in the context of this case study are the roads of the village. space network (besides village and a football stadium on the edges. Overall there is adequate public space for the public space designed for initially Le�aritika, a type of lace native to this region. At the evenings the local women will sit outside roads/streets/paths network) in this activities undertaken. the house and make the lace together. Thi is done in part to have good light but also as a space remote place: for people to get together and gossip. The climate is cool enough to allow people to spend time A‐9 General description of the quality of public spaces in this remote place outside throughout the year. The church is another center of the community especialy as the young people of the village left. It is an architectural monument and one of the reasons, Answer: Due to the exodus and ageing of the population it is reversed in ways. The public spaces that have combined with the crafts museum and the nature that people visit this place. existed have been left empty and it is more of a need for people to populate them than the other way around. B‐8_a Which are the activities in this public space(s)? B‐1 Name(s) of the public space(s) Activity: Lace making 82 Activity: Socialising Activity: Heritage mangment B‐8_b Who are the main users of this public space(s)? User: Residents User: Visitors User: Participants in educational programmes B‐8_c What are the users activities of this public space(s)? Users Activity Before After   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the most attractive to people B‐10 Provide the links to public data on the public space(s) Website: Website's link: B‐11 Provide photos of the public space(s) with creative works Caption: Church with a cross bearing the 'le�atiotika' lace patterns Photo's author: Caption: Door Rescue in kato Dtys *** Photo's author: C‐1 Official name of the activity/project Name in local language: Grampus Heritage and Training Ltd Name in English: Nickname: Grampus Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): 83 Describe the project (activities) that Grampus Heritage and Training is a not‐for‐profit organisation which is passionate about culture, Health  took place in the analysed public heritage, archaeology and the environment. Its main aim is to preserve disappearing skills across  space(s) Europe. With a long history of successful European projects, having been involved in programmes Sustainability like Leonardo da Vinci since 1995, the organisation is a proud holder of the prestigious VET Science  Mobility Charter (VMC), which recognises quality and dedication in mobility projects. Grampus Heritage has helped to shape a wealth of personal stories over the years. With projects covering Tourism  everything from sand dune erosion to shepherd‐inspired fashion, the team works hard to preserve and maintain the historic environment and focus on the significance of re‐introducing Sport  traditional European crafts at risk of being lost forever to the march of technology. Grampus Industry  Heritage placements are all about supporting rural communities, saving skills and, in the process, improving the employability of young people by giving them an experience abroad where they Other:  can develop a skill they would otherwise never have had the opportunity to learn. The Green Village partnership was led by Grampus Heritage & Training, with a range of partners with the Specify other: Traditional Crafts skills, knowledge and experience to get to grips with the European‐wide problem of rural decline and decay; Devetaki Plateau Association (Bulgaria), Hylates / Kato Drys Community Council C‐9 Sector which was.. (Cyprus), Biuldungsstätte Dübener Heide Naturpark (Germany), Náttúrustofa Vestjarða – NAVE ..the initiator of the activities: Culture (Iceland), Sylviron Limited (Ireland), CNR‐IVALSA (Italy), Satul Verde Association (Romania) and Ipel Eko s.p.o.l (Slovakia). A ‘Third‐Country’ partner Manyatta Youth from Kenya were also a ..the most crucial for the whole case Sustainability partner and gave valuable insights to ‘Green Village’ with an East African perspective. The ‘Green study: Village’ (GV) project (ref: ) was supported by the European Unions ‘Leonardo da Vinci – Multilateral Development of Innovation Programme’, which is part of the ‘Lifelong Learning Comment: Programme’ (LLP). The creation of curriculum focused on 4 key areas for sustainable rural development RURAL FOOD, RURAL ENERGY, SUSTAINABLE BUILDING, WOOD PRODUCTS and 2 C‐10 How was the local community involved in the project/activities: more key areas that are more overarching and transversal, EMPOWERING COMMUNITIES OUR SUSTAINABLE ANCESTORS a final area is ACCESS TO RURAL RESEARCH, a web‐based resource How was the local community The local community is the host of europeans who wish to visit to particiapte in the local creative that puts science into VET. involved in the project/activities? workshops undertaken. Their culture and their place is in the center of the creative process. The goal is to learn from their ancestors and to understand their culture. In addition many of the C‐3 Challenge that the project (activities) tried/is trying to tackle: locals play the role of teacher/ mentor for the education in archeology and crafts. The two main local crafts, lace making and silverworking is endangered. Preserving the heritage is central in this What challenge was the project Working to protect their traditional practices of economic production, sustainable for process. As such the veteran carftspeople are a part of local cultural capital. Many people would (activities) trying to tackle – what communities and in harmony with the natural world. focus on the soft skills developed alongside a traditional craft, such as an increase in confidence was the aim and communication skills, Martin has also seen how Grampus Heritage projects can impact the wider lives of participants. "Nine marriages are known to us," he said. "A former substance C‐4 Time frequency: abuser wrote to Grampus to thank us for saving his life and, to our knowledge, over 50 UK learners are now working in Europe as a direct result. Time Frequency A constant process Other information: C‐11 The role of natural/cultural heritage in the project/activities: Did cultural and/or natural heritage For Grampus any project undertaken needs to be within the four pillars of sustainability: C‐5 Time period play any specific role in the Environmental Sustainability – it could be measured by the low amount of carbon released by the Start: 1/1/1995 12:00:00 AM project/activities? people living there and the processes and products they carry out and make. We can also use biodiversity as a measure or ’rarity’ or ’typicality’ of species Cultural Sustainability – do the people End: tell stories, sing, dance, make music? Do they go to a place of worship? Do they make their houses and streets look attractive? Do they respect the past but have the potential to add something Comment: new to ’culture? All these things might be considered. Social Sustainability – are families intact or fragmented? Do the young people leave and only old people remain? Are the people friendly and C‐6 Actors in relation to the analysed creative work, their main motivation and their roles welcoming or introverted and remote? Are the people happy, contented, satisfied? Are there social meeting places?.... a pub, a church, a village hall, a coffee shop? Economic Sustainability – Actor(s): Grampus the most attractive village in Europe is not sustainable if the people are financially destitute; there Motivations: Sustainable Development around the four pillars of sustainability. has to be a buoyant economy and real jobs. We could say that this is the most important thing, the culture, nature and sociality will follow. We must be careful; wealthy people living in polluted Roles: landscapes and as slaves to material considerations, indulging in a ’throw‐away’ economy, cannot truly reflect rural sustainability. Actor(s): Cyprus Agrotourism Company Motivations: Tourism C‐12 The targeted impact of the project/activity: Roles: coordination What was the targeted impact of Making sustainability fashionable. A glimpse into a grass roots, pan‐european, sustainable fashion the project / activities? movement, where up‐styling, recycling and re‐modelling are second nature. Meet people using C‐7 Description of the supporting background that existed to make the activities happen: their passion for sustainability to fuel education and business endeavours. Including Local culture and heritage in perspective. The global perspective local culture and heritage gives us on what we What kind of supporting The municipality is very keen to support the process of creative regeneration. There were existing have in common. We enjoy fixating over the differences and consuming it’s novelties but can local background existed to make the associations of silver and lace craft that were in place but ageing. The tourism board has worked a culture and heritage offer us more? Follow the traditional art of masking across Europe and activities happen (financial, lot on agrotourism in the area. Also the work undertaken by gramus is shapped by european discover reminders of Europe’s strong links with the Islamic world. Transferring the Green Village institutional etc.) policy and finacial tools provided. programme. Green Village is an EU backed initiative which operated in a number of countries to support rural communities in protecting and re‐contextualising their traditional ways of life. The C‐8 Sectors involved in the development of the creative works with public spaces: aim was to help sustainable and economically viable communities to flourish in harmony with each other and the natural world. Slovenia presents the perfect location in which to consider Culture  transferring Green Village and look to the future. Education  84 C‐13 Achievement of the targeted impact: Yes/no/partly: Partly C‐22 Importance of broader conditions for the main sucess and main failure factor: Comment: The process is ongoing. The covid pandemic decelerated the process of transfering knowledge How important were the broader Without Erasmus+ funding none of this would be possible. "European funding has completely about sustainable cultural heritage managment but it will be restarting soon. conditions (e.g. the supporting shaped Grampus," Martin adds. "It has made us 100% European‐aligned in our direction and state of the art in the community, policies. We've always worked with different programmes and we've tried to serve the whole C‐14 Additional achieved impacts: infrastructure, institutional support, community, using a jigsaw puzzle of European and UK programmes." Martin equates much of the financial sources, local or organisation's success with European funded projects to their internationalisation strategy. "It Were any additional impacts "imported" know‐how etc.) for the wouldn't be possible for us to be here for over 20 years without an internationalisation strategy. achieved? main success and main failure factor You can't abandon your business strategy, but if you are secure in your business thinking, you C‐15 The main beneficiaries of the creative work in public space(s): have more freedom to let your internationalisation blossom. In addition the three villages, Kato Drys, and Ano and Kato Drys have had a lot of cultural capital from the past but the urbanisation Who were the main beneficiaries of The local community is the first beneficiaty of the creative works undertaken in Le�ara. In of the country and the war led to the abandonment of the countryside. the creative works in public addition due to Grampus being a member of the VET Mobility Charter a wide array of Erasmus+ spaces(s)? placements has brought internationals to the village. The different educational programmes aim C‐23 Provide the links to public data on the creative works to connect the past with the future combining traditional skills with young people aiming to Link to public data to better http://www.grampusheritage.co.uk/desire/peats‐cyprus‐creating‐a‐network‐of‐trails‐in‐the‐ create examples of sustainable development in the rural environment. This aims to preserve understand the activities and actors, mountainous‐area‐of‐larnaca‐district/ (http://www.grampusheritage.co.uk/desire/peats‐cyprus‐ these traditonal skills that are a integral part of local culture and to provide a pathway to as well as impacts: creating‐a‐network‐of‐trails‐in‐the‐mountainous‐area‐of‐larnaca‐district/) meaningful employment for the young peole engagin in lace making or silverworking. Local economy is given an injection of money from people who otherwise would not be visitng this The link: Cyprus Creating a network of trails in the mountainous area of Larnaca District remote corner of the mediteranean. In addition this reactivation of the village aims to bring younger people out of the cities and back into the villages. Additionally in the context of the Link to public data to better http://www.grampusheritage.co.uk/desire/cyprus‐practical‐ways‐of‐tackling‐climate‐change/ environmental aspcets of the pillars of sustainability the ecosystem around the village can be understand the activities and actors, (http://www.grampusheritage.co.uk/desire/cyprus‐practical‐ways‐of‐tackling‐climate‐change/) seen as benefiting from the work undertaken. as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: Practical Way of Giving Messages About Climate Change specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better http://www.grampusheritage.co.uk/desire/cyprus‐conservation‐and‐ecotourism/ Were there any, no matter how big The reactivation of local crafts creates new posibilities for employability and the influx of visitors understand the activities and actors, (http://www.grampusheritage.co.uk/desire/cyprus‐conservation‐and‐ecotourism/) or small, economic benefits for the is an economic benefit of the educational programmes. as well as impacts: local community as a whole or any The link: Conservation and Ecotourism specific actors in particular, resulting from the creative works Link to public data to better grampusheritage.co.uk/projects/pride/ (grampusheritage.co.uk/projects/pride/) with/in public spaces? understand the activities and actors, as well as impacts: C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: The link: PRIDE: PARTNERSHIP FOR RURAL IMPROVEMENT & DEVELOPMENT IN EUROPE Were there any exchanges of Grampus Heritage provides a variety of placement programmes. Grampus Heritage placements Link to public data to better http://www.grampusheritage.co.uk/traditional‐skills/cyprus‐putting‐ancient‐skills‐into‐fashion/ knowledge or other activities are all about supporting rural communities, saving skills and, in the process, improving the understand the activities and actors, (http://www.grampusheritage.co.uk/traditional‐skills/cyprus‐putting‐ancient‐skills‐into‐fashion/) performed that potentially employability of young people by giving them an experience abroad where they can develop a as well as impacts: empowered the actors to prosper in skill they would otherwise never have had the opportunity to learn. The link: Putting Ancient Skills into Fashion for Jobs & Cultural Sustainability. their future development? C‐18 Monitoring (or not) of the impact of the project: D‐1 Main editor in charge of this entry and potential other authors of this case study description How was the impact of the project / With European programmes being in the center of the process monitoring and impact is Name and surname: Spyros Bofylatos activities monitored? If it wasn’t – monitored on a per project basis. how do you think it could be Organization: University of the Aegean monitored? Email: bofy@aegean.gr C‐19 Way in order to communicate the impact of the project: Role: author How was the impact of the project / Again with so many of the activities being undertaken within the European Context dissemination activities disseminated or is undertaken through a variety of chanels and media. Oddly the projects have a very light D‐2 Representative pictures communicated? prrsecence in social media focusing in more traditional ways of dissemination. Picture's caption: Le�ara cat Cafe C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in Overall the creative works have been embraced by the local community as an attempt to public space(s) perceived, revitalise rural community forgoten by the central authorities. evaluated, judged by the final users – what were the reactions of the general public? C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: Creating a network of villages engaging in sustainable rural development. Main failure: Scalling up the skills acquired through the training into sustainable enterprises. 85 Picture's author: Martin David Clark Picture's date: Picture's source: Picture's caption: Door restoration Picture's author: Martin David Clarck Picture's date: Picture's source: Picture's caption: Painting lessons 86 Picture's author: Martin David Clarck Picture's author: Martin David Clarck Picture's date: Picture's date: Picture's source: Picture's source: Picture's caption: Overview of the village D‐3 Additional information Additional information: The project that promotes a future for the past Link: https://cyprus‐mail.com/2021/06/09/the‐project‐that‐promotes‐a‐future‐for‐the‐ past/?�clid=IwAR13xTVaBJ5riKYtuTm1WVU6BPaKgcb5a1mx3l1VO30PgIPCDN‐eWgGJ91s (https://cyprus‐mail.com/2021/06/09/the‐project‐that‐promotes‐a‐future‐for‐the‐ past/?�clid=IwAR13xTVaBJ5riKYtuTm1WVU6BPaKgcb5a1mx3l1VO30PgIPCDN‐eWgGJ91s) Additional information: SHEPHERD INSPIRED FASHION Link: https://sublimemagazine.com/shepherd‐inspired‐ fashion?�clid=IwAR3oN8aGHl0Zgf7sLqiai9CgL3PEtBLQ8SceAeFmO8kO3KXmxrEH5ig5x5Y (https://sublimemagazine.com/shepherd‐inspired‐ fashion?�clid=IwAR3oN8aGHl0Zgf7sLqiai9CgL3PEtBLQ8SceAeFmO8kO3KXmxrEH5ig5x5Y) Additional information: Understanding true sustainability Link: https://cyprus‐mail.com/2021/05/05/understanding‐true‐sustainability /?�clid=IwAR1JPTX2tkuuGrrdqZrYj4HRHGIOMlBCau1IdTAWUmOn80xW_kYyHnHHDz0 (https://cyprus‐mail.com/2021/05/05/understanding‐true‐sustainability /?�clid=IwAR1JPTX2tkuuGrrdqZrYj4HRHGIOMlBCau1IdTAWUmOn80xW_kYyHnHHDz0) D‐4 Optional final remark Picture's author: Martin David Clarck Optional final remarks: is there any Picture's date: additional information that was not communicated through the Picture's source: template Picture's caption: Cypriot carnival masques 87 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Interactive Installation in the Museum of Marble Crafts +5 Διαδραστικό Installation στο Μουσείο Μαρμαροτεχνίας +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ελλάδα ‐1 Region name (in local language): Τήνος ‐2 Place name (in local language): Πύργος  ‐3 Country name (in english): Greece ‐4 Region name (in english): Tinos ‐5 Place name (in english): Pyrgos Open landscape Comment: Difficult terrain +5  +4 +3 +2 Map of the network of public +1 spaces in the remote place Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 Caption of the map: Figure‐ground plan of Pyrgos ‐5 Legend of the map: black – built structure; light grey – paved open public space; dark grey – road network. diagonal x Effortless terrain ‐ sea Comment: 88 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1  +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3  ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 4 +3 Explanation: +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links   ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that What characterizes Pyrgos as a remote place centers around its location, which is the middle of characterise this case as a remote the Aegean Sea. The transportation links with the mainland are not scarce, but fairly limited ‐ place: especially in the winter months. This results in difficulties in accessing daily‐life support facilities in cases of unstable weather or other limitations. The permanent population of the village is a mere 489 people as of 2011, which indicates quite a low density. Low population density rank: 3 Geographical barrier/allocation rank: 1 No good transportation links rank: 2 Difficulties in accessing daily‐life‐ 4 support facilities rank: Social specifics and/or divisions 89 rank: Economic inferiority rank: Name(s) of the public space(s) (in Μουσείο Μαρμαροτεχνίας local language): Subjective criteria (e.g. community’s self‐perception of being remote etc) Name(s) of the public space(s) (in Museum of Marble Crafts rank: English): Other rank: Latitude of the public space(s): 37.64074694835257 A‐5 Provide the links to public data Longitude of the public space(s): 25.04364014084993 Links to public data on the remote Ground plan showing the land use place of the public space(s): The link: https://tinos.gr/en/villages/pyrgos/ (https://tinos.gr/en/villages/pyrgos/) Caption's map of the public space: Figure‐ground plan of Pyrgos Links to public data on the remote Legend's map of the public space: black – built structure; light grey – paved open public space; dark grey – road network. diagonal x place ‐ sea The link: https://tinosecret.gr/en/listing‐item/pyrgos/ (https://tinosecret.gr/en/listing‐item/pyrgos/) Main location  A‐7 The type of public spaces that can be found in this remote place (besides the B‐2 Describe the physical environment roads/streets/path network) Physical environment description of The area of the public space can be characterized as rural, being close to the houses of the Square/s, Plaza/s  the public space(s) with creative settlement and also adjacent to fields, slopes and dry stone walling. works: Park/s, Garden/s  Physical environment elements The physiognomy of place was used by the creators of the project as an inspiration as well as a Market space/s  were important and/or actually means through which the creative works are experienced by the audience. "used" by creative people for their Playground/s  activities: Recreational space/s, Sport‐field/s  B‐3 Describe the general functions Community open‐air space/s  Functions and land uses description The main use of the land of Pyrgos is rural, with the settlement accounting for a residential Institution‐related open‐air space/s  in the area of the public space: function. The museum, represents of course a cultural and educational functionality. It is also (e.g.University grounds) useful to mention that very close to it there is the School of Marble Crafts. Watersides  Functionalities of space were The main functionality used was the one of the museum, but the place and its character were a important and/or actually "used" by very important part in the creative process, a fact that is transmitted through the designed Meadows  creative people for their activities: activities. Parking area  B‐4 General demographic characteristics of the area around the public space: Service yard  Describe the general demographic The population of the island is aging, and the situation is quite similar in the settlement of Pyrgos. characteristics Other types:  Specify other types: B‐5 Type of the public space(s) with creative work Type of indoor public spaces that ▪ Municipality buildings Form and function: Indoor space functioning as a museum dedicated to marble crafts. can be found in this remote place: ▪ Churches Ownership: Mixed ▪ Museums Access regarding entry‐control: There is an entry fee for entering the museum, although under some criteria there is free entry. Access regarding time of day/week From March 1 to October 15: Daily (except Tuesdays) 10am‐ 6pm From October 16 to February 28: A‐8 General description of.. /year: Daily (except Tuesdays) 10am ‐ 5pm The network of roads, streets, paths Pyrgos is connected with Chora (the largest town and administrative capital of the island) with a B‐7 Kind of activity initially designed for this public space: and alike elements that tie this street, spanning 23km. Within the settlement, there are a few roads, a lot of stone‐paved paths remote place together: and steps that connect the houses and small shops. What kind of activity has been this The space was initially designed to function as a museum, disseminating cultural and educational public space designed for initially information to its visitors The quantity and structure of public The main public spaces of Pyrgos are squares, with a big central one being the main open, public, space network (besides gathering space B‐8_a Which are the activities in this public space(s)? roads/streets/paths network) in this remote place: Activity: Browsing the exhibition A‐9 General description of the quality of public spaces in this remote place Activity: Using the interactive installation Answer: The central open public space is well equipped and easily accessible, responding to the needs of B‐8_b Who are the main users of this public space(s)? both the local people (used to have a functional fountain, while also had a dedicated sub‐space to do the laundry) and the visitors (cafe, restaurants, bar, etc.) User: Visitors without prior interest B‐1 Name(s) of the public space(s) User: Visitors with prior interest 90 B‐8_c What are the users activities of this public space(s)? Users Activity Before After Photo's author: Pavlos Chatzigrigoriou, Vasiliki Nikolakopoulou, Theodoros Vakkas, Spyros Vosinakis, Panayiotis Koutsabasis Visitors with prior interest Browsing the exhibition   Caption: A concept diagram of the interactive installation for the Museum of Marble Crafts Visitors with prior interest Using the interactive installation   Visitors without prior interest Browsing the exhibition   Visitors without prior interest Using the interactive installation   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the The interactive installation, based on the crane that is at the entrance of the museum, is at the most attractive to people center of attention for the users and clearly at the center of this case study. Before the installation, users didn't seem to understand the use of the crane and passed by it without giving it much attention. After the installation of the interactive prototype, at the level of laboratory tests, our users understood better how it worked in context, revealing the artefact's intangible cultural heritage. The same results are expected in the museum tests. B‐10 Provide the links to public data on the public space(s) Website: Museum of Marble Crafts Website Website's link: https://www.piop.gr/en/diktuo‐mouseiwn/Mouseio‐Marmarotexnias‐Tinou/to‐mouseio.aspx Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos (https://www.piop.gr/en/diktuo‐mouseiwn/Mouseio‐Marmarotexnias‐Tinou/to‐mouseio.aspx) Chatzigrigoriou, Panayiotis Koutsabasis B‐11 Provide photos of the public space(s) with creative works Caption: (a) First lo‐fi (throwaway) prototype representing the basic functionality parts of the crane. (b) A close‐to‐final version of the visual design of the virtual crane and characters. Caption: Heatmap of Pyrgos (Tinos) physiognomy, using historical buildings Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis Caption: Methodology used for the Mouseion Topos project Photo's author: Pavlos Chatzigrigoriou, Vasiliki Nikolakopoulou, Theodoros Vakkas, Spyros Vosinakis, Panayiotis Koutsabasis Caption: Museum of Marble Crafts Interior Photo's author: Pavlos Chatzigrigoriou, Vasiliki Nikolakopoulou, Theodoros Vakkas, Spyros Vosinakis, Panayiotis Koutsabasis 91 Caption: The crane at the entrance of the Museum of Marble Crafts, Tinos. Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis Caption: Photos from the user evaluation of the installation in the museum. Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis Caption: Second lo‐fi prototype with the addition of the boom (green), central axis (blue), ropes, and look and feel gears (white), and screenshot Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis C‐1 Official name of the activity/project Name in local language: Διαδραστικό Installation στο Μουσείο Μαρμαροτεχνίας Name in English: Interactive Installation in the Museum of Marble Crafts Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Photo's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis Describe the project (activities) that A mixed reality installation for the Museum of Marble Crafts in Tinos island in Greece, which took place in the analysed public places visitors in the role of a crane operator, that has to complete challenges in a gamified Caption: Screenshot of the hi‐fi prototype of the virtual environment of the phygital application, space(s) version of the old quarry. The system lets users operate a tangible controller (a small‐scale crane representing the second stage of the gamified application model) and their actions are executed by digital workers in a rich 3D environment. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The aim of the project is to develop a novel approach for learning in a playful manner about the (activities) trying to tackle – what history and operation of a mechanical crane and the associated historical and cultural context. was the aim C‐4 Time frequency: Time Frequency A constant process Other information: The project is constantly evolving, going through cycles of prototyping, evaluation and improvement. C‐5 Time period Start: 11/1/2018 12:00:00 AM 92 End: How was the local community The local community was involved from the first stages of research, with the creative team involved in the project/activities? getting interviews from locals and experts alike. Comment: C‐11 The role of natural/cultural heritage in the project/activities: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Did cultural and/or natural heritage Cultural heritage is at the heart of this interactive installation, which has as its main role the Actor(s): Developers play any specific role in the dissemination of information in a playful, experiential and educational manner. The physiognomy project/activities? of place, and by extend the natural heritage of the settlement was also a very important factor Motivations: research‐based, academic that weighed on the design decisions and development of the creative activites Roles: writing code C‐12 The targeted impact of the project/activity: Actor(s): Designers What was the targeted impact of The aim of the installation was to immerse visitors in an old quarry, let them adopt the role of the Motivations: research‐based, academic the project / activities? crane operator, and complete a series of challenges in a playful manner. Roles: producing prototypes C‐13 Achievement of the targeted impact: Actor(s): Engineers Yes/no/partly: Yes Motivations: research‐based, academic Comment: The evaluation results were generally positive, indicating that the system under development is Roles: producing digital and physical content considered easy to use and playful by prospective users and appropriate for the museum by the experts. Actor(s): Curators C‐14 Additional achieved impacts: Motivations: professional Were any additional impacts Additionally to the cultural impact of the project, a lot of knowledge was created through the Roles: producing content, overseeing the process achieved? research and development of Mouseion Topos. Actor(s): Cultural Heritage Experts C‐15 The main beneficiaries of the creative work in public space(s): Motivations: academic, professional Who were the main beneficiaries of The main beneficiaries of the project include the local community, but reach a far greater Roles: producing content, overseeing the process the creative works in public audience of researchers, academics, engineers and other professionals in the field of cultural spaces(s)? heritage conservation. The creative works inside the museum of marble crafts provide the C‐7 Description of the supporting background that existed to make the activities happen: audience with a tactile experience of a long lost past, while at the same time let the researchers understand how new technologies impact the user's encounter with tangible or intangible What kind of supporting The support of the University of the Aegean, the local municipality's support, as well as the cultural heritage. background existed to make the support of the Museum of Marble crafts created fertile ground for the development of this activities happen (financial, project. Furthermore, this research has been co‐financed by the European Union and Greek C‐16 Presence (or not) of economic benefits for the local community as a whole or any institutional etc.) national funds through the Operational Program Competitiveness, Entrepreneurship and specific actors in particular, resulting from the creative works with/in public spaces: Innovation, under the call RESEARCH—CREATE—INNOVATE. Were there any, no matter how big Surely the local museum, as well as the settlement of Pyrgos, have experienced some economic C‐8 Sectors involved in the development of the creative works with public spaces: or small, economic benefits for the benefits due to the creative works related to the project of 'Mouseion Topos'. local community as a whole or any Culture  specific actors in particular, resulting from the creative works Education  with/in public spaces? Health  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Sustainability  potentially empowered the actors to prosper in their future development: Science  Were there any exchanges of Exchange of knowledge is at the core of the project, with the dissemination of intangible cultural knowledge or other activities heritage being of great significance to the prosperity of the museum, the involved organizations, Tourism  performed that potentially companies as well as the university. empowered the actors to prosper in Sport  their future development? Industry  C‐18 Monitoring (or not) of the impact of the project: Other:  How was the impact of the project / The evaluations of the prototype throughout the design and development process provided a Specify other: Craftsmanship, Art, Technology, Gamification activities monitored? If it wasn’t – good indication of the impact that the project might have when it is implemented at the location how do you think it could be it was created for; the Museum of Marble Crafts at Pyrgos. C‐9 Sector which was.. monitored? ..the initiator of the activities: Culture C‐19 Way in order to communicate the impact of the project: ..the most crucial for the whole case Education How was the impact of the project / The on‐site impact of the project has not yet been measured, but the prototype of the interactive study: activities disseminated or installation has been under several evaluations. Comment: +Gamification communicated? C‐10 How was the local community involved in the project/activities: C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: 93 How were the creative works in Two academic papers have been written, one concerning the specific project at Pyrgos and one Picture's caption: Indicative heatmap part of Pyrgos (Tinos) physiognomy placed upon historical buildings and POIs. public space(s) perceived, concerning the overarching initiative; 'Mouseion Topos'. There is also another paper on the The yellow‐colored line proposes guided tours for visitors aiming to highlight the experience of evaluated, judged by the final users mobile gamified application that is taking place inside the settlement. the settlement’s physiognomy – what were the reactions of the general public? *** C‐21 The (one) main success and the (one) main failure of the project/activities Picture's author: Pavlos Chatzigrigoriou, Vasiliki Nikolakopoulou, Theodoros Vakkas, Spyros Vosinakis, Panayiotis Koutsabasis Main sucess: Users generally found the system interesting and they enjoyed using it. Picture's date: 3/9/2021 12:00:00 AM Main failure: Findings from the observation revealed some misconceptions regarding the use of the controller Picture's source: Mouseion Topos of the installation. Picture's caption: The crane at the entrance of the Museum of Marble Crafts, Tinos. C‐22 Importance of broader conditions for the main sucess and main failure factor: *** How important were the broader The success of the project was heavily influenced on the research, development and evaluation conditions (e.g. the supporting carried out by the creators of the project. All the mentioned factors had a significant role in the Picture's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos state of the art in the community, implementation of the creative works, with the state of the art informing the methodology and Chatzigrigoriou, Panayiotis Koutsabasis infrastructure, institutional support, technology used, the infrastructure of the university and the museum being crucial and the financial sources, local or knowledge of the intangible heritage communicated by the locals informing the design and Picture's date: "imported" know‐how etc.) for the development process. Concerning the failure, the time and financial constraints surely played a Picture's source: Mouseion Topos main success and main failure factor part even though it is to be expected that misconceptions of the use of the installation are to be expected of any design process. Picture's caption: Photos from the user evaluation of the installation in the museum. C‐23 Provide the links to public data on the creative works *** Link to public data to better https://www.mdpi.com/2571‐9408/3/4/83 (https://www.mdpi.com/2571‐9408/3/4/83) Picture's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos understand the activities and actors, Chatzigrigoriou, Panayiotis Koutsabasis as well as impacts: Picture's date: The link: Co‐Design of a Playful Mixed Reality Installation: An Interactive Crane in the Museum of Marble Picture's source: Mouseion Topos Crafts Picture's caption: The interior of the Museum of Marble Crafts Link to public data to better https://www.mdpi.com/2571‐9408/4/2/38 (https://www.mdpi.com/2571‐9408/4/2/38) understand the activities and actors, *** as well as impacts: Picture's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos The link: Is Architecture Connected with Intangible Cultural Heritage? Reflections from Architectural Digital Chatzigrigoriou, Panayiotis Koutsabasis Documentation and Interactive Application Design in Three Aegean Islands Picture's date: Link to public data to better https://www.researchgate.net/profile/Panayiotis‐Koutsabasis/publication understand the activities and actors, /350840070_Learning_About_the_Heritage_of_Tinian_Marble_Crafts_with_a_Location‐ Picture's source: Mouseion Topos as well as impacts: Based_Mobile_Game_and_Tour_App/links/6087a374907dcf667bc717ef/Learning‐About‐the‐ Heritage‐of‐Tinian‐ (https://www.researchgate.net/profile/Panayiotis‐Koutsabasis/publication Picture's caption: A concept diagram of the interactive installation for the Museum of Marble Crafts /350840070_Learning_About_the_Heritage_of_Tinian_Marble_Crafts_with_a_Location‐ *** Based_Mobile_Game_and_Tour_App/links/6087a374907dcf667bc717ef/Learning‐About‐the‐ Heritage‐of‐Tinian‐) Picture's author: Spyros Vosinakis, Vasiliki Nikolakopoulou, Modestos Stavrakis , Labros Fragkedis, Pavlos Chatzigrigoriou, Panayiotis Koutsabasis The link: Learning About the Heritage of Tinian Marble Crafts with a Location‐Based Mobile Game and Tour App Picture's date: D‐1 Main editor in charge of this entry and potential other authors of this case study Picture's source: Mouseion Topos description D‐3 Additional information Name and surname: Helen Charoupia Additional information: Organization: University of the Aegean Link: Email: hcharoupia@aegean.gr D‐4 Optional final remark Role: Author Optional final remarks: is there any D‐2 Representative pictures additional information that was not communicated through the Picture's caption: Hermes Methodology template *** Picture's author: Pavlos Chatzigrigoriou, Vasiliki Nikolakopoulou, Theodoros Vakkas, Spyros Vosinakis, Panayiotis Koutsabasis Picture's date: 3/9/2021 12:00:00 AM Picture's source: Mouseion Topos 94 Urban Art Project ‘Street TUGAL Decoration through Recycled Art’ Projeto arte urbana “Ornamentação de Ruas com Arte Reciclada” The light that exists A Luz Que Há Casa do Quarteirão POR Prazeres’ Pedagogic Farm Quinta Pedagógica dos Prazeres Rota Vicentina 95 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Urban Art Project ‘Street Decoration through Recycled Art’ +5 Projeto arte urbana “ORNAMENTAÇÃO DE RUAS COM ARTE +4 RECICLADA” +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Portugal ‐1 Region name (in local language): Região Autónoma da Madeira ‐2 Place name (in local language): Câmara de Lobos ‐3 Country name (in english): Portugal ‐4 Region name (in english): Madeira Island ‐5 Place name (in english): Câmara de Lobos Open landscape Câmara de Lobos is a town in the south-central coast of the island of Madeira. Technically a suburb of the capital city of Funchal, Comment: Câmara de Lobos is part of the Municipality of Câmara de Lobos, with an area of 52,15 km² and 40 000 inhabitants. Difficult terrain +5 +4 +3  +2 Map of the network of public spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 Caption of the map: Câmara de Lobos Map ‐5 Legend of the map: Teatro Metaphora's area of intervention Effortless terrain Camara do Lobos is well served by the road infrastructure. Its center is located close to the sea, while the town is spread over the Comment: mountains. 96 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3  ‐4 ‐4 ‐5 ‐5 Absence of economic activity Câmara de Lobos main economic activities are agriculture and fishing. In the last years, however, there has been a substancial Low‐income households prevail Comment: increase in tourism due to its relation to Winston Churchill (who used to come to the bay of Câmara de Lobos) and the construction Comment: Since the presence of Teatro Metaphora ( TM ) the area acquired an experience on participatory practices. of hotels. A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Daily‐life‐support facilities well developed at all) to 5 (extremely remote) +5 Estimation: 3 +4 Explanation: The town is well served by public transportation and the road networks. It is relatively easy to get +3  to the capital Funchal. However, it remains the ancient sense of isolation of the different communities and the fact that the town is located on an island in the middle of the Atlantic +2 Ocean. +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Low population density  demographic demographic structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Comment: Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that If Madeira can already be considered a remote place (being an island in the middle of the Atlantic characterise this case as a remote Ocean), Camara do Lobos can be considered an even more remote place. In the interviews carried place: out we collected the perception of a place that until recently was considered rough by the inhabitants of the island: somehow Camara do Lobos had a sort of stigma. There was a tendency not to visit this town that was considered dangerous. In some ways it was more a matter of a perception than the reality of a danger. Low population density rank: Geographical barrier/allocation rank: 2 No good transportation links rank: 97 Difficulties in accessing daily‐life‐ The network of roads, streets, paths The town is located in the south east of Madeira. Funchal, the island's capital, is at east borders of support facilities rank: and alike elements that tie this Camara do Lobos. From Funchal you it is possible to walk to Camara do Lobos in 40 minutes, via remote place together: one of the few pedestrian path of the island. Camara do Lobos is connected with the other towns Social specifics and/or divisions 3 through a freeway, called ‘Via Rapida’, and a series of regional roads. The only existing public rank: transportation are buses: they connect the town with the rest of the island. If reaching the main locations by bus is not impossible during working days, It is a challenge reaching more isolated Economic inferiority rank: 1 destinations or travelling in the evenings or on weekends. This is why most people use the private Subjective criteria (e.g. community’s cars when they have the chance. The use of bicycles is almost absent, due to the steep mountain self‐perception of being remote etc) roads and the absence of cycle paths. rank: The quantity and structure of public In the center of Câmara de Lobos, there are enough public spaces to respond to the community Other rank: space network (besides needs. They are appropriately located (even though, being Câmara de Lobos the second largest roads/streets/paths network) in this town of Madeira Island and having very disperse areas in the mountains) and eqquiped. A‐5 Provide the links to public data remote place: Links to public data on the remote Institutional website ‐ City hall Câmara de Lobos A‐9 General description of the quality of public spaces in this remote place place Answer: Speaking of indoor public spaces, they are all concentrated in the center of Câmara de Lobos city. The link: http://www.cm‐camaradelobos.pt (http://www.cm‐camaradelobos.pt) In general, they are well eqquiped and have good infrastructures. In terms of outdoor public spaces, it is possible to find them spread across the county ‐ both natural and built infrastructure. Links to public data on the remote Governmental website Being those touristic references, in their majority, they are well preserved and attend to both the place locals and foreigns' needs. The link: https://www.alram.pt/pt/inicio/ (https://www.alram.pt/pt/inicio/ ) B‐1 Name(s) of the public space(s) Links to public data on the remote Governmental website place Name(s) of the public space(s) (in Câmara de Lobos centro local language): The link: http://www.gov‐madeira.pt (http://www.gov‐madeira.pt) Name(s) of the public space(s) (in Camara do Lobos ‐ City Center Links to public data on the remote Institutional website ‐ Parish of Câmara de Lobos English): place Latitude of the public space(s): 32.6561 The link: http://www.freguesiacamaradelobos.pt (http://www.freguesiacamaradelobos.pt) Longitude of the public space(s): 16.9675 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Ground plan showing the land use Community open‐air space/s  of the public space(s): Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Caption's map of the public space: Câmara de Lobos city center Specify other types: Legend's map of the public space: Type of indoor public spaces that � public library  can be found in this remote place: Main location � public theatre B‐2 Describe the physical environment Physical environment description of The actions carried out by the TM projects described here took place in the center of Camara do A‐8 General description of.. the public space(s) with creative Lobos: it is located in front of the sea and the ancient fishermen's port and in the adjacent streets. works: The town, outside the center, develops on the mountainous reliefs. 98 Physical environment elements The streets of the town center had several closed houses and shops. The actions organized by 1 Teatro Metaphora members and C Making together   were important and/or actually Teatro Metaphora started there, by working on the doors of abandoned houses/shops, on the volunteers "used" by creative people for their lights and on the decoration of the streets.   activities: 1 Teatro Metaphora members and D Visiting the streets for pleasure / volunteers Spending time out B‐3 Describe the general functions 1 Teatro Metaphora members and A Co‐designing   Functions and land uses description Residential / commercial / services / touristic The area in which Teatro Metaphora worked is that volunteers in the area of the public space: of the center of the town of Camara do Lobos. In this area there are different activities and 2 Local residents of Camara do B Collecting waste materials   therefore different functions: The center ends in the old fishing port: some fishing boats are still Lobos operating, and other boats are now used for tourism (for example for daily naturalistic visits) Overlooking the harbor there are some bars and restaurants. Some of them with a more local 2 Local residents of Camara do C Making together   clientele, others more touristy. In 2018, an entire area overlooking on the right the port was Lobos renovated for luxury tourism (no new buildings were built, but the low houses of the port were renovated). The inner streets of the center are only partly pedestrianized, while most are also for 2 Local residents of Camara do D Visiting the streets for pleasure /   the transit of cars. Not all houses are inhabited or used on the internal streets. The active ones are Lobos Spending time out bars, restaurants, personal homes and services. 3 Businness owner of Camara do B Collecting waste materials   Functionalities of space were In the downtown area there are some public buildings (such as the municipal library and theater) Lobos important and/or actually "used" by and several bars and restaurants   creative people for their activities: 3 Businness owner of Camara do C Making together Lobos B‐4 General demographic characteristics of the area around the public space: 4 Tourists from Madeira D Visiting the streets for pleasure /   Describe the general demographic The municipality of Camara do Lobos has an area of 52.15 km² and 35 666 inhabitants, subdivided Spending time out characteristics into 5 parishes. The town of Camara do Lobos has 17 986 inhabitants 5 Tourists from outside Madeira D Visiting the streets for pleasure /   B‐5 Type of the public space(s) with creative work Spending time out Form and function: Squares and streets B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Ownership: mixed Describe what parts seem to be the The interventions of Teatro Metaphora in the center of Camara do Lobos are constantly evolving. Access regarding entry‐control: open access most attractive to people From time to time they act on a specific area and theme. These interventions are of a decorative nature: alternative lighting systems for streets and squares, decorations for closed doors. All Access regarding time of day/week 24‐7 access these interventions did not change the space, but they decorated it, making the city center of /year: Camara do Lobos more colorful and bright B‐7 Kind of activity initially designed for this public space: B‐10 Provide the links to public data on the public space(s) What kind of activity has been this The space where the activities of the Teatro Metaphora have been concentrated is the city center Website: Statistical website public space designed for initially of Camara do Lobos: it is a series of narrow streets that lead to the small fishing port. Their main function was transit and commerce. Until a few decades ago, fishing was a fundamental activity Website's link: https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_indicadores&indOcorrCod=0005889& for the town. Due to emigration and the economic crisis, many of the centre's activities had been contexto=pi&selTab=tab0 (https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_indicadores& closed and many doors were simply closed and not used. indOcorrCod=0005889&contexto=pi&selTab=tab0) B‐8_a Which are the activities in this public space(s)? Website: Blog about teatro metaphora Activity: B Collecting waste materials Website's link: https://atlanticiscalling.wordpress.com (https://atlanticiscalling.wordpress.com) Activity: C Making together Website: Teatro Metaphora official website Activity: D Visiting the streets for pleasure / Spending time out Website's link: http://www.teatrometaphora.org (http://www.teatrometaphora.org ) Activity: A Co‐designing B‐11 Provide photos of the public space(s) with creative works B‐8_b Who are the main users of this public space(s)? Caption: CamaraDoLobos_TeatroMetaphora‐0 User: 2 Local residents of Camara do Lobos User: 3 Businness owner of Camara do Lobos User: 4 Tourists from Madeira User: 5 Tourists from outside Madeira User: 1 Teatro Metaphora members and volunteers B‐8_c What are the users activities of this public space(s)? Users Activity Before After 1 Teatro Metaphora members and B Collecting waste materials   volunteers 99 Photo's author: Teatro Metaphora Caption: CamaraDoLobos_TeatroMetaphora‐01 Photo's author: Teatro Metaphora Caption: CamaraDoLobos_TeatroMetaphora‐05 Photo's author: Teatro Metaphora Caption: CamaraDoLobos_TeatroMetaphora‐06 100 C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting Much of Teatro Metaphora's work is voluntary. The activities of Teatro Metaphora receive annual background existed to make the fundings from local public institutions. In addition to this, Teatro Metaphora participates in many activities happen (financial, international projects, including Erasmus +, and constantly receives young international institutional etc.) volunteers. For the projects analyzed here, Teatro Metaphora has been able to count on additional punctual help of the Municipality (for example for transportations), private individuals (for example the bars have stored waste materials) and individual citizens. C‐8 Sectors involved in the development of the creative works with public spaces: Culture  Education  Health   Photo's author: Teatro Metaphora Sustainability  C‐1 Official name of the activity/project Science Tourism  Name in local language: PROJETO ARTE URBANA “ORNAMENTAÇÃO DE RUAS COM ARTE RECICLADA" Sport  Name in English: Urban Art Project 'Street Decoration through Recycled Art' Industry  Nickname: Other:  Overall name:  Specify other: C‐2 Description of the project (activities) that took place in the analysed public space(s): C‐9 Sector which was.. Describe the project (activities) that No feedback on this. took place in the analysed public ..the initiator of the activities: Culture space(s) ..the most crucial for the whole case Culture C‐3 Challenge that the project (activities) tried/is trying to tackle: study: What challenge was the project The project was initially born from a request from the Municipality of Camara do Lobos: decorate Comment: initiator: Camara do Lobos Municipality (activities) trying to tackle – what the rather bare streets of the town center. Teatro Metaphora, responding to this invitation, has was the aim decided to add an internal objective: to reason, through art, on the issue of the environmental C‐10 How was the local community involved in the project/activities: impact of our daily consumption How was the local community All the actions took place within the local community: Teatro Metaphora is an association of C‐4 Time frequency: involved in the project/activities? Camara do Lobos with more than 100 active volunteers. For each new project, Teatro Metaphora makes a public call, explaining objectives and needs and everyone can respond. There can be the Time Frequency A constant process need to build elements, for transportation, but also simply to collect waste materials that will be used for the making Other information: C‐11 The role of natural/cultural heritage in the project/activities: C‐5 Time period Did cultural and/or natural heritage The initial idea of working on the decoration of the streets comes from a very deep‐rooted Start: play any specific role in the Portuguese tradition: celebrations for patrons and saints, where entire neighborhoods are project/activities? colored with festive decorations End: Comment: It started in 2016 and is still ongoing C‐12 The targeted impact of the project/activity: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles What was the targeted impact of The municipality's goal was to give color and vitality to the streets of the center of Camara do the project / activities? Lobos through creative decorations. Teatro Metaphora added an ethical / environmental Actor(s): Teatro Metaphora objective, deciding to work exclusively with waste materials Motivations: Social, ethical and expressive C‐13 Achievement of the targeted impact: Roles: Making and organizing Yes/no/partly: Yes Actor(s): Camara do Lobos Municipality Comment: The objectives have not only been achieved, but exceeded. The initiative has been repeated every year since 2016 and enriches the city center of Camara do Lobos each time with new art and urban Motivations: Image / giving new life to the almost empty area decoration interventions. The decorations became part of the landscape. Camara do Lobos, which Roles: Starting and providing means until recently was not on any tourist route, has begun to attract visitors, who like to stroll through the colorful streets of the center. Actor(s): Local Businness C‐14 Additional achieved impacts: Motivations: giving new life to the almost empty area / more opportunities for businness Were any additional impacts No feedback on this. Roles: Giving some material support achieved? 101 C‐15 The main beneficiaries of the creative work in public space(s): C‐23 Provide the links to public data on the creative works Who were the main beneficiaries of local community, local businesses, local authorities Link to public data to better https://www.jm‐madeira.pt/regiao/ver/77562 the creative works in public understand the activities and actors, /Arte_urbana_em_Camara_de_Lobos_recebe_distincao_nacional_ (https://www.jm‐madeira.pt spaces(s)? as well as impacts: /regiao/ver/77562/Arte_urbana_em_Camara_de_Lobos_recebe_distincao_nacional_ ) C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: Local newspaper specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better https://ani‐sparsiashvili7.medium.com/5‐creative‐projects‐by‐teatro‐metaphora‐to‐inspire‐ Were there any, no matter how big The project by TM made the center of Camara do Lobos more colorful and joyful: the permanent understand the activities and actors, you‐711716bdd9dd (https://ani‐sparsiashvili7.medium.com/5‐creative‐projects‐by‐teatro‐ or small, economic benefits for the decorations are giving a new character to the village. This helped to give a new perception of as well as impacts: metaphora‐to‐inspire‐you‐711716bdd9dd) local community as a whole or any Camara do Lobos. Camara do Lobos, until a few years ago was not on the tourist routes, despite The link: specific actors in particular, the fact that Madeira is an island with a strong tourist tradition. These decorative interventions resulting from the creative works have made the center of the town attractive. Since they were installed, a new influx of tourists Link to public data to better https://www.rtp.pt/madeira/sociedade/arte‐urbana‐em‐camara‐de‐lobos‐recebe‐distincao‐ with/in public spaces? (local, Portuguese and international) has been observed. Walking through the streets of the understand the activities and actors, nacional_33331 (https://www.rtp.pt/madeira/sociedade/arte‐urbana‐em‐camara‐de‐lobos‐recebe‐ center, visitors often photograph the decorations. With a greater flow of visitors and a more as well as impacts: distincao‐nacional_33331 ) positive view of the town, the economy has had a benefit, especially from the touristic point of view. The link: Local TV report C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Link to public data to better https://www.tobecenter.com/lassociazione‐teatro‐metaphora‐ha‐raccolto‐25000‐lattine‐creando‐ potentially empowered the actors to prosper in their future development: understand the activities and actors, delle‐opere‐darte‐degne‐del‐miglior‐street‐artist/ (https://www.tobecenter.com/lassociazione‐ as well as impacts: teatro‐metaphora‐ha‐raccolto‐25000‐lattine‐creando‐delle‐opere‐darte‐degne‐del‐miglior‐street‐ Were there any exchanges of The decorations were created through collaborative work open to citizens. The activities have artist/) knowledge or other activities been going on since 2016, and every year a new decoration intervention is inaugurated. The The link: performed that potentially collaboration of citizens (collecting materials, helping with transport, building, ..) has always had a empowered the actors to prosper in concrete and visible outcome. This has increased the sense of community and strengthened Link to public data to better http://www.visitmadeira.pt/pt‐pt/noticias/detalhe‐noticias?Action=1&NewsId=4486&M=NewsV2& their future development? bonds. In addition to this, the people involved in the making have developed a technical‐artisan understand the activities and actors, PID=18250 (http://www.visitmadeira.pt/pt‐pt/noticias/detalhe‐noticias?Action=1&NewsId=4486& know‐how, which is now recognized even outside the town, so much so that Teatro Metaphora is as well as impacts: M=NewsV2&PID=18250) often called to make other interventions elsewhere (often TM says no, because for them the participatory process is essential and they are not service providers) In addition to the learnt The link: Touristic website technical knowledge, TM (which has many participants and volunteers) has acquired practical knowledge in the construction of participatory and community creative activities Link to public data to better https://commonfare.net/it/stories/teatro‐metaphora (https://commonfare.net/it/stories/teatro‐ understand the activities and actors, metaphora) C‐18 Monitoring (or not) of the impact of the project: as well as impacts: How was the impact of the project / It was not monitored formally, but since TM is part of the community of Camara do Lobos, they The link: activities monitored? If it wasn’t – are constantly obersiving an monitoring the impact of their activities. Link to public data to better https://inhabitat.com/steampunk‐inspired‐lamps‐are‐crafted‐from‐over‐a‐hundred‐washing‐ how do you think it could be understand the activities and actors, machines/a‐midsummer‐nights‐dream‐by‐teatro‐metaphora‐4/ (https://inhabitat.com/steampunk‐ monitored? as well as impacts: inspired‐lamps‐are‐crafted‐from‐over‐a‐hundred‐washing‐machines/a‐midsummer‐nights‐dream‐ by‐teatro‐metaphora‐4/) C‐19 Way in order to communicate the impact of the project: The link: How was the impact of the project / Through social media, local press, local events activities disseminated or D‐1 Main editor in charge of this entry and potential other authors of this case study communicated? description C‐20 Perception of the creative works in public space(s) by the final users and the reactions Name and surname: Elisa Bertolotti of the general public: Organization: Universidade da Madeira How were the creative works in No feedback on this. public space(s) perceived, Email: elisa.bertolotti@staff.uma.pt evaluated, judged by the final users Role: – what were the reactions of the general public? D‐2 Representative pictures C‐21 The (one) main success and the (one) main failure of the project/activities Picture's caption: Street Intervention Main sucess: Making the town center more joyful and colorful. In doing that, contributing to the change of perception of the town Main failure: C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader The collaboration between citizens, city hall, traders with TM is also part of the success of this conditions (e.g. the supporting activity. The success of TM's activities are to be found in the constant presence of the association state of the art in the community, in the daily life of the town. The association has an office open every day in the center of the infrastructure, institutional support, town, and many volunteers. Credibility, constant presence and belonging to the community have financial sources, local or certainly played a fundamental role in the success of the activities. "imported" know‐how etc.) for the main success and main failure factor 102 Picture's author: Teatro Metaphora Picture's date: Picture's author: Teatro Metaphora Picture's source: https://teatrometaphora.org/pt/inicio/ Picture's date: Picture's caption: Workshop Picture's source: https://teatrometaphora.org/pt/inicio/ Picture's caption: Beach Clean Up Picture's author: Teatro Metaphora Picture's date: Picture's author: Teatro Metaphora Picture's source: https://teatrometaphora.org/pt/inicio/ Picture's date: Picture's caption: Workshop Picture's source: https://teatrometaphora.org/pt/inicio/ Picture's caption: Free Hugs 103 Picture's author: Teatro Metaphora Picture's date: Picture's source: https://teatrometaphora.org/pt/inicio/ D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 104 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement The light that exists +5 A LUZ QUE HÁ +4  +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Portugal ‐1 Region name (in local language): Ilha da Madeira ‐2 Place name (in local language): Funchal ‐3 Country name (in english): Portugal ‐4 Region name (in english): Madeira Island ‐5 Place name (in english): Funchal Open landscape Madeira is a small Portuguese island (801 km2) situated at 520 km west of the Moroccan coast and at 900 km south-west of Lisbon. In 2016 its total population was estimated at 289,000, of which more than half living in Funchal, the capital city (in 2011 Funchal population was at 111,892). Funchal covers an area of 76,15 km²and it is subdivided in 10 parishes, each one characterised by Comment: different demography. More central and rich of cultural attractions the parish of Sé, São Pedro, Santa Maria Maior; peripheral and poor in cultural offerings: Monte, Santo António, São Gonçalo, São Martinho, São Roque. Madeira is connected to the continental Portugal as several other European destinations through air travel only. Harbours and boats are reference for tourism and commercial activities. Difficult terrain +5 +4 Map of the network of public +3 spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1  ‐2 ‐3 Caption of the map: Figure‐ground plan of network of public spaces in Funchal ‐4 Legend of the map: The image represents a portion of São Pedro parish where PORTA33 is inserted. ‐5 Effortless terrain The city of Funchal can be reached easily from all sides of the island. It is located on the southern coast of Madeira, in a kind of natural amphitheatre formed by the bay, the mountains to the north and east and volcanic peaks to the west, which means that the urbanized area of the city extends from sea level to an elevation of 800 meters, with the mountains to the north they reach 1800 Comment: meters of altitude in the highest points of the central mountain range of the island. The more toward the inland, the steeper the roads become. There are many parts of the city that developed on narrow and quite difficult to access roads, lacking of wide public spaces. The road, local ‘tascas’ and church are the main social public spaces. 105 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2  +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The most important economic driver for the island of Madeira is tourism (national and international). Agriculture used to be a strong Low‐income households prevail economic sector, but because it doesn’t provide with much profit and require loads of hard work, it is less interesting to the youth and Comment: Comment: business. Cultural sector is now calling for more attention and investment thanks to the run of Funchal for European Culture Capital 2027. Funchal gathers most of the museums, cultural spaces and events. But still the creative and cultural sector is not offering A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote much employment and still requires investment and entrepreneurial ideas. at all) to 5 (extremely remote) Daily‐life‐support facilities well developed Estimation: 2 +5 Explanation: Madeira is an island quite far out from the continental coasts of Portugal. Nowadays the connectivity with mainland and some European countries is fast and very frequent thanks to the  +4 daily flights. Also, internet has made of the island a less remote place. These two aspects allow the majority of the islanders feel themselves less isolated. In reality, still many people (especially +3 young people) have never left the island. From a conversation with Mauricio Pestana Reis from +2 PORTA33: “We are on an island and the territory tells who and how we are here. On one side, there is a shared sense of inferiority from Lisbon and continental Portugal. This is a thing more of +1 my generation, youngsters don’t show this feeling today. On the other side, people here feel like in paradise because there are all comforts. The island is beautiful, the climate is good all year long, Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound and it is possible to access all services and nature in a very short trip. So, there is no much need to demographic demographic create bridges with the outer world, because we have all we need here. This is a dangerous structure structure approach for us, islanders, because we feel we are at the centre of the world. And we are not. ‐1 There is a fear of opening to the outer world, because there is a fear of receiving critics and judgement… but this is more for those of my generation, not for the youngsters today that are ‐2 very much connected to the world via internet”. ‐3 A‐4 Elements that characterise the remoteness of the place: ‐4 Low population density  ‐5 Geographical barrier/allocation  Daily‐life‐support facilities none‐existing No good transportation links  Madeira population is aging fast. Young people move abroad to look for job opportunities and/or new experiences. Surely the pandemic situation we are living has brought some change in the general demographic of the island. In fact, some young people Difficulties in accessing daily‐life‐  support facilities Comment: came back to Madeira to stay with their families. Many madeiran emigrants from Venezuela, South Africa and Brazil returned to Madeira after many years with their (extended) families. Foreigners, from digital nomads to retired people, decided to go and live in Social specifics and/or divisions  Madeira because offering better life qualities and a good climate all year long. Economic inferiority  Subjective criteria  Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: 106 Summary of the elements that Madeira is an island quite far out from the continental coasts of Portugal. Nowadays the The network of roads, streets, paths PORTA33 is placed in a quiet area surrounded by the major arteries of Funchal, where most of the characterise this case as a remote connectivity with mainland and some European countries is fast and very frequent thanks to the and alike elements that tie this traffic flows: Avenida Calouste Gulbenkian and Rua da Carreira (south‐west); Rua das Cruzes and place: daily flights. Also, internet has made of the island a less remote place. These two aspects allow remote place together: Via 25 Abril (north); Calçada de Santa Clara (east). All the roads included in these most congested the majority of the islanders feel themselves less isolated. In reality, still many people (especially ones, are narrow, one lane, with significant elevation. Cars can go anywhere except for a small young people) have never left the island. The islanders, especially those of middle age and/or who portion of Rua da Carreira. don’t travel much, have a tendency in avoiding the relation with the outer world believing that Madeira is at the centre of the world. This is expression of a diffuse sense of inferiority felt toward The quantity and structure of public In the selected area of Funchal there are: ‐ Museums: Museu Quinta das Cruzes; Casa Museu continental Portugal, that is an unconscious fear of being judged. Within the chosen remote place space network (besides Frederico de Freitas; Natural History Museum; the English Cemetery ‐ Public gardens: Jardim of the island of Madeira, I have picked a place, PORTA33, in the centre of Funchal, the capital city. roads/streets/paths network) in this Museu Quinta das Cruzes, Jardim Aromatico – Natural History Museum; Jardim Municipal; ‐ This public space finds itself in a quiet and isolated spot surrounded by the major arteries of the remote place: Churches: São Pedro, English Church (where also evening concerts are offered) ‐ Miradouros city. PORTA33 is a peculiar case of island in an island. (panoramic points of view): Miradouro Quinta das Cruzes and Miradouro Fortaleza do Pico ‐ Pedestrian areas with cafés, restaurants and shops: Rua da Carreira ‐ A shopping centre with its Low population density rank: own parking space and services: La Vie As mentioned before this part of the city is made of narrow roads, often cobbled, that get a certain strong elevation from PORTA33 toward north. Geographical barrier/allocation rank: 1 Surely these roads are not suitable for people with mobility difficulties and wheel chairs. Children should be led when crossing the roads with major car traffic. No good transportation links rank: Difficulties in accessing daily‐life‐ A‐9 General description of the quality of public spaces in this remote place support facilities rank: Answer: This part of the city is well equipped with services and public spaces, but lacking of a fast access Social specifics and/or divisions to sitting areas on the road. The roads are pretty narrow, cobbled, and with elevation, not rank: suitable for old people and not supervised children. Economic inferiority rank: B‐1 Name(s) of the public space(s) Subjective criteria (e.g. community’s Name(s) of the public space(s) (in Porta33 self‐perception of being remote etc) local language): rank: Name(s) of the public space(s) (in Porta33 Other rank: English): A‐5 Provide the links to public data Latitude of the public space(s): 32.64967401873318 Links to public data on the remote Longitude of the public space(s): 16.914345369865195 place The link: A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: pedestrian road (Rua da Carreira) Type of indoor public spaces that Miradouro Quinta das Cruzes (panoramic point of view) can be found in this remote place: Miradouro Fortaleza do Pico (panoramic point of view) A‐8 General description of.. 107 B‐3 Describe the general functions Functions and land uses description Porta33 has got civic function. PORTA33 ‐ Associação Quebra Costas Contemporary Art Center in the area of the public space: was founded in Funchal, Madeira Island, in 1989. It is a private, non‐profit cultural association, declared of Public Utility according to the resolution of the Regional Government Council of Madeira. Porta33 is a contemporary art production project. It invites artists to hold unreleased exhibitions and, whenever possible, based on their experiences in Madeira. It is also a dissemination project. It organizes colloquiums on the artists' work, promotes guided tours of the exhibitions in collaboration with the school community and offers a centre for documentation of contemporary culture. Since 2000, PORTA33 has developed a residency program. This program aims to make a connection between the artists invited to reside for a period of time in Madeira, and the local socio‐cultural and landscape determinants, giving a specific place to the work produced. As a non‐profit institution, PORTA33 maintains a lateral activity as an art gallery, an option that encourages contemporary art collection with quality parameters. This commercial activity helps to finance some of the institution's fixed costs. Since 1993, PORTA33 has been supported by the Government of the Autonomous Region of Madeira (except in 2003 and 2008) and, occasionally, by the Calouste Gulbenkian Foundation, by the Luso Americana Foundation for Development, by the Municipality of Funchal and by some companies based in the Region. From 1997 to 2004, Porta 33 was supported by the Institute of Contemporary Art/Ministry of Culture. From 2005, through the application of Decree‐Law nº 225/2006, the support of the Ministry of Culture was limited to entities and agents headquartered in the territory of Mainland Portugal. Ground plan showing the land use Porta33 is closed to the following museums and cultural places: Museu da Quinta das Cruzes, Casa of the public space(s): Museu Frederico de Freitas, Natural History Museum; Santa Clara Covent; São Pedro Church; the English Church; the English Cemetery; Fortaleza do Pico. At a distance of 5 minutes’ walk there is a kindergarten, Centro Infantil/ Escola Maria Eugénia de Canavial. and a music school Oasys Academia de Música, The shopping centre La Vie is at a 10 minutes’ walk distance, while different cafés, restaurants and shops are at 5 / 10 minutes’ walk distance. Functionalities of space were none important and/or actually "used" by creative people for their activities: B‐4 General demographic characteristics of the area around the public space: Describe the general demographic The general population in the surroundings is of an older age group, being that the area has characteristics several older buildings and houses where the same families have been living for a lot of generations. Slowly there has been an increase in new families with the rehabilitation of old buildings and new businesses arrising. B‐5 Type of the public space(s) with creative work Form and function: Porta33 develops in a three‐stores old building ‐ indoor space. At the ground floor: the main entrance, the first exhibition room, a small bar corner and a roofed garden for workshops and events. At the first floor: one small and one large exhibition rooms, the private office and terrace. At the second floor: a small library and study room, one small exhibition room, two archive rooms Caption's map of the public space: and bathroom. Legend's map of the public space: Ownership: private Main location  Access regarding entry‐control: The access to the building is controlled. If the door is not open, then one must ring the bell to get B‐2 Describe the physical environment access to the exhibition areas and workshops. Access regarding time of day/week Porta33 is open to public from Tuesday to Saturday from 4pm to 8pm or by appointment. Physical environment description of Porta33 is located at the margin of the city centre, in a residential area of São Pedro parish. It is in /year: the public space(s) with creative Rua do Quebra Costas, a narrow dead‐end road surrounded by well‐known roads and historical works: and cultural places, such as: Rua da Carreira (on the south) a pretty busy road that is half B‐7 Kind of activity initially designed for this public space: pedestrian and half vehicle accessible; Rua das Cruzes, Miradouro da Quinta das Cruzes (a panoramic point of view on the old town) and Museu Quinta das Cruzes (on the north); Casa What kind of activity has been this The building where PORTA33 has developed as a cultural association from 1989 was probably a Museu Frederico de Freitas, São Pedro church, Natural History Museum (on the east); the English public space designed for initially simple private house. Today is main role as public space is contemporary art and exhibition centre Cemetery (on the west); Fortaleza do Pico (on the north‐west). The small road where Porta33 is in the centre of Funchal. located is very calm; pedestrians walk through Rua do Quebra Costas mainly to visit the English Church, located in the same road, or to access to a public parking lot at the end of the road. This B‐8_a Which are the activities in this public space(s)? road is a residential road, no shops are present, just a dental clinic, a dance association, a small three‐star hotel and a holiday apartment. All buildings present in this road and area are typical 2 / Activity: B public 3 stores Madeira traditional houses, with terracotta tiles roofs and grey stone windows frame. Activity: A exhibitions Physical environment elements Porta33 develops most of its creative activities and events inside the gallery spaces, but at each Activity: E archive consultation were important and/or actually opening and official presentation the space on the road, in front of the main entrance, becomes a "used" by creative people for their social space where people/visitors meet up and have conversations. Porta33 has used the gardens Activity: C guided tours activities: of Quinta das Cruzes in several occasions, in particular for drawing sessions with kids and teenagers. Activity: D artistic residence 108 Activity: F workshops for kids and teens 3 art curators D artistic residence   Activity: G workshops for everyone (from kids to adults) 3 art curators E archive consultation   Activity: H activities for small kids and their families (e.g. storytelling) 4 local community – visitors – A exhibitions   already interested in the arts B‐8_b Who are the main users of this public space(s)? 4 local community – visitors – B public   User: 1 local artists already interested in the arts User: 2 foreign artists 4 local community – visitors – H activities for small kids and their   already interested in the arts families (e.g. storytelling) User: 3 art curators 4 local community – visitors – A exhibitions   User: 4 local community – visitors – already interested in the arts already interested in the arts User: 5 local community – visitors – not so close to / interested in the arts 4 local community – visitors – B public   User: 6 school groups – visitors already interested in the arts   User: 7 kids and teens ‐ participants 4 local community – visitors – G workshops for everyone (from already interested in the arts kids to adults) User: 8 art students / researchers 4 local community – visitors – H activities for small kids and their   B‐8_c What are the users activities of this public space(s)? already interested in the arts families (e.g. storytelling) 5 local community – visitors – not so A exhibitions   Users Activity Before After close to / interested in the arts 1 local artists A exhibitions   5 local community – visitors – not so G workshops for everyone (from   1 local artists B public   close to / interested in the arts kids to adults) 1 local artists E archive consultation   5 local community – visitors – not so H activities for small kids and their   close to / interested in the arts families (e.g. storytelling) 1 local artists A exhibitions   6 school groups – visitors A exhibitions   1 local artists B public   6 school groups – visitors C guided tours   1 local artists C guided tours   6 school groups – visitors A exhibitions   1 local artists E archive consultation   6 school groups – visitors C guided tours   1 local artists F workshops for kids and teens   7 kids and teens ‐ participants H activities for small kids and their   1 local artists G workshops for everyone (from   families (e.g. storytelling) kids to adults) 7 kids and teens ‐ participants A exhibitions   2 foreign artists A exhibitions   7 kids and teens ‐ participants C guided tours   2 foreign artists B public   7 kids and teens ‐ participants F workshops for kids and teens   2 foreign artists D artistic residence   7 kids and teens ‐ participants G workshops for everyone (from   2 foreign artists E archive consultation   kids to adults) 2 foreign artists A exhibitions   7 kids and teens ‐ participants H activities for small kids and their   families (e.g. storytelling) 2 foreign artists B public   8 art students / researchers A exhibitions   2 foreign artists D artistic residence   8 art students / researchers B public   2 foreign artists E archive consultation   8 art students / researchers E archive consultation   2 foreign artists F workshops for kids and teens   8 art students / researchers A exhibitions   2 foreign artists G workshops for everyone (from   kids to adults) 8 art students / researchers B public   3 art curators A exhibitions   8 art students / researchers E archive consultation   3 art curators B public   8 art students / researchers F workshops for kids and teens   3 art curators D artistic residence   8 art students / researchers G workshops for everyone (from   kids to adults) 3 art curators E archive consultation   B‐9 Parts/sections/spots seem most attractive within the public space (location and 3 art curators A exhibitions   duration) ‐ Parts/sections/spots at people seem to avoid: 3 art curators B public   109 Describe what parts seem to be the The space within PORTA33 that mostly suits kids and teenagers involved in drawing and creative most attractive to people activities is the roofed garden (in green on the plan). This space is filled with many different plants, the sunlight filters in the space in a very special way. This visual factor together with the sound of water falling into a small fountain, the sounds of the neighbourhood, and the presence of two turtles and a cat, contribute to put the kids and teenagers into the right predisposition for creative work. In fact, the space is peaceful, it enhances meditation and reflection. Luisa Spinola, the artist leading the drawing activities said that the participants, as soon as they enter the roofed garden, they leave outside their preoccupations and distractions. Only in a space like this, in this roofed garden, it was (and is) possible for the children to focus on the self and on what they are doing. The sunlight reveals itself and by lightening details of the space, objects and people, reminds the participants to keep exploring what is around them and reveal the light that exist in them. B‐10 Provide the links to public data on the public space(s) Website: Institution website Website's link: http://www.porta33.com (http://www.porta33.com ) Website: Social media Website's link: http://www.facebook.com/porta33madeira/ (http://www.facebook.com/porta33madeira/ ) B‐11 Provide photos of the public space(s) with creative works Caption: Funchal_PORTA33_Image01_Porta33_A LUZ QUE HÁ exhibition opening_2018 Photo's author: Porta33 Caption: Funchal_PORTA33_Image02_Porta33_A LUZ QUE HÁ exhibition opening_2018 110 Photo's author: Porta33 Caption: Funchal_PORTA33_Image04_Porta33_A LUZ QUE HÁ exhibition opening_2018 Photo's author: Porta33 Photo's author: Porta33 Caption: Funchal_PORTA33_Image05_Porta33_A LUZ QUE HÁ exhibition opening_2018 Caption: Funchal_PORTA33_Image03_Porta33_A LUZ QUE HÁ exhibition opening_2018 111 Photo's author: Porta33 Caption: Funchal_PORTA33_Image06_Porta33_A LUZ QUE HÁ exhibition opening_2018 Photo's author: Porta33 Caption: Funchal_PORTA33_Image10_Porta33_how the light fills the space_2018 Photo's author: Porta33 Caption: Funchal_PORTA33_Image11_Porta33_how the light fills the space_2018 Photo's author: Porta33 Caption: Funchal_PORTA33_Image08_Porta33_the roofed garden_2018 112 What challenge was the project In its work, Porta33 has always been concerned about presenting topics to do with drawing, (activities) trying to tackle – what whether it means putting on exhibitions or encouraging reflection and experimentation based on was the aim drawing. In 2018 PORTA33 asked Luísa Spínola to exhibit the results of her first year of drawing exercises at PORTA33 with children. The aim was to show the multiplicity and diversity of the proposed ex‐ercises, as also give recognition to the creators (the kids and teenagers who participated to the workshops) that means show value to the outcomes of any creative process. A LUZ QUE HÁ (The light that exists) was chosen as title of the exhibition, and it was inspired by Manuel Zimbro’s book, where ‘light’ is understood as that purity and truth that only children own toward the world. In fact, A luz que há implies the responsibility we have to maintain that light that exists in each individual alive, first of all in kids. “Children arrive in this world completely disarmed. They meet a world that doesn’t belong to them, but to the adults. It is old. So, it is normal that this bumping into the perception of a world for adults only generates shock and lack of coordination. Art is the only discipline able to respond to the scope of human nature. Art is neither a method nor a guide to get somewhere. Art requires transcendental physical, mental, psychological disposition, that is the one of the spirit. And the world is not made of matter only, but also spirit – the immaterial. Children are able to understand this immateriality, they don’t let themselves be tricked. They feel the world with that purity (of spirit) that we adults lose along the years”. A LUZ QUE HÁ exhibition materialized a learning methodology on hand‐drawing developed by Luísa Spínola along the years. In fact, the proposed drawing exercises revealed themselves useful for the youngsters, that is for their growth and learning process of the self. In particular, the youth PORTA33 receive and supports present emotional instability, lack of Photo's author: Porta33 concentration, little relation‐ship with others, a little aggressiveness. A LUZ QUE HÁ project aimed Caption: Funchal_PORTA33_Image12_Porta33_how the light fills the space_2018 also to connect young people with the art space and the art work exhibit in it. An institution as PORTA33 wants to promote new behaviours and new dynamics in our society, for instance providing a cultural and art space that can be used and explored freely with all the respect for the work on exhibition and its creator. C‐4 Time frequency: Time Frequency Other Other information: A LUZ QUE HÁ project is the title of an exhibition that happened at PORTA33 between 23.06.2018 and 27.10.2018. But the exhibition was the result of a series of drawing sessions. C‐5 Time period Start: 6/23/2018 12:00:00 AM End: 10/27/2018 12:00:00 AM Comment: The drawing exercises led by Luisa Spinola happened between December 2017 and June 2018; The final exhibition at PORTA33 happened from 23.06.2018 to 27.10.2018 (open inauguration on the 23rd June 2018 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Mauricio Pestana Reis and Cecilia Vieira de Freitas Photo's author: Porta33 Motivations: They believe that art is the only discipline capable to understand the essence and spiritual C‐1 Official name of the activity/project dimension of the world. Children must interact with the arts to keep alive their ability in capturing the truth. Children are the reason for a better future. Name in local language: A luz que há Roles: Founders of Porta 33, Exhibition Curators and promoters Name in English: The light that exists Actor(s): Catarina Claro Nickname: Motivations: Support the kids in their growth, particularly by providing creative forms to decode the artistic Overall name:  works shown at PORTA33 C‐2 Description of the project (activities) that took place in the analysed public space(s): Roles: Local storyteller and actress – she led the “Se eu soubesse desenhar” (If I could draw) programme Describe the project (activities) that A LUZ QUE HÁ (The light that exists) is the title of the exhibition set at Porta33 in 2018 that in‐ took place in the analysed public spired further creative activities with local kids and teenagers to support their growth. The exhibi‐ Actor(s): Carolina Vieira space(s) tion represented the result of a series of drawing workshops led by a local artist, Luisa Spinola, addressing the kids and teenagers' educational and psychological needs. Hand drawing is a means Motivations: Support the kids in their growth, particularly by providing creative forms to decode the artistic of self‐empowerment and understanding of the world. With A LUZ QUE HÁ, kids and teenagers works shown at PORTA33 were the protagonists of a learning‐by‐drawing process, as their drawings of a proper show & tell. Roles: Local visual artist – she proposed and assisted some creative activities A LUZ QUE HÁ called the local community ‐ parents, grandparents, teachers and friends ‐ to visit the exhibition and give authorship to their kids’ work, while the title of the exhibition itself im‐ Actor(s): Luisa Spinola plied the responsibility we all have in keeping that light that kids own alive. C‐3 Challenge that the project (activities) tried/is trying to tackle: 113 Motivations: She was a school teacher, illustrator and founder of Atelier Gatafunhos, she has always had What was the targeted impact of PORTA33 was able to answer to the needs of the kids and teenagers who attended the drawing interest in making kids explore the self through different art forms, particular drawing.She the project / activities? workshops through the methodology that Luisa Spinola provided and the physical space in which believes children must be provided w/ tools to learn to ask why the various creative activities happened. Mauricio Pestana Reis and Cecilia Vieira de Freitas, founders of PORTA33 were sitting down with Luisa Spinola at the end of each drawing exercise Roles: Drawing exercises leader session in order to identify in the children’s creations both skills and obstacles and identify the next activity to propose. As PORTA33’s new mission became to change behaviours through the C‐7 Description of the supporting background that existed to make the activities happen: arts, the team managed to impact positively on the children’s growth, working with them on their What kind of supporting Since 1993, PORTA33 has been supported by the Government of the Autonomous Region of capacity of expressing the self and interacting with the others. background existed to make the Madeira – in particular, the budget allocated for its initiatives and project is under the Secretaria C‐13 Achievement of the targeted impact: activities happen (financial, da Cultura e Turismo (Department of Culture and Tourism) ‐ and, occasionally, by the Calouste institutional etc.) Gulbenkian Foundation, by the Luso Americana Foundation for Development, by the Municipality Yes/no/partly: Yes of Funchal and by some companies based in the Region. Comment: From the first experience of drawing workshops with kids and teenagers, and then the exhibition C‐8 Sectors involved in the development of the creative works with public spaces: A LUZ QUE HÁ, PORTA33 has identified a new mission: to offer a holistic and symbiotic approach to understand life, the world, the self and the relation with the others through the arts. All this Culture  with the objective of changing behaviours positively. Education  C‐14 Additional achieved impacts: Health  Were any additional impacts PORTA33 got more visibility, beyond the usual public and user of the space. Today more children Sustainability  achieved? attend the offered creative activities and more adults get involved in creative activities and workshops with kids. The interesting result of mixing children and adults in exploring, for Science  instance, dance and performative art activities, is that on one side the children feel rewarded in seeing the adults struggling as they do in doing something; on the other side, the adults lose their Tourism  inhibitions when surrounded by kids, because they know they won’t be judged. Sport  C‐15 The main beneficiaries of the creative work in public space(s): Industry  Who were the main beneficiaries of • The kids and teenagers who participated the drawing workshops led by Luisa Spinola. • Their Other:  the creative works in public parents who find support in the education and growth of their children. • Local artists and (later) spaces(s)? foreign artists who were invited to propose the children some activities to decode their own Specify other: artistic work through creative exercises. • PORTA33 and Luisa Spinola who gained even more recognition for the cultural and educational work they are doing with younger generations in C‐9 Sector which was.. Funchal (and now also Porto Santo) ..the initiator of the activities: Education C‐16 Presence (or not) of economic benefits for the local community as a whole or any ..the most crucial for the whole case Culture specific actors in particular, resulting from the creative works with/in public spaces: study: Were there any, no matter how big No information available. Comment: or small, economic benefits for the local community as a whole or any C‐10 How was the local community involved in the project/activities: specific actors in particular, resulting from the creative works How was the local community Luísa Spínola is illustrator and art teacher from Madeira, founder and coordinator of Atelier with/in public spaces? involved in the project/activities? Gatafunhos since 2006. She has run workshops of drawing, painting, and other creative forms with children of various age groups. She brought her experience into PORTA33 since 2017 starting C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that drawing exercises with a small group of children that she had already met through Atelier potentially empowered the actors to prosper in their future development: Gatafunhos. In particular, she ran drawing sessions at PORTA33 twice a week between December 2017 and June 2018. These drawing sessions explored different themes, subjects and techniques: Were there any exchanges of No information available. from drawing natural elements, to representing the relation between the own body and the knowledge or other activities space that it occupies, to depict light and movement, to visualise something that exists and is performed that potentially tangible. To understand more about the style of drawing exercises proposed to the participants it empowered the actors to prosper in is possible to watch the online video‐classes that were run during the first lockdown in 2020: their future development? GATAFUNHOS | Vídeoaulas ‐ YouTube The outputs from all the drawing workshops were then selected and organised into themes, to be exhibited at PORTA33 as actual pieces of art. The C‐18 Monitoring (or not) of the impact of the project: exhibition titled A LUZ QUE HÁ opened on the 23rd June 2018 inviting all families and friends of the children to attend the inauguration. The exhibition was then explored by the storyteller How was the impact of the project / The couple in charge of Porta33 documents and monitors all the activities They share the results Catarina Claro through a programme of activities with small kids and their families, titled “Se eu activities monitored? If it wasn’t – in their social media and website. soubesse desenhar” (If I could draw). how do you think it could be monitored? C‐11 The role of natural/cultural heritage in the project/activities: C‐19 Way in order to communicate the impact of the project: Did cultural and/or natural heritage Anything specifically related to the local cultural or natural heritage. play any specific role in the How was the impact of the project / Most of the drawing sessions at PORTA33 were documented through few photos that were lately project/activities? activities disseminated or shared on social media. Also, some photos from the inauguration of the exhibition were communicated? published on social media (facebook). On PORTA33 website it is possible to read about the C‐12 The targeted impact of the project/activity: project, the intent, the list of kids who participated and were the artists of their own exhibition. C‐20 Perception of the creative works in public space(s) by the final users and the reactions 114 of the general public: How were the creative works in A LUZ QUE HÁ surprised positively PORTA33’s usual visitors because of the purity, diversity and Picture's caption: Funchal_PORTA33_Image03_drawing exercises with Luisa Spinola_Porta33_2018 public space(s) perceived, simplicity of the creations exposed in the gallery, almost to remind about the power of any evaluated, judged by the final users creative act, and the children’s capacity in capturing the essence of things. New to PORTA33 were – what were the reactions of the the extended families and friends of the kids and teenagers who were protagonist of the general public? exhibition: they discovered a place that usually is understood for an art élite only; they enjoyed PORTA33’s space and mission by exploring the children’s creations put on scene. Finally, the kids and teenagers who participated the workshops, found their own work exposed in an art gallery; this definitely helped them to gain more confidence, believe in their own creativity and acts of creation. C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: The positive impact that the drawing exercises and the time spent at PORTA33 had on the kids and teenagers involved in the workshops and final exhibition. Their parents acknowledge the positive impact on their children, particularly on their behaviour and approach to life obstacle. Children started to be more confident, express themselves more and in different forms, relate to the others and the world around them in a more active creative way. Main failure: None. PORTA33 continues to offer children and teenagers a space and creative activities where they can find their individuality and the ways to express themselves through different art form. The only obstacle that PORTA33 encounters is the bureaucratic machine / the procedures and in some cases does not help in putting into practice certain kind of projects, particularly concerning the social security. Picture's author: Porta33 C‐22 Importance of broader conditions for the main sucess and main failure factor: Picture's date: How important were the broader Surely, the space that PORTA33 offered to the kids and teenagers who attended the drawing conditions (e.g. the supporting workshops led by Luísa Spínola – and still offers today – has a fundamental role in putting them in Picture's source: Porta33 Facebook state of the art in the community, the right predisposition to the work of creation. In fact, the quietness of the roofed garden on the infrastructure, institutional support, back of PORTA33 building, put the participants in a status of meditation and reflection needed for Picture's caption: Funchal_PORTA33_Image04_drawing exercises with Luisa Spinola_Porta33_2018 financial sources, local or understanding and give sense to the creation (by drawing). “The place where we draw is the "imported" know‐how etc.) for the space that the drawing absorbs too” Luísa Spínola. PORTA33 offers a space of peacefulness main success and main failure factor among the big arteries of the capital city. This peacefulness is fundamental for the kids and teenagers that arrive there full of energy, some with frustrations or boredom, some with traumas, some with anger or sense of rebellion – these children are normal, they are simply facing the difficulties of today’s life that is more and more complex and fast. These children don’t play, they are very busy with many cultural or sport activities, they are stressed and they are not provided with the tools and people that can help them to discover the self and be able to express. “Here drawing is like a cure” Luísa Spínola. C‐23 Provide the links to public data on the creative works Link to public data to better https://www.porta33.com/porta33_madeira/exposicoes/content_exposicoes/a‐luz‐que‐ha/a‐luz‐ understand the activities and actors, que‐ha.html (https://www.porta33.com/porta33_madeira/exposicoes/content_exposicoes/a‐luz‐ as well as impacts: que‐ha/a‐luz‐que‐ha.html) The link: PORTA33 ‐ A Luz que há | Exercícios de desenho orientados por Luísa Spínola [exposição] Link to public data to better https://www.facebook.com/media/set/?vanity=porta33madeira&set=a.1635492503230318 understand the activities and actors, (https://www.facebook.com/media/set/?vanity=porta33madeira&set=a.1635492503230318) as well as impacts: The link: Album about the opening of the “A Luz que há” exhibition Picture's author: Porta33 Link to public data to better https://www.facebook.com/media/set/?vanity=porta33madeira&set=a.1603080936471475 Picture's date: understand the activities and actors, (https://www.facebook.com/media/set/?vanity=porta33madeira&set=a.1603080936471475) as well as impacts: Picture's source: Porta33 Facebook The link: Album about one of the drawing exercises Picture's caption: Funchal_PORTA33_Image07_Porta33_Government representatives visiting A LUZ QUE HÁ exhibition_2018 D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Valentina Vezzani Organization: Universidade da Madeira Email: valevezzani@gmail.com Role: D‐2 Representative pictures 115 Picture's author: Porta33 Picture's author: Porta33 Picture's date: Picture's date: Picture's source: Porta33 Facebook Picture's source: Porta33 Facebook Picture's caption: Funchal_PORTA33_Image01_Porta33_A LUZ QUE HÁ exhibition opening_23 06 2018 D‐3 Additional information Additional information: Video lessons Porta33 Atelier Gatafunhos Link: https://www.youtube.com/playlist?list=PL0Q3i�Ph0CNBzH6hCmNZd06hF‐z‐akqN (https://www.youtube.com/playlist?list=PL0Q3i�Ph0CNBzH6hCmNZd06hF‐z‐akqN) Additional information: Youtube page of Porta 33 Link: https://www.youtube.com/channel/UC4C4d8pgDfGQEwLfQnpn8Dw (https://www.youtube.com /channel/UC4C4d8pgDfGQEwLfQnpn8Dw) D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Porta33 Picture's date: Picture's source: Porta33 Facebook Picture's caption: Funchal_PORTA33_Image02_drawing exercises with Luisa Spinola_Porta33_2018 116 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Casa do Quarteirão +5 Casa do Quarteirão +4  +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Portugal ‐1 Region name (in local language): Região Autónoma dos Açores ‐2 Place name (in local language): Ponta Delgada (São Miguel) ‐3 Country name (in english): Portugal ‐4 Region name (in english): Autonomous Region of the Azores ‐5 Place name (in english): Ponta Delgada (São Miguel Island) Open landscape Ponta Delgada is the largest municipality and economic capital of the Autonomous Region of the Azores in Portugal. It is located on São Miguel Island, the largest and most populous in the archipelago. Right next from the city gates of Ponta Delgada, part of the Comment: streets and squares are only for walking, until once again cars populate the narrow streets. It is on this kind of border that Cantinho dos Anjos is located, on a corner of Rua Hintze Ribeiro. Crossing the street, we enter the “official” geographical territory of O Quarteirão. Difficult terrain +5 +4 +3 Map of the network of public +2 spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4  ‐5 Caption of the map: Effortless terrain Legend of the map: Figure‐ground plan of Ponta Delgada Comment:The area of intervention is in the city center of Ponta Delgada. 117 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3  ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment:The main economic activities of Ponta Delgada is tourism and services Low‐income households prevail Around 2014 the area started to be more active, and with the work done through W&T and the association of local creative, the area Daily‐life‐support facilities well developed Comment: acquired experience on participatory practices. +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +4 at all) to 5 (extremely remote) +3 Estimation: 2 +2 Explanation: The area is in the center of Ponta Delgada. However, Ponta Delgada is located on an island in the middle of the Atlantic Ocean. +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  Comment: Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Ponta Delgada can be considered a remote place (being a town in an island in the middle of the characterise this case as a remote Atlantic Ocean). place: Low population density rank: Geographical barrier/allocation rank: 1 No good transportation links rank: Difficulties in accessing daily‐life‐ support facilities rank: 118 Social specifics and/or divisions B‐1 Name(s) of the public space(s) rank: Name(s) of the public space(s) (in “Casa do Quarteirão" Travessa da Rua D’Agôa, Ponta Delgada Economic inferiority rank: local language): Subjective criteria (e.g. community’s Name(s) of the public space(s) (in self‐perception of being remote etc) English): rank: Latitude of the public space(s): 37.7426 Other rank: Longitude of the public space(s): 25.6692 A‐5 Provide the links to public data Ground plan showing the land use Links to public data on the remote Touristic information about the island of São Miguel of the public space(s): place Caption's map of the public space: The link: https://byacores.com/sao‐miguel/ (https://byacores.com/sao‐miguel/) Legend's map of the public space: Links to public data on the remote Governmental website of the Azores  place Main location The link: http://www.azores.gov.pt (http://www.azores.gov.pt) B‐2 Describe the physical environment Links to public data on the remote Institutional website ‐ City hall Ponta Delgada Physical environment description of “O Quarteirão” is a neighborhood close to Ponta Delgada historical city center, out of the tourist place the public space(s) with creative and commercial district, in which public space is completely invaded by parking lots and cars. It is works: not so far from the the old fort and few blocks from the sea. The link: https://www.cm‐pontadelgada.pt (https://www.cm‐pontadelgada.pt) Physical environment elements The area was missing public spaces, since everything was about private business and shopping. A‐7 The type of public spaces that can be found in this remote place (besides the were important and/or actually roads/streets/path network) "used" by creative people for their activities: Square/s, Plaza/s  B‐3 Describe the general functions Park/s, Garden/s  Functions and land uses description Residential / commercial / touristic The area is close to the historic city center. The activities Market space/s  in the area of the public space: specifically found here are of a commercial nature. Being close to the historic center, it is a transit Playground/s  area and there are some tourist activities, such as b & b. Recreational space/s, Sport‐field/s  Functionalities of space were The studied area is a commercial area dedicated to shopping. important and/or actually "used" by Community open‐air space/s  creative people for their activities: Institution‐related open‐air space/s  B‐4 General demographic characteristics of the area around the public space: (e.g.University grounds) Describe the general demographic São Miguel is the largest of the islands in the Azores archipelago and the largest of all the islands Watersides  characteristics of Portugal. With an area of 748.82 km², it has a population of 137 699 inhabitants; Ponta Delgada is the main city of São Miguel, with a population of 46 102 inhabitants (2011). (1) Meadows  Parking area  B‐5 Type of the public space(s) with creative work Service yard  Form and function: Squares and streets Other types:  Ownership: mixed Specify other types: Access regarding entry‐control: open access Type of indoor public spaces that Access regarding time of day/week We couldn’t access this information can be found in this remote place: /year: A‐8 General description of.. B‐7 Kind of activity initially designed for this public space: The network of roads, streets, paths No information available. What kind of activity has been this The main role of the area is commercial. In the few streets of the area a type of activity related to and alike elements that tie this public space designed for initially culture, art and crafts has developed remote place together: B‐8_a Which are the activities in this public space(s)? The quantity and structure of public No information available. space network (besides Activity: A Shopping roads/streets/paths network) in this Activity: B Making together, building remote place: Activity: C Using the new space (socializing, workshops, readings, events,..) A‐9 General description of the quality of public spaces in this remote place B‐8_b Who are the main users of this public space(s)? Answer: Being in the capital of the main island of the Azores, the essential services are guaranteed The area lacked a public space, a space not exclusively commercial or a transit space 119 User: 1 Local residents User: 2 Tourists User: 3 Local business owners B‐8_c What are the users activities of this public space(s)? Users Activity Before After 1 Local residents A Shopping   1 Local residents A Shopping   1 Local residents B Making together, building   1 Local residents C Using the new space (socializing,   workshops, readings, events,..) 2 Tourists A Shopping   3 Local business owners A Shopping   3 Local business owners B Making together, building   3 Local business owners C Using the new space (socializing,   workshops, readings, events,..) Photo's author: O Quarteirão B‐9 Parts/sections/spots seem most attractive within the public space (location and Caption: PontaDelgada_Casa_do_Quarteirão10 duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the From what we understand, the intervention of Orizzontale & NO‐ROCKET created a most attractive to people multifunctional public space that the associations and citizens felt the need: it was in fact an area completely dedicated to shopping where there was a lack of public spaces. B‐10 Provide the links to public data on the public space(s) Website: Magazine article Website's link: https://www.timeout.pt/lisboa/pt/viagens/quarteirao‐5‐motivos‐para‐visitar‐o‐bairro‐alternativo‐ de‐ponta‐delgada (https://www.timeout.pt/lisboa/pt/viagens/quarteirao‐5‐motivos‐para‐visitar‐ o‐bairro‐alternativo‐de‐ponta‐delgada) Website: Facebook page of the project Website's link: https://www.facebook.com/O‐Quarteirão‐446469502223329/ (https://www.facebook.com/O‐ Quarteirão‐446469502223329/) Website: Statistical website Website's link: https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_indicadores&indOcorrCod=0005889& contexto=pi&selTab=tab0 (https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_indicadores& indOcorrCod=0005889&contexto=pi&selTab=tab0) Photo's author: O Quarteirão B‐11 Provide photos of the public space(s) with creative works Caption: PontaDelgada_Casa_do_Quarteirão3 Caption: PontaDelgada_Casa_do_Quarteirão4 Photo's author: O Quarteirão Caption: PontaDelgada_Casa_do_Quarteirão7 120 Roles: Co‐designing and making Actor(s): W&T Motivations: Artistic Roles: Curating / organizing Actor(s): Association O Quarteirão Motivations: Giving new life to the area / growing businness Roles: Organizing /co‐designing C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting We couldn’t access this information in detail. From what we understood, there was already a background existed to make the group of business owner working in the creative field that wanted to create more participation in activities happen (financial, the area. They organized themselves in an association called O Quarteirão. W&T worked with institutional etc.) them initially and then invited over the collective Orizzontale & NO‐ROCKET during their festival in 2016 to do workshops and co‐design the structures. The festival W&T has access to private and public fundings. Photo's author: O Quarteirão C‐8 Sectors involved in the development of the creative works with public spaces: C‐1 Official name of the activity/project Culture  Name in local language: Casa do Quarteirão Education  Name in English: Casa do Quarteirão Health  Nickname: Sustainability  Overall name:  Science   C‐2 Description of the project (activities) that took place in the analysed public space(s): Tourism Sport  Describe the project (activities) that “Casa do Quarteirão” is a project developed within Walk&Talk 2016 and it was born out of the took place in the analysed public community that lives and works in the neighborhood (Quarteirão) in Ponta Delgada (São Miguel Industry  space(s) Island ‐ Azores Islands), reclaiming a physical space for convivial and collaborative use. Orizzontale (Italian Architecture Collective based in Rome) realized the wooden installation in the Other:  core center of the neighbourhood, while NO‐ROCKET focused its intervention on visualising the blur‐ry borders of Quarteirão and making people reflect on the hidden meaning of the system Specify other: Socialization behind it, using painted azulejos tiles (TRILHA) and a series of visual interventions using large C‐9 Sector which was.. mirrors installed in the public space (QUARTEIRÃO). ..the initiator of the activities: ‐1 C‐3 Challenge that the project (activities) tried/is trying to tackle: ..the most crucial for the whole case Culture What challenge was the project At the start of the project in 2016 the informal community of creative businness owner of the study: (activities) trying to tackle – what area, a kind of enclave to the north of the more commercial area of Ponta Delgada, did not have a was the aim homogeneity and density of projects that allows them to say: “We are in O Quarteirão”. The Comment: Initiator: The informal association of business owner of the area involved in the creative field curators wanted to “map what is missing to make it more dynamic, more visitable” in the area and work on the urban furniture, the recovery of empty spaces. The idea behind was to convey C‐10 How was the local community involved in the project/activities: the message that “this border area is not the end”. C‐4 Time frequency: Time Frequency Other Other information: The activities started during the Festival W&T in 2016. Neighbors carried on the transformations afterwards. C‐5 Time period Start: End: Comment: start date: Summer 2016 ; end date: Ongoing C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Orizzontale & NO‐ROCKET Motivations: Artistic 121 How was the local community Before the start of the one week project dinamyzed by Orizzontale, a number of business owner Were there any exchanges of No information available. involved in the project/activities? working in the creative field in the area started a project called O Quarteirão. Among them, the knowledge or other activities owner of MIOLO art gallery said: “We want to attract people to this area of the city, and we performed that potentially needed a space that would be public. We now have a community square with enor‐mous empowered the actors to prosper in potential. People can do whatever they want there, because that space is theirs” Orizzontale was their future development? invited by W&T to realize an installation in the core of the neighborhood and to collaborate with NO‐ROCKET (Francesco Zorzi an italian visual designer and illustrator based in Amsterdam) that C‐18 Monitoring (or not) of the impact of the project: had his intervention on visualizing “O Quarteirão” identity. After a first visit in Ponta Delgada, How was the impact of the project / No information available. during a public talk at MIOLO, Orizzontale chose together with the inhabitants to work in the activities monitored? If it wasn’t – small Travessa da Rua d’Acoa, to materialize a common square, a place for the community. The how do you think it could be project feature is metaphorically a Viveiro, a collective greenhouse to make “O Quarteirão” monitored? flourish and develop spontaneously. At the same time the idea was to re‐create the intimacy of a traditional Azorian house. Thus we worked on two elements, creating new inviting entrances to C‐19 Way in order to communicate the impact of the project: the space: a pavilion to provide a place for people to gather and organize events (Rua Pedro Homem) and a small structure with a tiny terrace (Rua d’ Acoa), to give a cozy and unusual view How was the impact of the project / W&T has a strong documentation policy. This project was communicated through local events of the area. Between these structures a new square took shape. The structures were built in five activities disseminated or and through the press. days, together with a group of inhabitants, using wood from Cryptomeria japonica, an endemic communicated? conifer species that grows in the island. The Italian designer Francesco Zorzi created a signage for O Quarteirão, stressing its identity: compositions of four ceramic tiles from Cerâmica Vieira (from C‐20 Perception of the creative works in public space(s) by the final users and the reactions Lagoa, São Miguel), painted in colors according to the business and placed at the doorstep of of the general public: shops, galleries, cafes or hotels. He also made round mirrors installed in the narrowest entrance of Travessa da Rua D'Agôa, which reflect each other and also who is passing by The program of How were the creative works in No information available. the “Casa do Quarteirão” was decided by the citizens. The structure was conceived as an open public space(s) perceived, project: the simple construction system made of modular frames could be customized and evaluated, judged by the final users adapted to the different configurations and needs of the community. – what were the reactions of the general public? C‐11 The role of natural/cultural heritage in the project/activities: C‐21 The (one) main success and the (one) main failure of the project/activities Did cultural and/or natural heritage No information available. play any specific role in the Main sucess: giving new life to the area, through a new multifunctional public space project/activities? Main failure: we couldn’t access this information C‐12 The targeted impact of the project/activity: C‐22 Importance of broader conditions for the main sucess and main failure factor: What was the targeted impact of Creating a public space in a forgotten area of the city center the project / activities? How important were the broader The success of the project lies in the collaboration between a local association with specific conditions (e.g. the supporting needs, W&T (a local association that deals with art), citizens and international designers and C‐13 Achievement of the targeted impact: state of the art in the community, artists. The work had already begun by the local association, who promised to keep activities on infrastructure, institutional support, after the workshops led during the 2016 W&T festival. The invited artists therefore did a punctual Yes/no/partly: ‐1 financial sources, local or job, putting their co‐design, construction, graphics skills at the service of the needs that the local "imported" know‐how etc.) for the association had begun to express. W&T, working with their international art festival, has bridged Comment: we couldn’t access this information in detail: we don’t know if the space is still used and active. main success and main failure factor the local needs and skills of international designers . In addition, W&T has given visibility to the Probably the targeted impact was achieved, giving a new public space to the area and giving area, organizing activities and workshops during the festival and putting this usually unknown more visibility to the area, now perceived as a creative area of the town. area on the map and in the festival program C‐14 Additional achieved impacts: C‐23 Provide the links to public data on the creative works Were any additional impacts No information available. Link to public data to better https://visao.sapo.pt/visaose7e/sair/2016‐08‐09‐o‐quarteirao‐ligar‐os‐pontos‐numa‐cidade/ achieved? understand the activities and actors, (https://visao.sapo.pt/visaose7e/sair/2016‐08‐09‐o‐quarteirao‐ligar‐os‐pontos‐numa‐cidade/) as well as impacts: C‐15 The main beneficiaries of the creative work in public space(s): The link: Magazine article Who were the main beneficiaries of local community, local businesses, local creative sector the creative works in public Link to public data to better Jornalistic report (Jornalistic report) spaces(s)? understand the activities and actors, as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: The link: https://acervo.publico.pt/fugas/noticia/ilhas‐smiguel‐pri‐um‐quarteirao‐que‐e‐uma‐festa‐de‐ vizinhos‐1733174 Were there any, no matter how big Probably giving more visibility to the area, now it is perceived as a creative place of the town, or small, economic benefits for the probably attracting specific kind visitors interested in creativity and art. Link to public data to better https://www.orizzontale.org/en/portfolio_page/casa‐do‐quarteirao/ (https://www.orizzontale.org local community as a whole or any understand the activities and actors, /en/portfolio_page/casa‐do‐quarteirao/) specific actors in particular, as well as impacts: resulting from the creative works The link: Creative collective involved in the project official website with/in public spaces? Link to public data to better https://www.domusweb.it/it/notizie/2016/11/21/casa_do_quarteirao_orizzontale.html C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that understand the activities and actors, (https://www.domusweb.it/it/notizie/2016/11/21/casa_do_quarteirao_orizzontale.html) potentially empowered the actors to prosper in their future development: as well as impacts: The link: 122 D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Elisa Bertolotti Organization: Universidade da Madeira Email: elisa.bertolotti@staff.uma.pt Role: D‐2 Representative pictures Picture's caption: Assemblage of infrastructure for event Picture's author: Walk and Talk Picture's date: Picture's source: https://andafala.org/Walktalkazores Picture's caption: Street Art Picture's author: Walk and Talk Picture's date: Picture's source: https://andafala.org/Walktalkazores Picture's caption: People gathering Açores Picture's author: Walk and Talk Picture's date: Picture's source: https://andafala.org/Walktalkazores Picture's caption: Assemblage of infrastructure Picture's author: Walk and Talk Picture's date: Picture's source: https://andafala.org/Walktalkazores Picture's caption: Children in street intervention 123 Picture's author: Walk and Talk Picture's date: Picture's source: https://andafala.org/Walktalkazores D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 124 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Prazeres’ Pedagogic Farm +5 Quinta Pedagógica dos Prazeres +4 +3 +2  +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Portugal ‐1 Region name (in local language): Região Autónoma da Madeira ‐2 Place name (in local language): Prazeres ‐3 Country name (in english): Portugal ‐4 Region name (in english): Madeira Island ‐5 Place name (in english): Prazeres Open landscape Prazeres is a small little village in the countryside of Madeira Island. The main economic resources in the community come from Agricultural and Tourism activities. Due to the fact that Prazeres is geographically located in the hills of mountains, the area of the village seams bigger than it really is. The agricultural fields are made in terraces so they represent 90% of the area.The main Comment: services are located in the centre of the village where is the local church. The small local community is aged and more dedicated to agriculture. Due to its location in the remote area of the island, Prazeres is well served by roads and nice cultural activities. This both aspects attract a significant community of foreign people, mainly from Germany and North Europe. Difficult terrain +5 Map of the network of public +4 spaces in the remote place +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1  Caption of the map: Figure‐ground plan Prazeres ‐2 Legend of the map: ‐3 ‐4 ‐5 Effortless terrain Although Prazeres is a remote place in Madeira Island, the access road infrastructure is of great quality. However, the acess can only me made by car or bus, the last one with only one route available. Apesar de ser um lugar remoto na ilha da Madeira, as Comment: infraestruturas rodoviárias de acesso são óptimas, embora o acesso só possa ser feito de carro ou autocarro (com apenas uma carreira disponível). 125 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2  ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Prazeres is a rural area with a good economic activity, because it belongs to the district with the higher percentage of foreign Low‐income households prevail inhabitants. Even though the local economy is mainly agriculture-based, it’s well served by restaurants, hotels and local lodging The “Quinta dos Prazeres project” has helped the local community to engage in several and different cultural activities open to all. Comment: establishments, a boutique store, a supermarket and a local market. All these infrastructures support the local Art Gallery activities Comment: The local inhabitants live from a daily agriculture and government state subsides, although some foreign people have creates nice such as temporary exhibitions, artistic residences, music festivals and cinema sessions. As well as the madeiran visitors that come tourism infrastructures that generate good income and bring to the community new approaches and cultural insights. to Quinta Pedagógica dos Prazeres. A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Daily‐life‐support facilities well developed at all) to 5 (extremely remote) +5 Estimation: 4  +4 Explanation: +3 A‐4 Elements that characterise the remoteness of the place: +2 Low population density  +1 Geographical barrier/allocation  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound  demographic demographic No good transportation links structure structure Difficulties in accessing daily‐life‐  ‐1 support facilities ‐2 Social specifics and/or divisions  ‐3 Economic inferiority  ‐4 Subjective criteria  ‐5 Specify subjective criteria (e.g. community’s self‐perception of Daily‐life‐support facilities none‐existing being remote etc): Although the population is mainly over 60’s years old, and the village far away from the nearest cityhall, the daily-life facilities are Comment:  easy to acess and exists in the village. Other Specify other: Summary of the elements that We characterize Prazeres as a remote place for four main reasons: 1st‐ This small village has characterise this case as a remote around 700 people, making it a low‐density location. 2nd ‐ The location itself, which is 40 km away place: from the “capital” of the island (Funchal), where all the main public services are. 3rd ‐ There is only one bus route from Funchal to Prazeres with seven‐time schedules per day on weekdays. On weekends there are two‐time schedules, one at 8 am and another at 4 pm. The trip can have a three‐hour duration, or the fastest two hours. By car, the trip from Funchal to Prazeres takes around 45 minutes. 4th – The low income of the population. Low population density rank: 1 Geographical barrier/allocation rank: 2 No good transportation links rank: 3 126 Difficulties in accessing daily‐life‐ A‐8 General description of.. support facilities rank: The network of roads, streets, paths Even though Prazeres is a much remote location there is a good network of roads to access the Social specifics and/or divisions and alike elements that tie this area from different parts of the island. Inside the region, the roads and streets are in a good rank: remote place together: condition as well and allow for locals and visitors to access any necessary infrastructure. Besides the traditional streets, you can also find some ancient paths, traditional from Madeira – the Economic inferiority rank: 4 Levadas – that used to be used by locals to travel from location to location inside the island on Subjective criteria (e.g. community’s foot. Nowadays those paths are mostly used as recreational paths by tourists and some locals. self‐perception of being remote etc) The quantity and structure of public Being Prazeres such a remote place and with very little population, the public spaces that exist rank: space network (besides are enough for the locals and the few tourists that are attracted to the location. The fact that it is Other rank: roads/streets/paths network) in this such a rural place is one of the main attractions. The existing public spaces are at a walking remote place: distance from most locations since it is such a small region, but the existing network of roads A‐5 Provide the links to public data allows for anyone to easily access them by car. Links to public data on the remote Institutional website about the Prazeres town A‐9 General description of the quality of public spaces in this remote place place Answer: Considering Prazeres as a remote village with around 700 people living there, the quality of the The link: https://www.cmcalheta.pt/pt/municipio/concelho/freguesias/prazeres (https://www.cmcalheta.pt public spaces exceeds the expectations. The buildings and infrastructures are in good conditions, /pt/municipio/concelho/freguesias/prazeres) some having been renovated recently. Links to public data on the remote Statistical website with censos publication B‐1 Name(s) of the public space(s) place Name(s) of the public space(s) (in Quinta Pedagógica dos Prazeres The link: https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_publicacoes& local language): PUBLICACOESpub_boui=156661814&PUBLICACOESmodo=2 (https://www.ine.pt/xportal /xmain?xpid=INE&xpgid=ine_publicacoes&PUBLICACOESpub_boui=156661814& Name(s) of the public space(s) (in Prazeres’ Pedagogic Farm PUBLICACOESmodo=2) English): A‐7 The type of public spaces that can be found in this remote place (besides the Latitude of the public space(s): 32.75398758711756 roads/streets/path network) Longitude of the public space(s): 17.20048220589077 Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  Ground plan showing the land use (e.g.University grounds) of the public space(s): Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Caption's map of the public space: Figure‐ground plan Prazeres Madeira Island Type of indoor public spaces that � Prazeres’ Parish can be found in this remote place: Legend's map of the public space: � Sports and Recreational Club Main location  � Social Security and health center � B‐2 Describe the physical environment Prazeres’ Supply market � Physical environment description of The surroundings of Quinta Pedagógica dos Prazeres consists mainly of locals’ housing, which Prazeres’ Gallery the public space(s) with creative respect a traditional architecture, open landscapes with vegetation and some local businesses. All � Herbarium works: the surrounding buildings have the same features since they have been constructed around the same time. Attached to the Quinta you can find the Prazeres’ Parish with its beautiful gardens and � Padre Manuel Nóbrega Museum a large plaza in front of it, the Prazeres’ Gallery and the Cider House, all accessible by anyone. Cider House 127 Physical environment elements Besides the Quinta itself, all the activities realized by the creative people have taken place in the User: 4 local artists were important and/or actually Prazeres’ Gallery and the Parish’s Plaza. "used" by creative people for their User: 5 foreign artists activities: User: 1 tourists B‐3 Describe the general functions B‐8_c What are the users activities of this public space(s)? Functions and land uses description The public space used by the creatives consists mainly of commercial and civic functionalities Users Activity Before After in the area of the public space: (cultural and educational). They border with the Prazeres’ Parish, The Prazeres’ Gallery, The Cider House and a residential area. You can also find two cafes and a recent architecture studio on the 1 tourists A visiting the tea house   same street. 1 tourists B Seeing the animals   Functionalities of space were Both the commercial and civic functionalities were a result of the creative works, being that the important and/or actually "used" by space (in this case the Quinta Pedagógica) was created to serve these exact purposes in order to 1 tourists C buying local products   creative people for their activities: promote the remote area of Prazeres. 1 tourists H participating in cultural events   B‐4 General demographic characteristics of the area around the public space: 2 students B Seeing the animals   Describe the general demographic The general population in the surroundings is of an older age, mostly female. Most of the 2 students E visiting the gallery   characteristics population works on agriculture, for personal surviving and as a means of financial support, so their financial condition is not the best. In terms of education, the general population has the 2 students G workshops for kids and teens   lowest rate for any scholar level of the island. However, the younger generations tend to pursue higher studies. There is a high percentage of people without employment. 2 students I school trips   B‐5 Type of the public space(s) with creative work 3 locals A visiting the tea house     Form and function: Recreational space, Garden, Community open‐air space, Parish, Art Gallery. 3 locals B Seeing the animals   Ownership: Private 3 locals C buying local products   Access regarding entry‐control: The access to the Quinta is mixed, you have some areas that have no entry control besides the 3 locals E visiting the gallery opening hours, and others, more specifically the animal’s area, that requires a symbolic entry fee 3 locals H participating in cultural events   to help in the maintenance of the space and the animals. 3 locals A visiting the tea house   Access regarding time of day/week Spring/Summer: Monday to Friday from 9 AM to 8 PM, weekends and holidays from 9 AM to 9 /year: PM; Autumn/Winter: Monday to Friday from 9 AM to 7 PM , weekends and holidays from 9 AM to 3 locals B Seeing the animals   8 PM. 3 locals H participating in cultural events   B‐7 Kind of activity initially designed for this public space: 4 local artists D artistic residence   What kind of activity has been this The Quinta was developed as an education project, to promote the sociocultural development of 4 local artists E visiting the gallery   public space designed for initially this rural area and to function as a boost to the local economy. Their aim was to preserve nature and the local traditions and culture. They act on several fronts: • Preserve the endemic plants and 4 local artists E visiting the gallery   traditional recipes • Producing artisanal and natural products • Little farm with animals and endemic trees and plants • Art Gallery – promoting local and international creatives, attracting 4 local artists F exhibits   more people to this remote place, creating a relationship between creatives, the local community   and nature • Museum – permanent exposition of the Padre’s Manuel collection of fossils and 4 local artists H participating in cultural events other natural elements 4 local artists G workshops for kids and teens   B‐8_a Which are the activities in this public space(s)? 5 foreign artists D artistic residence   Activity: B Seeing the animals 5 foreign artists E visiting the gallery   Activity: C buying local products 5 foreign artists F exhibits   Activity: D artistic residence 5 foreign artists H participating in cultural events   Activity: E visiting the gallery B‐9 Parts/sections/spots seem most attractive within the public space (location and Activity: F exhibits duration) ‐ Parts/sections/spots at people seem to avoid: Activity: G workshops for kids and teens Describe what parts seem to be the The main activities occur around the church patio, Pedagogical Farm, art gallery and in the most attractive to people “caminho das pedras near the Prazeres Hotel. The “parzeres‐ Paúl do Mar Real path, is another Activity: H participating in cultural events high frequented track in the area among to other tracking paths around the mountains hills. Due to the geographical characteristics of the landscape, we cannot considerer that exists “Non Activity: I school trips places or “s less attractive places Activity: A visiting the tea house B‐10 Provide the links to public data on the public space(s) B‐8_b Who are the main users of this public space(s)? Website: Website of the project User: 2 students Website's link: https://www.prazeresdaquinta.pt/ (https://www.prazeresdaquinta.pt/) User: 3 locals 128 Website: Prazeres Gallery website Website's link: http://www.galeriadosprazeres.pt/ (http://www.galeriadosprazeres.pt/) Website: Social media of the gallery Website's link: https://www.facebook.com/galeriadosprazeres (https://www.facebook.com/galeriadosprazeres) Website: Social media of the project Website's link: https://www.facebook.com/prazeresdaquinta (https://www.facebook.com/prazeresdaquinta) B‐11 Provide photos of the public space(s) with creative works Caption: Prazeres_PRAZERES SOCIAL PROJECT_exhibition project Photo's author: Galeria dos Prazeres Caption: Prazeres_PRAZERES SOCIAL PROJECT_VII Mostra de Espantalhos Photo's author: Quinta Pedagógica dos Prazeres Caption: Prazeres_PRAZERES SOCIAL PROJECT_Local products Photo's author: Quinta Pedagógica dos Prazeres 129 Caption: Prazeres_PRAZERES SOCIAL PROJECT_IV Mostra de Camélias Time Frequency A constant process Other information: C‐5 Time period Start: 10/1/2000 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Padre Rui Motivations: Promoting the rural area of Prazeres Roles: Founder, director and priest of the local parish Actor(s): Nélio Sousa Motivations: Roles: Coordinator of the Educational Program of the Quinta Photo's author: Quinta Pedagógica dos Prazeres Actor(s): Patrícia Sumares C‐1 Official name of the activity/project Motivations: Name in local language: Quinta Pedagógica dos Prazeres Roles: Gallery Curator Name in English: Prazeres’ Pedagogic Farm Actor(s): Hugo Olim Nickname: Motivations: Overall name:  Roles: Gallery Curator C‐2 Description of the project (activities) that took place in the analysed public space(s): Actor(s): Martinho Mendes Describe the project (activities) that Quinta Pedagógica dos Prazeres is a dynamic and multifunctional space founded by the local Motivations: took place in the analysed public priest, Padre Rui, in order to acknowledge and value this rural area in Madeira Island. The space Roles: Gallery Curator space(s) integrates four different areas: the farming area which advocates alternative cultures, the transformation area where they prepare homemade jams, cakes and medicinal herbs, the C‐7 Description of the supporting background that existed to make the activities happen: animals’ area where you can interact with different species and, finally, a tearoom in which you can drink organic teas from the Quinta and buy local products. Because it is a project of social and What kind of supporting Private investments, and state fundings solidary nature that aims to avoid rural desertification and social isolation of its community, the background existed to make the Quinta actively contributes to potentiate the social well‐being as a meeting point and activities happen (financial, dynamization of several activities that invite locals to interact with each other and all the visitors. institutional etc.) They make use of existing costumes through the year, like the Festa da Bênção dos Animais, the Festa da Mostra da Debulha do Trigo or the Festa da Sidra. These events go hand in hand with the C‐8 Sectors involved in the development of the creative works with public spaces: rhythm of the locals everyday‐life and with Nature’s pace. This project is affiliated with others,  also developed by the initiative of the local priest, that one may find in the surroundings, such as Culture the Art Gallery, the Herbarium, the Padre Manuel Nóbrega’ s Museum and the Parochial House. Education  The Art Gallery, in specific, is a cultural space whose main goal is to promote Art and Culture in its many forms, establishing, then, in a consistent, dynamic and educational way, a connection Health  between the artists, the local community and nature. As the main project – the Quinta – it is anchored in the local identity of Prazeres and shares the same philosophical pillars and criteria to Sustainability  achieve its goal. Together, both places potentiate several pedagogic activities in different fields – Science  Botanic, Geology, Agriculture, Livestock, Tradition and Popular Culture, Environmental Literacy and Art. The Gallery has a free educational program, in partnership with the Quinta, with Tourism  pedagogic activities directed to a younger audience but to a senior population as well. Be it through creative expression workshops, temporary exhibits and guided fieldtrips. The Parochial Sport  House exists as a solution to artistic residencies, allowing for the creation of new publics and  promoting intergenerational and intercultural sharing. Always in pace with the local identity of Industry Prazeres, but stimulating its reinterpretation, its reinvention and connection to contemporaneity. Other:  C‐3 Challenge that the project (activities) tried/is trying to tackle: Specify other: What challenge was the project The Quinta was developed as an education project, to promote the sociocultural development of C‐9 Sector which was.. (activities) trying to tackle – what this rural area and to function as a boost to the local economy. Their aim was to preserve nature was the aim and the local traditions and culture, as well as avoid desertification of the area. ..the initiator of the activities: Culture C‐4 Time frequency: 130 ..the most crucial for the whole case Education Were there any exchanges of In the art gallery, with exhibitions with the artists participating in the events; the musical festivals, study: knowledge or other activities the collaboration and participation of the local people in teaching and producing Sidra, Jams, performed that potentially pastry and natural infusion made out of local and endemic plants that have health benefits. Comment: Besides Education, Sustainability and Culture were also essential for this case study empowered the actors to prosper in their future development? C‐10 How was the local community involved in the project/activities: C‐18 Monitoring (or not) of the impact of the project: How was the local community The recent years have shown that people like to interact and manifest their opinion, assuming an involved in the project/activities? active role in their visit of the spaces and presence in activities. The team behind the Quinta and How was the impact of the project / They do not have any data yet, due to the lack of personal.___Of course it would be great to have all associated projects, contribute for a good accessibility and comprehension of all the available activities monitored? If it wasn’t – some data collection on the subject. content of the several spaces. This translates in a meaningful and enriching experience for every how do you think it could be visitor. The democratization of knowledge access is an essential concern of the Quinta. In the last monitored? years, there has been a considerate increase of school visits as well as of other institutions in consequence of the new opening hours through previous scheduling. The visitors are locals, from C‐19 Way in order to communicate the impact of the project: other parts of the island and tourists. Some visitors are regulars, being part of a cultural community that grew with the place as well. The empathic and personalized approach with the How was the impact of the project / The communication was done through the common means of the media, webpages and social visitor aims to create an affinity with the audience and promotes the return for future events activities disseminated or media but also through partnerships with other entities, participation in conferences, meetings through the recognition of the value of Culture, Nature and Community for their well‐being, for communicated? and product contests. their growth and, ultimately, their life. C‐20 Perception of the creative works in public space(s) by the final users and the reactions C‐11 The role of natural/cultural heritage in the project/activities: of the general public: Did cultural and/or natural heritage Yes, the project itself started using as foundations the culture and natural heritage of the region How were the creative works in The general public showed great appreciation for the creatives interventions in Prazeres, either play any specific role in the and its population. From recipes to agricultural practices and presence of farm animals in the public space(s) perceived, through eager participation and involvement in the cultural activities, either through the project/activities? everyday of the community. evaluated, judged by the final users community involvement. – what were the reactions of the C‐12 The targeted impact of the project/activity: general public? What was the targeted impact of As already mentioned, the Quinta is an educational project, of sociocultural evolution, rural area C‐21 The (one) main success and the (one) main failure of the project/activities the project / activities? valorisation, of boost to the local economy and avoidance of desertification. It has seen its public interest and positive impact in education, culture, economy and society recognized by different Main sucess: There was no feedback on this matter. entities. Today it is recognized as a new cultural centre, in a rural periphery of an already isolated territory like Madeira Island. This project attracted different kinds of businesses to the area, from Main failure: There was no feedback on this matter. touristic services to new areas of catering. C‐22 Importance of broader conditions for the main sucess and main failure factor: C‐13 Achievement of the targeted impact: How important were the broader There was no feedback on this matter. Yes/no/partly: Yes conditions (e.g. the supporting state of the art in the community, Comment: Yes, earning in 2015 a vote of praise from the Legislative Assembly of Madeira for the results infrastructure, institutional support, achieved. The deputies recognized the pedagogic role and the valorization of regional products financial sources, local or achieved by the project of Quinta Pedagógica. In 2020 it was attributed to the project a Gold "imported" know‐how etc.) for the Medal of Touristic Merit. main success and main failure factor C‐14 Additional achieved impacts: C‐23 Provide the links to public data on the creative works Were any additional impacts The creation of a cultural and artistic community made by foreign people and locals. Link to public data to better No link available. (No link available. ) achieved? understand the activities and actors, as well as impacts: C‐15 The main beneficiaries of the creative work in public space(s): The link: ‐ Who were the main beneficiaries of The local community benefited from the interaction with visitors, either from other parts of the the creative works in public Island or foreign, seeing their hometown recognized and appreciated. The exchange of D‐1 Main editor in charge of this entry and potential other authors of this case study spaces(s)? knowledge between the participants enriched both parts involved, the locals and the visitors. description Local businesses saw a rise in their income as well as new opportunities of business. The local creative sector is, consistently, developing with each intervention in either of the spaces Name and surname: Susana Gonzaga integrated in the project. Last but not least, new partnerships have urged with education Organization: Universidade da Madeira institutions which ultimately attracts all kind of initiatives. Email: susanaluisgonzaga@gmail.com C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Role: Were there any, no matter how big As already mentioned, the creation of new jobs either inside the project of the Quinta or from D‐2 Representative pictures or small, economic benefits for the new business opportunities due to the increase of visitors to the area. local community as a whole or any Picture's caption: Prazeres_PRAZERES SOCIAL PROJECT_Local products at the Quinta specific actors in particular, resulting from the creative works with/in public spaces? C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: 131 Picture's author: Sara Abreu Picture's author: Sara Abreu Picture's date: Picture's date: Picture's source: Picture's source: Picture's caption: Prazeres_PRAZERES SOCIAL PROJECT_Quinta Pedagógica dos Prazeres Picture's caption: Prazeres_PRAZERES SOCIAL PROJECT_Quinta Pedagógica dos Prazeres 132 Picture's author: Sara Abreu Picture's author: Sara Abreu Picture's date: Picture's date: Picture's source: Picture's source: Picture's caption: Prazeres_PRAZERES SOCIAL PROJECT_Quinta Pedagógica dos Prazeres D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Sara Abreu Picture's date: Picture's source: Picture's caption: Prazeres_PRAZERES SOCIAL PROJECT_Quinta Pedagógica dos Prazeres 133 Rota Vicentina Rota Vicentina A‐1 General information about the location of the remote place Country name (in local language): Portugal Region name (in local language): Costa do Sudoeste Alentejano Place name (in local language): Parque Natural do sudoeste Alentejano e Costa Vicentina Country name (in english): Portugal Region name (in english): Coast of Southwest Alentejo Place name (in english): Southwest Alentejo and Vicentine Coast Natural Park Map of the network of public spaces in the remote place Caption of the map: Coast of Southwest Alentejo's map Legend of the map: Map of all the routes integrated in the project Rota Vicentina. 134 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Diversified economic activities Dense settlement +5 +5 +4 +4 +3 +3 +2 +2   +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed creative sector creative sector Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Open landscape Along the paths that make up Rota Vicentina, visitors will come across different costumes and traditions of the villagers. Those same Rota Vicentina is a project that works on the Southwest Alentejo and Vicentine Coast Natural Park (PNSACV). This project works on Comment: traditions, most of the time, entail the inhabitants’ jobs and, so, the economic activities of each place. The Rota Vicentina explorers a natural park located in southwest Portugal. The park occupies an area of 895.7 km2 (345.8 sq mi) (605.8 km2 (233.9 sq mi) on will, then, stumble across a variety of economic activities – fishing, pottery, weaving, agriculture, carpentry. land and 289.9 km2 (111.9 sq mi) at sea) and is one of the last strongholds of the wild European coast. (Wikipedia) It has one of the highest levels of biodiversity in the country with over 12 endemic species of plant and several bird nesting sites. The park was Daily‐life‐support facilities well developed Comment: created in 7 July 1987 in order to promote the protection and sustainable use of natural resources and other natural, landscape and +5 cultural values while promoting the economic, social and cultural development of the region. Rota Vicentina is a project that connects the territory, linking several villages with, although similar characteristics, unique culturally on each’s way. Most of these villages have +4 a group of settings in common, such as, being rural areas with little density of population. There are a lot of open landscapes across the paths but always small groups of habitants. +3 Difficult terrain  +2 +5 +1 +4 Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic +3 structure structure +2 ‐1 +1 ‐2 Poor ‐5 ‐4 ‐3  ‐1 0 +1 +2 +3 +4 +5 Good ‐3 (infrastructure (infrastructure for) access for) access ‐4 ‐1 ‐5 ‐2 Daily‐life‐support facilities none‐existing We are analysing a big area. Some of the villages have good infrastructures, others don´t, so the population has to travel to the ‐3 Comment: nearest village that offers special services, like wealth care, post offices or personal and legal services. ‐4 ‐5 Effortless terrain Even though there is a good network of highways through Portugal, that eventually allow visitors to reach different destinations Comment: included in the Rota, those entail having a personal means of transportation. Public transportation for those spaces is scarce and, most often than not, have single schedules and require changing means of transportation several times to reach one place. 135 High‐income households prevail Social specifics and/or divisions 4 rank: +5 Economic inferiority rank: 5 +4 Subjective criteria (e.g. community’s +3 self‐perception of being remote etc) +2 rank: +1 Other rank: Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory A‐5 Provide the links to public data practices none‐ practices well existing developed Links to public data on the remote Statistical website place ‐1 The link: https://www.ine.pt/xportal/xmain?xpid=INE&xpgid=ine_main (https://www.ine.pt/xportal ‐2 /xmain?xpid=INE&xpgid=ine_main) ‐3 A‐7 The type of public spaces that can be found in this remote place (besides the ‐4 roads/streets/path network) ‐5 Square/s, Plaza/s  Low‐income households prevail Park/s, Garden/s  Its impossible to characterize this aspect in such a vast territory. Although we can say its a land of big contrasts from poorness to Market space/s  Comment: wealthy business. Playground/s  A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote  at all) to 5 (extremely remote) Recreational space/s, Sport‐field/s Community open‐air space/s  Estimation: 3 Institution‐related open‐air space/s  Explanation: (e.g.University grounds) A‐4 Elements that characterise the remoteness of the place: Watersides  Low population density  Meadows  Geographical barrier/allocation  Parking area  No good transportation links  Service yard  Difficulties in accessing daily‐life‐  Other types:  support facilities Specify other types: Social specifics and/or divisions  Type of indoor public spaces that Economic inferiority  can be found in this remote place: Subjective criteria  A‐8 General description of.. Specify subjective criteria (e.g. The network of roads, streets, paths As mentioned previously, there is an excellent highway network through the country that allows community’s self‐perception of and alike elements that tie this people with a personal vehicle to reach the several points that constitute the Rota Vicentina. being remote etc): remote place together: However, at some point, you are redirected to the regional network of roads and, more often Other  than not, the quality of those is not that good. Be it because they are old, so the dimensions are not user‐friendly; Be it because they need rehabilitation; Be it because the pavement is not Specify other: comfortable. Inside the villages some of these paths end up as blind alleys or as pedestrian streets without warning. Summary of the elements that We characterize the villages that make up the Rota as remote places for five main reasons: 1st‐ characterise this case as a remote The villages in general have no more than 700 people, making it low‐density locations. 2nd ‐ Most The quantity and structure of public Its a natural park, located on the Atlantic coastline and Alentejo countryside. Although to some place: of the places are geographically isolated. 3rd – In order to reach theses places on public space network (besides remote and tiny communities that have to travel Kms to reach public services, there are beautiful transportation, visitors will not have more than a tight schedule for each mean of transportation roads/streets/paths network) in this and endless public free nature landscapes. and require interchanging between trains, buses and sometimes ferries. 4th – Low level of remote place: education? 5th – Low income of the population. A‐9 General description of the quality of public spaces in this remote place Low population density rank: 2 Answer: In the small towns there are. Geographical barrier/allocation rank: 1 B‐1 Name(s) of the public space(s) No good transportation links rank: 3 Name(s) of the public space(s) (in We are not characterizing one single place. Difficulties in accessing daily‐life‐ local language): support facilities rank: 136 Name(s) of the public space(s) (in Physical environment description of The project Rota Vicentina extends through a big portion of territory and different locations, so it English): the public space(s) with creative is not possible to describe exactly its surroundings. It is, however, possible to mention the general works: characteristics of the southern of Portugal that you will find in most of the places. Natural Latitude of the public space(s): 37.597 landscape is the most prevalent, both open landscapes – either cultivated or not – sometimes with pastures. The built landscape in the coastal area is, in general, more developed than the Longitude of the public space(s): ‐8.64186 inner villages. In the most rural areas you will find no more than the inhabitants housing, the main infrastructures for basics necessities and, because of the project, some businesses to sustain the welcome tourism. Physical environment elements The project’s main goal was to promote the social, cultural and economical development of the were important and/or actually remote places using their identity as a tool to attract people and give purpose to the populations. "used" by creative people for their For that reason, depending on the location, the elements used by the creative people varied from activities: place to place. In fishing villages they made use of the piers, harbors and beaches that the habitants used. In villages where agriculture was the main economic activity, they made use of the fields. In villages where craftmanship was essential they made use of habitants studios. But, most of all, they made use of the network of paths that have allowed Portuguese habitants to travel from place to place on foot. Which, in fact, is what the project is based on – a network of paths. B‐3 Describe the general functions Functions and land uses description In the territory of action of Rota Vicentina wich is a public space per se, co‐exits residential areas in the area of the public space: in the several Villages and small towns, very well organized with their local commercial activities, agricultural industry, public services. In terms of nodes of creativity, they exist specially in the villages of Vila Nova de Mil Fontes; Odemira; Alzejur; Sines; Porto Covo; Zambujeira do Mar; Sagres. There is not in 110Kms not even 1 shopping Center, each village has its local commerce, local markets and agricultural markets. There are public schools till high‐school. Other activities like Yoga, surf camps, ceramics, arts and crafts workshops, pastry and gastronomic local foods, stone workshops, craft jewellery artisans, wood workshops and music festivals exists almost along the all the cost. In the Zambuzeira do Mar during the first week of August there is the MEO Music festival, an enormous international music festival, in Sines and Porto Covo there’s the ethnic Music festival entitled “Festival de músicas do Mundo”. The most significant linked by Rota Ground plan showing the land use Vicentina project are in the region of Vila Nova de Mil Fontes, Zambuzeira, Alzejur and Sagres. This of the public space(s): small towns have also very well developed tourism infrastructures. There are several formats such as hotels, rural cottages, hostels, camping camps, rural housing hotels, local gastronomic restaurants. In terms of railway infrastructures there’s the Lisbon – Algarve high‐way and Train railway that serves the region. Functionalities of space were Open landscapes, small workshops, rural hotels, local farms, local art associations, mainly in the important and/or actually "used" by towns mentioned before. creative people for their activities: B‐4 General demographic characteristics of the area around the public space: Describe the general demographic Once more, there will be a clear distinction between the demographics of the coastal areas and characteristics the inner villages. Whereas in the coastal areas there will be a balanced distribution of the habitants age, in the inner villages the percentage of older people is definitely higher. The same goes for the economic activities and employment – in the coastal areas you will have a high percentage of male fishers, mostly man between 30‐60 years old, while in the rural villages you will have a higher percentage of farmers both male and female. In terms of education, the rural areas have a lower rate for any scholar level when it comes to the older population. However, the few young generations tend to pursue higher education. The fact that there is education institutes, both public and private, polytechnic and academic, enhances the chances of the youngest to pursue a degree. B‐5 Type of the public space(s) with creative work Form and function: The public spaces used by the creatives, as mentioned earlier, depend on the community identity and which traditions they aim to share with the visitors. But, common to all the places, are the Caption's map of the public space: Alentejo Southwest Map open‐air spaces, the watersides, the meadows and the paths that connect the villages. Legend's map of the public space: Areas of the Rota Vicentina where the nodes of creativity are more concentrated Ownership: The visitors will come across different kind of ownership spaces. Some paths cross public areas and others eventually end up crossing private lands that the owners allow a safe passage. Main location  Access regarding entry‐control: The network of routes is of open access. Some activities and workshops may be of controlled B‐2 Describe the physical environment access in the way that there are limited participants and payment is required. Access regarding time of day/week There are no limitations to the routes access. There is, though, to the programs and workshops. /year: 137 B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The paths network was used by its inhabitants to transit from village to village. public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: Bike trails Activity: Pedestrian trails Activity: As a means of transportation B‐8_b Who are the main users of this public space(s)? User: 1 hikers User: 2 inhabitants User: 3 bikers B‐8_c What are the users activities of this public space(s)? Users Activity Before After 1 hikers Pedestrian trails   Photo's author: Rota Vicentina 1 hikers Pedestrian trails   Caption: Alentejo Southwest_ROTA VICENTINA_Pedestrian Trail 2 inhabitants As a means of transportation   3 bikers Bike trails   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the It depends on peoples interests: ‐ for tracking, hiking and biking there are the Rota Vicentina most attractive to people trails; ‐ for tourism the cost line of Mil Fontes; Zambuzeira; Porto Covo; Carrapateira, Alzejur, Odeceixe and Sagres, mainly for those who love surf and beach vacations; ‐ For those interested in the music festivals : Zambuzeira and Sines; ‐ ‐ for those looking for more holistic experiences related with sports, nature, local and cultural identity almost all the villages along the coast line offers this experience. B‐10 Provide the links to public data on the public space(s) Website: Rota Vicentina official website Website's link: https://rotavicentina.com/ (https://rotavicentina.com/ ) Website: Rota Vicentina Social Media Website's link: https://www.facebook.com/rotavicentina (https://www.facebook.com/rotavicentina) Photo's author: Rota Vicentina Website: Rota Vicentina Instagram Caption: Alentejo Southwest_ROTA VICENTINA_Craftmanship Website's link: https://www.instagram.com/rotavicentina/ (https://www.instagram.com/rotavicentina/) Website: Rota Vicentina Youtube page Website's link: https://www.youtube.com/channel/UCrS1dtg5kt5NICfUfRX8pOA (https://www.youtube.com /channel/UCrS1dtg5kt5NICfUfRX8pOA) B‐11 Provide photos of the public space(s) with creative works Caption: Alentejo Southwest_ROTA VICENTINA_Agriculture 138 Photo's author: Rota Vicentina Comment: It started in 2012 and is still ongoing Caption: Alentejo Southwest_ROTA VICENTINA_Bikers C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Parque Natural, counties, parish councils, Turismo de Portugal Motivations: Roles: Financial and strategic aid Actor(s): Firefighters, Police, Universities Motivations: Roles: Institutional partners – protection, maintenance Actor(s): Enterprises Motivations: Financial growth, recognition Roles: Financial aid Actor(s): Restaurants Motivations: Financial growth, recognition Roles: Integration in the Rota Vicentina activities and routes Photo's author: Rota Vicentina Actor(s): Local businesses C‐1 Official name of the activity/project Motivations: Financial growth, recognition Name in local language: Rota Vicentina Roles: Integration in the Rota Vicentina activities and routes Name in English: Rota Vicentina Actor(s): Local communities Nickname: Motivations: Financial growth, recognition Overall name:  Roles: Integration in the Rota Vicentina activities and routes C‐2 Description of the project (activities) that took place in the analysed public space(s): Actor(s): Touristic operators Motivations: Financial growth, recognition Describe the project (activities) that Rota Vicentina is a project that aims to represent the touristic offer of the Alentejo and Vicentina took place in the analysed public regions in a broader approach. The main factor being the valorisation of the communities as well Roles: Integration in the Rota Vicentina activities and routes space(s) as the environment, the local culture and new ways of living. To achieve this, they make use of a network of already existing paths that were mapped and further enhanced to promote the C‐7 Description of the supporting background that existed to make the activities happen: passage through these regions of the country. In order to keep up with the mission to protect nature, support the local economy, promote the culture and quality of life of the local What kind of supporting There was no feedback on this matter. communities they created several touristic products: • Walking – it is the pioneer product of the background existed to make the project. There are a variety of trails available (750 km of routes) with all the basic necessities activities happen (financial, available and planned out for the wanderers. o Historical way – It is the official path, a more institutional etc.) interior one, that crosses the rural villages. o Fishermen’s trail – It is the coastline path. o Circular Routes – Are the paths destined to the soft hikers. They consist of smaller pedestrian routes that C‐8 Sectors involved in the development of the creative works with public spaces: start and end in the same place. • Cycling o MTB Trails – Are destined to the BTT audience. o Tour Culture  biking – Routes that combine cycling with road trails. • Cultural and natural activities – several activities linked to the sociocultural and geographical characteristics of the town where they Education  happen. Health  C‐3 Challenge that the project (activities) tried/is trying to tackle: Sustainability  What challenge was the project The project’s aim was to promote economic growth and appreciation of the remote areas in the (activities) trying to tackle – what southern coastal and interior areas of Portugal. All the activities and essence of the project grew Science  was the aim around the ideas of sustainable tourism, interaction with the local communities, valorisation of Tourism  the traditional costumes of each place and communion with nature. Sport  C‐4 Time frequency: Industry  Time Frequency A constant process Other:  Other information: Specify other: C‐5 Time period C‐9 Sector which was.. Start: ..the initiator of the activities: Tourism 139 End: ..the most crucial for the whole case Tourism How was the impact of the project / Since 2013 the Rota Vicentina has monitored the project through impact studies that aimed at study: activities monitored? If it wasn’t – evaluating not only the economical impact but the environmental and cultural impact of the how do you think it could be project on the communities. Comment: monitored? C‐10 How was the local community involved in the project/activities: C‐19 Way in order to communicate the impact of the project: How was the local community The local communities are constantly involved in the project and the several activities it entails, be How was the impact of the project / The Rota Vicentina shares the results of the studies in a general and succinct way in their website ‐ involved in the project/activities? it through the incorporation of local businesses in order to fulfil the basic needs of the wanderers; activities disseminated or https://rotavicentina.com/impacto‐regiao/ be it through the cession of passage through private pieces of land and consequential interaction communicated? between the owners and hikers; be it through the sharing of traditional knowledge and costumes with the participants of the workshops. This integration of the local communities in the several C‐20 Perception of the creative works in public space(s) by the final users and the reactions aspects that entail the project make them not only feel appreciated but promotes their social, of the general public: cultural and economical growth. How were the creative works in Considering the positive impact on the communities and the growing interest in the project by C‐11 The role of natural/cultural heritage in the project/activities: public space(s) perceived, either the Portuguese population as the foreign population as well, it is safe to conclude the evaluated, judged by the final users reactions of the general public were not only positive, were indeed very satisfactory. Did cultural and/or natural heritage The essence of the project includes the appreciation of the identity of the villages and their – what were the reactions of the play any specific role in the communities, for that reason each activity is based on those pillars. general public? project/activities? C‐21 The (one) main success and the (one) main failure of the project/activities C‐12 The targeted impact of the project/activity: Main sucess: Their main successes include: • An established brand with good reputation on the market • A What was the targeted impact of • Promoting the valorisation of offer • Attracting markets oriented for a more conscious consistent offer of trails and services • An attractive touristic destination • A well‐established the project / activities? immersion in the territory • Increasing internal and external knowledge about the local sustainable‐oriented concept communities and their local identity • Contradict the seasonality and interiority, complementing the tourist dynamic of the coastline • Awareness about patrimony and local identity of the Main failure: • There is still some disorganisation of information available, due to the complexity of the project places, generating economic value • The communication capacity is limited • The project website still has some gaps to be solved • There are still some challenges in terms of the local communities’ representativeness C‐13 Achievement of the targeted impact: C‐22 Importance of broader conditions for the main sucess and main failure factor: Yes/no/partly: Yes How important were the broader There was no feedback on this matter. Comment: The targeted impact was and is still being achieved. It is an ongoing process that requires conditions (e.g. the supporting constant action and initiative from the local communities, the partners and the project itself. state of the art in the community, Depending on external factors, for example like the covid pandemic, the project requires infrastructure, institutional support, increased planning and action to tackle the adversities that affect the main goals. financial sources, local or "imported" know‐how etc.) for the C‐14 Additional achieved impacts: main success and main failure factor Were any additional impacts There was no feedback on this matter. achieved? C‐23 Provide the links to public data on the creative works Link to public data to better No additional links. (No additional links. ) C‐15 The main beneficiaries of the creative work in public space(s): understand the activities and actors, Who were the main beneficiaries of The main beneficiaries include the local communities, the local businesses, the project partners as well as impacts: the creative works in public and, most of all, the territory that supports all these activities. The increased interest and The link: ‐ spaces(s)? visitation of the different villages had a positive impact on the communities, making them feel appreciated and less predisposed to the desertification and forgetfulness of remote areas. Hand D‐1 Main editor in charge of this entry and potential other authors of this case study in hand with this, came the economic and cultural growth of the villages. description C‐16 Presence (or not) of economic benefits for the local community as a whole or any Name and surname: Susana Gonzaga specific actors in particular, resulting from the creative works with/in public spaces: Organization: Universidade da Madeira Were there any, no matter how big Yes, specifically through an increase of revenue of local businesses and an increase of those local or small, economic benefits for the businesses in order to bridge the visitors’ necessities. Email: susanaluisgonzaga@gmail.com local community as a whole or any Role: specific actors in particular, resulting from the creative works D‐2 Representative pictures with/in public spaces? Picture's caption: Hikers talking with local farmer C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Were there any exchanges of Through the partnering with the project and, consequently, with other institutions incorporated, knowledge or other activities the local communities and businesses not only got their cultural inheritance valued but learned performed that potentially new techniques on how to market themselves in the light of social, cultural and economical empowered the actors to prosper in developments. their future development? C‐18 Monitoring (or not) of the impact of the project: 140 Picture's author: Rota Vicentina Picture's author: Rota Vicentina Picture's date: Picture's date: Picture's source: https://rotavicentina.com/ Picture's source: https://rotavicentina.com/ Picture's caption: Local Craftsman Picture's caption: Hikers in route Picture's author: Rota Vicentina Picture's author: Rota Vicentina Picture's date: Picture's date: Picture's source: https://rotavicentina.com/ Picture's source: https://rotavicentina.com/ Picture's caption: Bikers talking with local craftsman Picture's caption: Hikers gathering 141 Picture's author: Rota Vicentina Picture's date: Picture's source: www.rotavicentina.com Picture's caption: Forest guards Picture's author: Rota Vicentina Picture's date: Picture's source: www.rotavicentina.com D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 142 Village Smithy - for sustainable living spaces Dorfschmiede - für nachhaltige Lebensräume The Brewery USTRIA Das Bräu Culture Play Spaces – farmhouse parlor A Kultur Spiel Räume - STUBENrein Benches Express Bankerl Express A place kissed awake Ein wachgeküsster Ort 143 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Village Smithy - for sustainable living spaces Dorfschmiede - für nachhaltige Lebensräume Dense settlement +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Österreich ‐1 Region name (in local language): Niederösterreich  ‐2 Place name (in local language): Gutenstein ‐3 Country name (in english): Austria ‐4 Region name (in english): Lower Austria ‐5 Place name (in english): Gutenstein Open landscape Map of the network of public Gutenstein lies in a deeply cut very long valley. Several hundred years ago, businesses that needed water, energy production from spaces in the remote place water power and wood (iron processing, paper mills, sawmills, etc.) settled here. By using the relatively narrow valley floor, all Comment: suitable areas are intensively characterised by this use to this day. Gutestein is one of numerous smaller villages that lie in this vale. Caption of the map: At the end of the 19th century, Gutenstein became a health resort because of its good air and climate. Legend of the map: Difficult terrain +5 +4 +3 +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Due to the width restriction in the valley floor, the village of Gutenstein is also very elongated and is more a chain of individual settlements or farmsteads than a village with a centre. Although there is such a centre, it is more perceptible as a single link in this Comment: chain. This centre is characterised by heterogeneous architecture. It consists of lower, simple buildings used for handicrafts and higher, more splendid buildings that were built for the visitors of the health resort. Most of the buildings are in very poor condition. 144 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1  +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The creative sector here is more likely to be found in wood and metal processing. Since the "wohnwagon", a company that produces Low‐income households prevail Comment: tiny houses, has settled here, the spectrum of creative areas has grown and expanded. The income is average. Spa tourism has hardly played a role in recent decades. Interestingly, however, wealthy citizens from nearby Vienna bought second homes here during the boom. Some of their descendants now live in the village all year round. These families Daily‐life‐support facilities well developed Comment: are quite wealthy, while the original resident population can be described as rather poor. Originally, these long-established residents were forest farmers and charcoal burners. In more recent times, many work in the large companies that process metal, for example. +5 +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  The village has all the relevant shops for daily needs, although there is not much choice. The problem, however, lies in the Comment: accessibility. Since the distances in the village/valley are very long, one is usually dependent on the use of a car. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Buildings in need of renovation Summary of the elements that Due to the width restriction in the valley floor, the village of Gutenstein is very elongated and is characterise this case as a remote more a chain of individual settlements or farmsteads than a village with a centre. Although there place: is such a centre, it is more perceptible as a single link in this chain. This centre is characterised by heterogeneous architecture. It consists of lower, simple buildings used for handicrafts and higher, more splendid buildings which were created during the time when the place became a climatic health resort. Many of the buildings are in very poor condition. Public spaces are poorly designed. Low population density rank: 3 Geographical barrier/allocation rank: 2 No good transportation links rank: 145 Difficulties in accessing daily‐life‐ A‐8 General description of.. support facilities rank: The network of roads, streets, paths Due to the width restriction in the valley floor, the village of Gutenstein is very elongated and is Social specifics and/or divisions and alike elements that tie this more a chain of individual settlements or farmsteads than a village with a centre. A well‐built road rank: remote place together: connects all these areas. And narrower roads the small side valleys. The village of Gutenstein also has a railway station and is very easy to reach from Vienna. Economic inferiority rank: The quantity and structure of public Where the valley widens somewhat, some publicly accessible green spaces have been created. Subjective criteria (e.g. community’s space network (besides However, they are rather rare. During the site visit, no public open spaces tailored to the special self‐perception of being remote etc) roads/streets/paths network) in this needs of individual groups could be found. An open‐air swimming pool is rather an exception rank: remote place: here, but it is not free of charge. All in all, it is clearly noticeable that vacant areas were primarily Other rank: 1 used for economic purposes. There is also a large private park around a stately home. It should be mentioned here that the "Dorfschmiede" project, is 1.5 km away from the actual centre of the A‐5 Provide the links to public data village. Links to public data on the remote Dorfschmiede (Co‐working, etc.) A‐9 General description of the quality of public spaces in this remote place place Answer: In the centre of the village a relatively newly built larger project stands out. It houses municipal The link: https://www.dorfschmiede.net/ (https://www.dorfschmiede.net/) offices, a supermarket and a restaurant. The building is designed to form an inner courtyard enclosed on three sides. It looks extremely lifeless and is lovelessly designed. In the immediate Links to public data on the remote Gutenstein Municipal Office vicinity of this square are large areas that are used exclusively as parking spaces. Although there is place a centre, it is more perceptible as a single link in a chain. The transport infrastructure is clearly The link: https://www.gutenstein.at (https://www.gutenstein.at) characterised by a long road, which is, however, used exclusively as a transit area. To the left and right of the road ‐ in the centre of the village ‐ are individual buildings and small private gardens. Links to public data on the remote Statistical data on the place Directly behind them, wooded steep mountains rise. place B‐1 Name(s) of the public space(s) The link: https://www.statistik.at/web_de/nomenu/suchergebnisse/index.html (https://www.statistik.at /web_de/nomenu/suchergebnisse/index.html) Name(s) of the public space(s) (in Dorfschmiede (the old inn with its guest garden and kitchen garden) local language): Links to public data on the remote wohnwagon (company that builds tiny houses) place Name(s) of the public space(s) (in Village Smithy English): The link: https://www.wohnwagon.at/ (https://www.wohnwagon.at/) Latitude of the public space(s): 47.8770793131434 Links to public data on the remote Geographic information system place Longitude of the public space(s): 15.910864190253777 The link: https://atlas.noe.gv.at/webgisatlas/(S(nfs4zs3obhii5r1ptbfpi4mr))/init.aspx?karte=atlas_gst (https://atlas.noe.gv.at/webgisatlas/(S(nfs4zs3obhii5r1ptbfpi4mr))/init.aspx?karte=atlas_gst) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Ground plan showing the land use Playground/s  of the public space(s): Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Caption's map of the public space: graz_dorfschmiede_location and entrances Service yard  Legend's map of the public space: Other types:  Main location  Specify other types: B‐2 Describe the physical environment Type of indoor public spaces that Dorfschmiede, the former inn can be found in this remote place: 146 Physical environment description of The former Gutensteiner Hof (now Dofschmiede) has a guest garden and a kitchen garden. It has What kind of activity has been this The “Dorfschmiede” is a former inn that has been abandoned. It was one of the main places for the public space(s) with creative also a restaurant and a few guest rooms. It is located directly on the main road (Gutensteiner public space designed for initially all the inhabitants of Gutenstein to meet. It was possible to eat and spend the night there. In works: Straße). Opposite is the Gutenstein railway station. The directly adjacent public space is addition, club celebrations could also take place. Socialisation was certainly the most important completely sealed, treeless and not well designed in any way. In the slightly wider surroundings, function. however, there are meadows and a beautiful stand of trees. B‐8_a Which are the activities in this public space(s)? Physical environment elements Both the building itself, with its large restaurant and the guest rooms, as well as the guest garden were important and/or actually and kitchen garden are currently in use. Even if the type and philosophy of use is different today. Activity: Shopping (organic food) "used" by creative people for their Activity: Attending workshops activities: Activity: Co‐working B‐3 Describe the general functions Activity: Shopping (products for sustainable living) Functions and land uses description In the immediate vicinity of the Dorfschmiede there are residential uses, a small shop and the in the area of the public space: railway station. In addition, the workshop of the initiators of the Dorfschmiede, which produces Activity: Visit to the restaurant tiny houses, is only a few hundred metres away. Activity: Overnight stay Functionalities of space were This project started when the company “wohnwagon” that builds sustainable tiny houses was important and/or actually "used" by looking for a village that had the infrastructure to enable self‐sufficient, self‐determined and B‐8_b Who are the main users of this public space(s)? creative people for their activities: sustainable living and economic activity. 90 Austrian villages were approached, 20 responded and Gutenstein was chosen by the activists because of its excellent conditions. Gutenstein had an User: Families ideal production hall for the tiny houses with its own water and hydroelectric power supply. For User: Clubs (fire brigeades, football club) community purposes, a suitable location was still missing, which was found in the disused inn „Gutensteiner Hof“ (now Dorfschmiede). In addition, the very good train connection to Vienna is User: Activists with different interests (Yoga, lectures, workshops, etc.) crucial for both employees and customers. User: Co‐workers B‐4 General demographic characteristics of the area around the public space: User: Customers ‐ shop with sustainable products Describe the general demographic There are no special features regarding the demographic characteristics of the neighbourhood. In characteristics addition to the community that runs and uses the Dorfschmiede, whose average age is around 35, User: Customers ‐ shop with organic dynamic vegetables there are families living nearby. B‐8_c What are the users activities of this public space(s)? B‐5 Type of the public space(s) with creative work Users Activity Before After Form and function: The Dorfschmiede has a restaurant kitchen on the ground floor and an approx. 150 sqm large Families Visit to the restaurant   restaurant, which is used multifunctionally (co‐working, workshops, lectures, dance courses, gastronomy, a shop that sells sustainable goods, a market garden, etc.) In addition, the Clubs (fire brigeades, football club) Visit to the restaurant   Dorfschmiede has a large, tree‐lined guest garden, which can also be used multifunctionally. On the upper floor there are 6 guest rooms which are rented out to activists. The idea is not to use Activists with different interests Co‐working   the rooms as a general pension, but to be able to accommodate people who are interested in the (Yoga, lectures, workshops, etc.) project for a few days or even weeks. Directly next to the main house are a few buildings for   storage. The communally maintained and used kitchen garden is also used as a playground for the Co‐workers Co‐working children. There are water pools, sandboxes and other play facilities. It would be desirable to Co‐workers Attending workshops   unseal the open spaces between the main road and the railway station. However, this area is in public ownership. Co‐workers Shopping (organic food)   Ownership: MIXED: The railway station belongs to the public, as does a building for social housing. There are Co‐workers Shopping (products for sustainable   also privately owned houses and a small private shop. The form of ownership of the living) Dorfschmiede is particularly interesting: A cooperative was founded to buy and renovate the inn. For the purchase and expansion of the Gutensteiner Hof, the activists have opted for a joint Co‐workers Visit to the restaurant   financing concept. They have opened an asset pool. In this asset pool, a real estate project is Co‐workers Overnight stay   jointly financed. Everyone invests an amount of their choice between € 3,000 and € 50,000 in the project. At the moment, about 50 people belong to the cooperative. They have raised a sum of Families Attending workshops   about €800,000 together. Additional money is currently being collected for the construction of a wood chip solar plant, renovation work in the catering area and the guest rooms. As a participant Families Shopping (organic food)   in the pool, you can withdraw the money at any time after one year and get it back within three   months, adjusted for inflation, because the real value of the property also increases with inflation. Families Shopping (products for sustainable If a place in the pool becomes free, someone else can join. A liquidity reserve of 10 % ensures that living) the pool can always remain in flow. Customers ‐ shop with sustainable Co‐working   Access regarding entry‐control: The Dorfschmiede is open to all cooperative members, guests of the inn and customers in the products shop. This means that there is a kind of social control regarding accessibility. Customers ‐ shop with sustainable Shopping (organic food)   Access regarding time of day/week Due to the Corona situation, there are no opening hours at the moment. In the near future, the products /year: opening hours will be based on the usual opening hours for guest houses and shops. At the Customers ‐ shop with sustainable Shopping (products for sustainable   moment, members of the cooperative and their guests have access to all facilities. So it is a products living) restricted access. Customers ‐ shop with organic Co‐working   B‐7 Kind of activity initially designed for this public space: dynamic vegetables 147 Customers ‐ shop with organic Attending workshops   Caption: graz_dorfschmiede_dorfschmiede_strittmatter dynamic vegetables Customers ‐ shop with organic Shopping (products for sustainable   dynamic vegetables living) Customers ‐ shop with sustainable Attending workshops   products B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the Since the former inn was already empty when it was taken over, all the activities could in fact be most attractive to people described as "new", even though the inn already had a restaurant with a garden and guest rooms. The guest room is the general, most frequented place in the Dorfschmiede. The communally maintained and used kitchen garden is also used as a playground for the children. There is a very long retention period in both areas. There are no areas that are avoided. It would be desirable to improve the area directly in front of the Dorfschmiede ‐ the federal road and the station forecourt. Although this area is no longer part of the project, it is directly adjacent to it. Unsealing the surfaces, planting trees and providing seating would be a good idea here. B‐10 Provide the links to public data on the public space(s) Website: Haus der Architektur Website's link: https://hda‐graz.at/programm/landgespraeche (https://hda‐graz.at/programm/landgespraeche ) Website: Dorfschmiede Photo's author: strittmatter Website's link: https://www.dorfschmiede.net (https://www.dorfschmiede.net) Caption: graz_dorfschmiede_photo location Website: The story of the mastermind Theresa Mai (former name Theresa Steiner) Website's link: https://www.mein‐leben.at/lebensgeschichten/leben‐im‐autarken‐dorf‐theresa‐steininger‐ist‐dem‐ guten‐leben‐auf‐der‐spur.html (https://www.mein‐leben.at/lebensgeschichten/leben‐im‐autarken‐ dorf‐theresa‐steininger‐ist‐dem‐guten‐leben‐auf‐der‐spur.html) Website: Article in "Kurier" Website's link: https://kurier.at/wirtschaft/immobiz/zurueck‐aufs‐land‐wir‐gruenden‐ein‐dorf/400333185 (https://kurier.at/wirtschaft/immobiz/zurueck‐aufs‐land‐wir‐gruenden‐ein‐dorf/400333185) Website: Article on "Meine Energie" Website's link: https://www.meineenergie.tv/themen/beitrag/dorfschmiede‐das‐dorf‐der‐zukunft.html (https://www.meineenergie.tv/themen/beitrag/dorfschmiede‐das‐dorf‐der‐zukunft.html) Website: Article in "The Standard", Austrias most important daily newspaper Website's link: https://www.derstandard.at/story/2000106697954/wie‐pioniere‐in‐gutenstein‐die‐welt‐wieder‐ zum‐dorf‐machen (https://www.derstandard.at/story/2000106697954/wie‐pioniere‐in‐gutenstein‐ die‐welt‐wieder‐zum‐dorf‐machen) Website: wohnwagon (company that builds tiny houses) Website's link: https://www.wohnwagon.at (https://www.wohnwagon.at) Photo's author: strittmatter Website: Geographic information system Caption: graz_dorfschmiede_kitchen‐ and play garden Website's link: https://atlas.noe.gv.at/webgisatlas/(S(nfs4zs3obhii5r1ptbfpi4mr))/init.aspx?karte=atlas_gst (https://atlas.noe.gv.at/webgisatlas/(S(nfs4zs3obhii5r1ptbfpi4mr))/init.aspx?karte=atlas_gst) Website: Book and film abour remote places in Austria: Rettet das Dorf! (Save the village!) Website's link: https://www.rettetdasdorf.at/ (https://www.rettetdasdorf.at/) Website: Book by Theresa Mai: "Wie wir leben könnten‐ Autark wohnen, Unabhängigkeit spüren, Gemeinschaft entdecken.", 2021 Website's link: https://www.amazon.de/Wie‐wir‐leben‐k%C3%B6nnten‐Unabh%C3%A4ngigkeit /dp/3706626845?asin=B08L3VYBP5&revisionId=&format=2&depth=1 (https://www.amazon.de /Wie‐wir‐leben‐k%C3%B6nnten‐Unabh%C3%A4ngigkeit/dp/3706626845?asin=B08L3VYBP5& revisionId=&format=2&depth=1) B‐11 Provide photos of the public space(s) with creative works 148 C‐1 Official name of the activity/project Name in local language: Dorfschmiede ‐ für nachhaltige Lebensräume Name in English: Village Smithy ‐ for sustainable living spaces Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The project „Dorfschmiede“ started when a company that builds tiny houses was looking for a took place in the analysed public village that had the infrastructure to enable self‐sufficient, self‐determined and sustainable living space(s) and economic activity. 90 Austrian villages registered, Gutenstein in Lower Austria was chosen. It had an ideal production hall for the tiny houses with its own water and hydroelectric power supply. For community purposes, a suitable location was still missing, which was found in the disused inn „Gutensteiner Hof“ (now Dorfschmiede). A cooperative was founded to buy and renovate the inn. The cooperative with about 50 members has chosen the „Asset Pool“ model. Each member is part owner of the property. It serves as a platform to enable lively togetherness in the village (e.g. workshops, lectures, dance courses, gastronomy, a shop that sells sustainable products, etc.). New businesses have settled here and existing jobs have been preserved (e.g. a community kitchen gardens, a market garden, a woodchip solar plant, carpenters, etc.). Synergies are being sought in all of them. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project To enable self‐sufficient, self‐determined and sustainable living and economic activity. (activities) trying to tackle – what was the aim C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 1/1/2018 12:00:00 AM End: Comment: Photo's author: strittmatter C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Caption: graz_dorfschmiede_train station_strittmatter Actor(s): Michael Löhrmann Motivations: Economic activity. Aim to enable self‐sufficient, self‐determined and sustainable living. Roles: Woodturner and activist Actor(s): Alexandra Kusch Motivations: Economic activity. Aim to enable self‐sufficient, self‐determined and sustainable living. Roles: Metal craftswoman and activist Actor(s): Theresa Mai Motivations: Economic activity. Aim to enable self‐sufficient, self‐determined and sustainable living. Roles: Economic activity. Aim to enable self‐sufficient, self‐determined and sustainable living. Mastermind Actor(s): Erich and Veronika Rossmanith Motivations: To lead a self‐sufficient life and grow organic vegetables. Roles: Vegetable farmers and activists C‐7 Description of the supporting background that existed to make the activities happen: 149 Photo's author: strittmatter What kind of supporting There is no financial support from the official side. However, the mayor supports the group mainly Were any additional impacts The “Dorfschmiede” ‐ the project that is the focus here ‐ was bought as a cooperative project. background existed to make the in making things possible! He helps in particular through services. For example, he offered that achieved? Now, after a period of vacancy, many social activities can take place again. In addition, the activities happen (financial, circulars to all citizens sent out by the municipality also included announcements of the population has increased due to the influx of activists and presumably also due to the slowdown institutional etc.) “Dorfschmiede”. in the departure of locals. C‐8 Sectors involved in the development of the creative works with public spaces: C‐15 The main beneficiaries of the creative work in public space(s): Culture  Who were the main beneficiaries of In the first phase, the company that produces the tiny houses benefited from the move to the creative works in public Gutenstein. Almost simultaneously, other producing and creative companies and individuals have Education  spaces(s)? received a benefit through the cooperation. For the nursery, which grows organically, the new community and its philosophy of life and work is also an important customer and partner. The Health  goal of a healthy lifestyle has, however, persuaded physiotherapists and yoga teachers, for Sustainability  example, to settle here. Local businesses and service providers were also approached and invited to cooperate. Many of them are now part of the overall system. Science  C‐16 Presence (or not) of economic benefits for the local community as a whole or any Tourism  specific actors in particular, resulting from the creative works with/in public spaces: Sport  Were there any, no matter how big In the first phase, the company that produces the tiny houses benefited from the move to Industry  or small, economic benefits for the Gutenstein. Almost simultaneously, other producing and creative companies and individuals have local community as a whole or any received a benefit through the cooperation. For the nursery, which grows organically, the new Other:  specific actors in particular, community and its philosophy of life and work is also an important customer and partner. The resulting from the creative works goal of a healthy lifestyle has, however, persuaded physiotherapists and yoga teachers, for Specify other: Procuction, Handcraft with/in public spaces? example, to settle here. Local businesses and service providers were also approached and invited to cooperate. Many of them are now part of the overall system. C‐9 Sector which was.. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that ..the initiator of the activities: Other potentially empowered the actors to prosper in their future development: ..the most crucial for the whole case Sustainability study: Were there any exchanges of In particular, the workshops and lectures in the Dorfschmiede provide numerous opportunities to knowledge or other activities learn from each other. Here, anyone who is interested can offer a course or seminar in a very low‐ Comment: performed that potentially threshold way. Participation is usually free of charge. In return, the lecturer is provided with the empowered the actors to prosper in room free of charge. The mastermind Theresa Mai also gives lectures throughout Austria and has C‐10 How was the local community involved in the project/activities: their future development? just written a book entitled "Wie wir leben könnten Autark wohnen, Unabhängigkeit spüren, Gemeinschaft entdecken" ("How we could live. Living self‐sufficiently, feeling independence, How was the local community The local population was originally indirectly involved, as the company “wohnwagon” was discovering community"). She is also regularly invited to give corresponding (online) lectures in involved in the project/activities? looking for a suitable remote place and Gutenstein had applied in response to the call. So there German‐speaking countries. was a kind of institutional interest in the group's activities. From the beginning, “wohnwagon” and later the “Dorfschmiede” actively invited the population to participate in activities or in the C‐18 Monitoring (or not) of the impact of the project: project. The inn and its garden are ideal for all kinds of communication, e.g. in the form of lectures, seminars, co‐working activities, etc. How was the impact of the project / This project was not monitored. It was never part of a research or public economic project. I activities monitored? If it wasn’t – doubt very much that this kind of project would be accompanied by monitoring. This would mean C‐11 The role of natural/cultural heritage in the project/activities: how do you think it could be being tied to an institution in some way. However, this project, as we have seen, is a self‐initiated monitored? one that also does without any kind of financial or institutional support. It is precisely this Did cultural and/or natural heritage Cultural heritage played a role here in that e.g. the hall into which wohnwagon has moved its independence and the entrepreneurial spirit that sets this project apart. play any specific role in the production is powered by an old hydroelectric plant. Here ‐ actually “obsolete” technology ‐ is project/activities? being used in a new way that fully corresponds to the activists' sustainable and self‐sufficient C‐19 Way in order to communicate the impact of the project: philosophy of work and life. The natural heritage also plays a major role, as there are large forest areas. The climate ‐ Gutenstein is a spa town ‐ is also excellent. How was the impact of the project / The project fits very well into our time and was discussed in many newspapers, magazines, trade activities disseminated or journals, on the radio and on television. The film “Rettet das Dorf!” (“Save the village!") by Teresa C‐12 The targeted impact of the project/activity: communicated? Distelberger was made about this and other projects in remote places. In addition, the “Dorfschmiede” runs a webpage on which it communicates its activities. What was the targeted impact of The original aim was to find an infrastructurally suitable production site for tiny houses in a the project / activities? healthy, rural environment. This move to Gutenstein should generally enable self‐sufficient, self‐ C‐20 Perception of the creative works in public space(s) by the final users and the reactions determined and sustainable living and economic activity. of the general public: C‐13 Achievement of the targeted impact: How were the creative works in The project is generally rated very positively without exception. It is difficult to say whether there public space(s) perceived, are also people or groups who do not see the project or the activists so positively. We don't know Yes/no/partly: Yes evaluated, judged by the final users anything about this, but there will be a few people who don't like this way of life and who may Comment: The goal of finding a suitable production and living location was achieved by far. In addition to the – what were the reactions of the also be a little envious of the success. excellent production possibilities, the village also offered and still offers the possibility of general public? establishing other businesses with which synergies are generated (metal workshops, organic C‐21 The (one) main success and the (one) main failure of the project/activities gardening, etc.) Furthermore, the “Dorfschmiede” was founded, which facilitates numerous projects. Main sucess: Theresa Mai describes the greatest success as the fact that the company survived and that they were able to finance all 30 employees. In addition, the revitalisation of the Gutensteiner Hof C‐14 Additional achieved impacts: enabled them to re‐establish an empty inn as a social centre. 150 Main failure: The many enthusiastic interested parties, especially at the beginning of the "Dorfschmiede" Email: anke.strittmatter@�‐joanneum.at project, overwhelmed Theresa Mai and her partners. There were some people who immediately moved to Gutenstein with bag and baggage and thought that their lives would now be great. But Role: author of course the activists had a lot of work to do and could not look after every newcomer D‐2 Representative pictures intensively. This led to frustration on both sides. "You just attract dreamers and weirdos, too." Picture's caption: Embedding of Gutenstein in the landscape characterised by forested mountains C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader It must be clearly stated here that the success of the project is largely due to the entrepreneurial conditions (e.g. the supporting energy of Theresa Mai and her comrades‐in‐arms. They were also the ones who brought the state of the art in the community, know‐how ‐ from outside ‐ into the community. They were supported by the municipality, which infrastructure, institutional support, does not give financial support, but which above all makes projects possible! financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better https://www.dorfschmiede.net (https://www.dorfschmiede.net) understand the activities and actors, as well as impacts: The link: Dorfschmiede Link to public data to better https://www.wohnwagon.at (https://www.wohnwagon.at) understand the activities and actors, as well as impacts: The link: wohnwagon (the company that builds tiny houses) Link to public data to better https://www.mein‐leben.at/lebensgeschichten/leben‐im‐autarken‐dorf‐theresa‐steininger‐ist‐dem‐ understand the activities and actors, guten‐leben‐auf‐der‐spur.html (https://www.mein‐leben.at/lebensgeschichten/leben‐im‐autarken‐ Picture's author: Anke Strittmatter as well as impacts: dorf‐theresa‐steininger‐ist‐dem‐guten‐leben‐auf‐der‐spur.html) Picture's date: 5/1/2021 12:00:00 AM The link: The story of the mastermind Theresa Mai Picture's source: Own drawing based on official geodata Link to public data to better https://www.derstandard.at/story/2000106697954/wie‐pioniere‐in‐gutenstein‐die‐welt‐wieder‐ understand the activities and actors, zum‐dorf‐machen (https://www.derstandard.at/story/2000106697954/wie‐pioniere‐in‐gutenstein‐ Picture's caption: An information event in the rooms of the Dorfschmiede as well as impacts: die‐welt‐wieder‐zum‐dorf‐machen) The link: Article in Austriaś most important daily newspaper / Title: How pioneers are making the world a village again Link to public data to better https://www.rettetdasdorf.at/ (https://www.rettetdasdorf.at/) understand the activities and actors, as well as impacts: The link: Book and film entitled: "Rettet das Dorf!" (Save the village!) Link to public data to better https://hda‐graz.at/programm/landgespraeche (https://hda‐graz.at/programm/landgespraeche ) understand the activities and actors, as well as impacts: The link: Talks on actions in remote places at the Haus der Architektur Graz Link to public data to better https://kurier.at/wirtschaft/immobiz/zurueck‐aufs‐land‐wir‐gruenden‐ein‐dorf/400333185 understand the activities and actors, (https://kurier.at/wirtschaft/immobiz/zurueck‐aufs‐land‐wir‐gruenden‐ein‐dorf/400333185) as well as impacts: The link: Article in Austriaś most important daily newspaper Link to public data to better https://www.meineenergie.tv/themen/beitrag/dorfschmiede‐das‐dorf‐der‐zukunft.html Picture's author: dorfschmiede understand the activities and actors, (https://www.meineenergie.tv/themen/beitrag/dorfschmiede‐das‐dorf‐der‐zukunft.html) as well as impacts: Picture's date: 1/1/2018 12:00:00 AM The link: In this video article, the Dorfschmiede and especially sustainable energy generation for the Picture's source: Theresa Mai Dorfschmiede is discussed Picture's caption: Biologically dynamic vegetables from the garden farm are used in the kitchen of the D‐1 Main editor in charge of this entry and potential other authors of this case study Dorfschmiede description Name and surname: Anke Strittmatter Organization: University of Applied Sciences FH JOANNEUM, Graz 151 Picture's author: dorfschmiede Picture's date: 6/1/2018 12:00:00 AM Picture's source: Theresa Mai Picture's caption: Dorfschmiede Picture's author: wohnwagon.at Picture's date: 9/1/2018 12:00:00 AM Picture's source: Theresa Mai Picture's caption: Autarky shop in the Dorfschmiede Picture's author: dorfschmiede Picture's date: 9/1/2018 12:00:00 AM Picture's source: Theresa Mai Picture's caption: One of the sustainable Tiny Houses by wohnwagon, which are also rented out. Picture's author: dorfschmiede Picture's date: 1/1/2018 12:00:00 AM Picture's source: Theresa Mai Picture's caption: Resource‐saving organic vegetable cultivation by the "Verwurzelt" gardening group. 152 Picture's author: Anke Strittmatter Picture's author: dorfschmiede Picture's date: 5/17/2021 12:00:00 AM Picture's date: 6/1/2021 12:00:00 AM Picture's source: Anke Strittmatter Picture's source: Theresa Mai Picture's caption: Workshops are held regularly at the Dorfschmiede, and the focus here is on sustainable do‐it‐ D‐3 Additional information yourself. Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any Part of the analysis of this project was an on‐site inspection and a discussion with Theresa Mai on additional information that was not 17 May 2021. communicated through the template Picture's author: dorfschmiede Picture's date: 1/1/2018 12:00:00 AM Picture's source: Theresa Mai Picture's caption: Biologically dynamic vegetables from the garden farm are used in the kitchen of the Dorfschmiede 153 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) The Brewery Dense settlement Das Bräu +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Urban character Country name (in local language): Österreich ‐1 Region name (in local language): Oberösterreich ‐2 Place name (in local language): Munderfing ‐3 Country name (in english): Austria ‐4 Region name (in english): Upper Austria ‐5 Place name (in english): Munderfing Open landscape Map of the network of public Here we have to distinguish between the village of Munderfing, which is located in an economically quite well-developed area of spaces in the remote place Comment: Austria, the main road, which until recently was severely affected by heavy traffic, and the "object", the former inn, which has been empty for many years and has been used differently for some time. Caption of the map: Difficult terrain Legend of the map: +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0  +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Munderfing is located on a very well-developed trunk road. Munderfing has a railway station, but the bus service to the nearby towns Comment: is very badly timed. At the moment, cycle paths, also supra-regional ones, are being extended. 154 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1  None‐existing ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Until a few years ago, Munderfing was exclusively agricultural and forestry. In the meantime, this orientation has changed Low‐income households prevail considerably due to the establishment of the KTM motorbike factory and the expansion of renewable energies and broadband. A The municipality has been actively involved in citizen participation for many years. In an Agenda 21 model project, a citizen Comment: well-developed creative sector did not exist until recently. However, the influx of filmmakers into the Braeu's co-working space has Comment: participation model was developed. The municipality of Munderfing was the first municipality in the world to incorporate the principles greatly improved it. of "systemic consensus" into the guidelines of its policy. Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 1 +3 Explanation:  A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Geographical barrier/allocation  demographic demographic  structure structure No good transportation links ‐1 Difficulties in accessing daily‐life‐  support facilities ‐2 Social specifics and/or divisions  ‐3 Economic inferiority  ‐4 Subjective criteria  ‐5 Specify subjective criteria (e.g. Daily‐life‐support facilities none‐existing community’s self‐perception of The population composition in Munderfing is average. There is no above-average tendency towards ageing. Families, couples and being remote etc): Comment: and old and young singles live in the immediate vicinity of Braeu. The supply of goods for daily needs is good. Other  Specify other: Summary of the elements that Here, a distinction must be made between before and after the activities initiated by the characterise this case as a remote municipality. In the last decades, the village was characterised by strong migration. However, place: since numerous measures were taken to counteract this, there has even been an influx. Low population density rank: 1 Geographical barrier/allocation rank: No good transportation links rank: Difficulties in accessing daily‐life‐ support facilities rank: 155 Social specifics and/or divisions The network of roads, streets, paths Lack of space is not an issue here. It is a typical place characterised by strong agricultural use. rank: and alike elements that tie this remote place together: Economic inferiority rank: The quantity and structure of public As mentioned, there are sufficient public and semi‐public spaces that serve all desired activities Subjective criteria (e.g. community’s space network (besides and user groups. However, the design quality currently leaves much to be desired. The main road, self‐perception of being remote etc) roads/streets/paths network) in this which was developed for heavy traffic, dominates. Since the bypass road was built, the volume of rank: remote place: traffic has decreased dramatically. It is the next goal of the municipality to reduce this transit area accordingly and to design it well, especially for pedestrians and cyclists. Other rank: A‐5 Provide the links to public data A‐9 General description of the quality of public spaces in this remote place Answer: Although there is enough physical space, the design quality of the public spaces is poor. Links to public data on the remote Report on the retreat of emigrated former residents. place B‐1 Name(s) of the public space(s) The link: https://www.ueber‐land.eu/ausheimische‐bereichern‐das‐land/ (https://www.ueber‐land.eu Name(s) of the public space(s) (in Das Braeu /ausheimische‐bereichern‐das‐land/) local language): Links to public data on the remote Subpage of the municipality's webpage about the municipality‐owned wind farm. Name(s) of the public space(s) (in The Brewery place English): The link: https://www.munderfing.at/kundenservice/wirtschaft/windpark‐munderfing/ Latitude of the public space(s): 48.068317816541864 (https://www.munderfing.at/kundenservice/wirtschaft/windpark‐munderfing/) Longitude of the public space(s): 13.181626587059034 Links to public data on the remote Webpage of the municipality of Munderfing place The link: https://www.munderfing.at/ (https://www.munderfing.at/) Links to public data on the remote Geodata Upper Austria place The link: https://www.doris.at/ (https://www.doris.at/) Links to public data on the remote Statistical data on the place place The link: https://www.statistik.at/web_de/nomenu/suchergebnisse/index.html (https://www.statistik.at /web_de/nomenu/suchergebnisse/index.html) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Type of indoor public spaces that Music club, music school, other clubrooms, The Braeu (co‐working space) can be found in this remote place: A‐8 General description of.. 156 Ground plan showing the land use of the public space(s): Caption's map of the public space: graz_munderfing_groundplan_@strittmatter Legend's map of the public space: The location and access situation of the Braeu. Main location  Ground plan showing the land use of the public space(s): Name(s) of the public space(s) (in Das Braeu local language): Name(s) of the public space(s) (in The Brewery English): Latitude of the public space(s): 48.068317816541864 Longitude of the public space(s): 13.181626587059034 Ground plan showing the land use of the public space(s): Caption's map of the public space: graz_munderfing_Main Street_@strittmatter Caption's map of the public space: graz_munderfing_entrance braeu and gastronomic garden@strittmatter Legend's map of the public space: At the moment, the main road in front of the Braeu still shows that it was heavily trafficked until Legend's map of the public space: The guest garden of the Braeu, which belongs to the inn on the ground floor. recently. Main location  Main location  Name(s) of the public space(s) (in Das Braeu Name(s) of the public space(s) (in Munderfing (birdsview) local language): local language): Name(s) of the public space(s) (in The Brewery Name(s) of the public space(s) (in Munderfing (birdsview) English): English): Latitude of the public space(s): 48.068317816541864 Latitude of the public space(s): 48.068317816541864 Longitude of the public space(s): 13.181626587059034 Longitude of the public space(s): 13.181626587059034 157 Latitude of the public space(s): 48.068317816541864 Longitude of the public space(s): 13.181626587059034 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: graz_munderfing_Munderfing and its surroundings_@ SkyBlue Legend's map of the public space: Munderfing's location in the broad valley. The KTM motorbike factory can be seen in the background. Main location  Name(s) of the public space(s) (in Windparc Munderfing Caption's map of the public space: graz_munderfing_Co‐working in the Braeu @thuemmel local language): Legend's map of the public space: Vacant inn in the centre was converted into a seminar house and co‐working space. Name(s) of the public space(s) (in Windpark Munderfing Main location  English): Name(s) of the public space(s) (in Das Braeu Latitude of the public space(s): 48.0476348935417 local language): Longitude of the public space(s): 13.233893729493067 Name(s) of the public space(s) (in The Brewery English): Latitude of the public space(s): 48.068317816541864 Longitude of the public space(s): 13.181626587059034 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: graz_munderfing_the village set up its own wind parc @ Astrid Knie Legend's map of the public space: The Munderfing wind farm is the first wind farm that is majority‐owned by an Austrian municipality. Main location  Name(s) of the public space(s) (in Munderfing Caption's map of the public space: graz_munderfing_location of photos_@strittmatter local language): Legend's map of the public space: Location of the photos. Name(s) of the public space(s) (in Munderfing  English): Main location 158 Name(s) of the public space(s) (in Das Braeu Name(s) of the public space(s) (in A meadow on the edge of Munderfing local language): local language): Name(s) of the public space(s) (in The Brewery Name(s) of the public space(s) (in A meadow on the edge of Munderfing English): English): Latitude of the public space(s): 48.068317816541864 Latitude of the public space(s): 48.062872 Longitude of the public space(s): 13.181626587059034 Longitude of the public space(s): 13.176817 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: graz_munderfing_neighbor_@strittmatter Legend's map of the public space: View from the brewery to the neighbouring old brewery house in which the brewery was located. Main location  Name(s) of the public space(s) (in Windpark Munderfing Caption's map of the public space: graz_munderfing_inhabitats of the village@ Gemeinde Munderfing local language): Legend's map of the public space: A Transylvanian community in their typical costume. Name(s) of the public space(s) (in Windparc Munderfing English): Main location  Latitude of the public space(s): 48.0476348935417 B‐2 Describe the physical environment Longitude of the public space(s): 13.233893729493067 Physical environment description of Munderfing lies in a wide valley through which a supra‐regional road runs. The valley is wide the public space(s) with creative enough for settlements. Hilly forests lie to the left and right of the valley. The Braeu is located on works: the main street of Munderfing, opposite the church. So it has always been a very central building in the village. Directly next to it, separated by a stream, is the old brewhouse, which was a production facility and warehouse. The main street can be seen that until recently it was a very busy thoroughfare for heavy goods traffic. This area is soon to be redesigned to make it more pedestrian and cyclist friendly. Physical environment elements The multi‐storey old inn, which has been empty for many years, is being reused on all floors. The were important and/or actually old guest garden has also been reactivated. The old trees and the stream are particularly "used" by creative people for their beautiful. Ground plan showing the land use activities: of the public space(s): B‐3 Describe the general functions Functions and land uses description The former inn now houses the following uses: a co‐working space, a seminar house, a small in the area of the public space: transitional flat, a first‐class restaurant with guest garden. Functionalities of space were Since there was already a large hall on the first floor of the building, which had previously been important and/or actually "used" by used for dances and larger gatherings, there were already good structural conditions for seminars creative people for their activities: and the like. All facilities for gastronomy were spatially available (very nice guest room and guest garden) and only needed to be renovated or re‐equipped. Caption's map of the public space: graz_munderfing_the village set up its own wind parc @ Astrid Knie B‐4 General demographic characteristics of the area around the public space: Legend's map of the public space: The Munderfing wind farm is the first wind farm that is majority‐owned by an Austrian Describe the general demographic The population composition in Munderfing is average. There is no above‐average tendency municipality. characteristics towards ageing. Families, couples and and old and young singles live in the immediate vicinity of Braeu. Main location  B‐5 Type of the public space(s) with creative work 159 Form and function: The multi‐storey old inn, which has been empty for many years, is being reused on all floors. The Employees of the large nearby Attend seminars   old guest garden has also been reactivated. The old trees and the stream are particularly factory beautiful. B‐9 Parts/sections/spots seem most attractive within the public space (location and Ownership: PRIVATE: The building is privately owned and is rented out to the municipality and to a restaurant. duration) ‐ Parts/sections/spots at people seem to avoid: Access regarding entry‐control: The various facilities in the building are in principle freely accessible, but are subject to the control Describe what parts seem to be the All areas of the Braeu are used intensively, depending on the use. There are no areas that are of the operators. most attractive to people avoided. Access regarding time of day/week The seminar house has opening hours that depend on the respective activities. The co‐working B‐10 Provide the links to public data on the public space(s) /year: space is accessible to tenants at all times. The guesthouse is open from Tuesday to Saturday from 12h to 14h and from 18:30 to 21:30h. Website: Report on the retreat of emigrated former residents. B‐7 Kind of activity initially designed for this public space: Website's link: https://www.ueber‐land.eu/ausheimische‐bereichern‐das‐land/ (https://www.ueber‐land.eu /ausheimische‐bereichern‐das‐land/) What kind of activity has been this The room was formerly used as an inn with outdoor catering and could also be used for events public space designed for initially such as dance evenings or family and club celebrations. Website: Munderfing Seminar House B‐8_a Which are the activities in this public space(s)? Website's link: https://www.munderfing.at/kundenservice/bildung‐und‐schulen/seminarhaus/ (https://www.munderfing.at/kundenservice/bildung‐und‐schulen/seminarhaus/) Activity: Working in the field of creativity Website: Report on former residents of Munderfingen who came back to the town and run a company Activity: Attend seminars here. Activity: living Website's link: https://www.ueber‐land.eu/ausheimische‐bereichern‐das‐land/ (https://www.ueber‐land.eu /ausheimische‐bereichern‐das‐land/) Activity: Visit the inn Website: Seminarhaus Braeu B‐8_b Who are the main users of this public space(s)? Website's link: https://seminarhaus‐braeu.at/ (https://seminarhaus‐braeu.at/) User: Co‐workers (film maker) Website: Idea workshop in Munderfing User: Co‐worker (with differnet professions) Website's link: https://issuu.com/vorortideenwerkstatt/docs/praesentation_ideenwerkstatt_munder User: Employees of the large nearby factory (https://issuu.com/vorortideenwerkstatt/docs/praesentation_ideenwerkstatt_munder) User: Visitors to the inn (lunch for workers of the nearby factory) Website: Local magazine "Mein Bezirk.at" (My District) User: Inn‐goers (very dignified and good here in the evening) Website's link: https://www.meinbezirk.at/braunau/c‐lokales/zwei‐schulen‐ein‐standort_a3966114 (https://www.meinbezirk.at/braunau/c‐lokales/zwei‐schulen‐ein‐standort_a3966114) User: Seminar visitors Website: Article in www.gat.st ‐ the Styrian internet portal for architecture and living space. User: Short‐term residents Website's link: http://www.gat.st/news/ortskernkuemmerer‐versuch‐einer‐job‐deskription (http://www.gat.st B‐8_c What are the users activities of this public space(s)? /news/ortskernkuemmerer‐versuch‐einer‐job‐deskription) Users Activity Before After Website: Glasfaser Munderfing Co‐workers (film maker) Working in the field of creativity   Website's link: https://glasfaser‐munderfing.at/ (https://glasfaser‐munderfing.at/) Co‐workers (film maker) Visit the inn   B‐11 Provide photos of the public space(s) with creative works Co‐worker (with differnet Working in the field of creativity   Caption: Photos of the building and their spatial allocation in the plan professions) Co‐worker (with differnet Visit the inn   professions) Visitors to the inn (lunch for workers Visit the inn   of the nearby factory) Inn‐goers (very dignified and good Visit the inn   here in the evening) Seminar visitors Working in the field of creativity   Seminar visitors Attend seminars   Seminar visitors Visit the inn   Visitors to the inn (lunch for workers Visit the inn   of the nearby factory) Employees of the large nearby Visit the inn   factory 160 Photo's author: graz_munderfing_Co‐working in the Braeu @thuemmel Photo's author: graz_munderfing_Co‐working in the Braeu @thuemmel Caption: The co‐working space Caption: Transformation of the old vacant inn into a co‐working space Photo's author: graz_munderfing_co‐working_@Energie Munderfing GmbH Photo's author: graz_munderfing_transforming the old vacant inn into a co‐working space @Gemeinde Caption: The Braue after the renovation Munderfing C‐1 Official name of the activity/project Name in local language: Das Bräu (Das Braeu) Name in English: The Brewery Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): 161 Describe the project (activities) that Munderfing is a small village in Upper Austria that was affected by rural exodus. The municipality Health  took place in the analysed public counters this phenomenon with varios measures. Munderfing is convinced that digitalisation  space(s) respectively the connection to an efficient fibre optic network was a prerequisite for new Sustainability settlements (businesses and residents). Sine the fibre‐optic operators did not see a market for Science  themselves, the municipality carried out the expansion itself. It has also built an environmentally friendly wind turbine. Wind Farm Munderfing is the first wind farm owned to a majority by an Tourism  Austrian municipality. In order to be able to offer a wide range of education and modern forms of working, a co‐working space was set up in the old inn, which had been vacant for many years. It is Sport  used today by filmmakers, for example. In addition, a seminar house is now being installed in the Industry  old "Dor�räu" inn, where the the community conducts seminar work and where readings, presentations and concerts can take place. In addition, a first‐class restaurant moved into the Other:  building. Shortly afterwords, Munderfingers who had moved away returned to the village. The numerous offers, especially in the field of education, are also a positive location factor for people Specify other: Municipality who have moved to Munderfing because of work. C‐9 Sector which was.. C‐3 Challenge that the project (activities) tried/is trying to tackle: ..the initiator of the activities: Other What challenge was the project In general, and since the end of the 1990s, the municipality wanted to position the village in such (activities) trying to tackle – what a way that it would be competitive with other similarly situated and equipped villages. At that ..the most crucial for the whole case Other was the aim time, this was achieved with the establishment of the KTM company on the outskirts of the study: village centre, a large company that produces motorbikes. In order to protect the village from Comment: The municipality has been the driving force behind all activities and has, for example, already further migration and to attract both old and new residents, educational facilities were provided. relied on extensive citizen participation at the beginning of all activities. The Nonconform group These include the seminar house in Braeu. As early as 2004, a concept for a complete changeover was c to renewable energies was drawn up with the involvement of the entire community population in a process that lasted more than a year. C‐10 How was the local community involved in the project/activities: C‐4 Time frequency: How was the local community The municipality of Munderfing was the first municipality worldwide to include the principle of involved in the project/activities? "systemic consensus" in the guidelines of its municipal policy. A citizen participation model was Time Frequency A constant process developed in an Agenda 21 model project. In Munderfing, the "decision‐making working group" Other information: prepared this system for application in the municipality in a process lasting a good one and a half years as part of an innovative Agenda 21 model project. In addition to initial consensual decisions C‐5 Time period in the municipal council, the SK principle is applied in citizen participation. Extensive guidelines were developed for this and laid down in the "Munderfing Citizen Participation Model". In Start: 2/28/2018 12:00:00 AM Munderfing, the municipality can present projects and topics to be decided on together with the citizens. However, the citizens also have the opportunity to introduce concerns and ideas. These End: are prepared by the head of the office before the municipal council meetings and dealt with under the agenda item "Citizen participation issues". It is decided whether the concern can be decided Comment: directly in the municipal council, whether it must be rejected, whether it must be assigned to a C‐6 Actors in relation to the analysed creative work, their main motivation and their roles committee for processing, or whether at least two active municipal councillors support the topic or idea. If these two councillors decide that the issue is suitable for a referendum and that the Actor(s): Leo Moser effort for a SC process is justified, the working group for decision‐making is convened and a consensus‐building process is initiated. Motivations: Wanted very good and cheap working conditions with fast INternet and the possibility to work together with like‐minded people and create synergies. C‐11 The role of natural/cultural heritage in the project/activities: Roles: Co‐working space user, fim maker Did cultural and/or natural heritage Although no outstanding cultural or natural heritage can be identified here, there are certainly play any specific role in the numerous old secular agricultural buildings of architectural and historical interest. Due to the Actor(s): Erwin Moser project/activities? heavy traffic that passed through the village until recently, some of the old buildings have been Motivations: Wanted to make the community sustainable and liveable. left to decay. It is hoped that the remaining buildings will now be renovated. Roles: Mastermind and head of Munderfing until his retirement. C‐12 The targeted impact of the project/activity: Actor(s): Christoph Isopp, nonconform What was the targeted impact of Munderfing has been a member of the association "ZUKUNFTSORTE" since 2012. The purpose of the project / activities? the association is the common vision of thinking, developing and shaping the future of rural Motivations: Expert in conducting participatory processes with communities areas. The starting point for building the Future Places platform was the question: What can we do better together than each Future Village can do on its own? The answers to this question are Roles: Expert in conducting participatory processes with communities multifaceted and lead to the overarching goal of the association, which is also the overarching C‐7 Description of the supporting background that existed to make the activities happen: goal of each individual future village: a high quality of life for the citizens of the community. The Places of the Future platform is dedicated to aspects of municipal development that will make it What kind of supporting The municipality applied for many different funding streams at an early stage. These include: possible to achieve this goal in the future: Places of the Future place the quality of life of their background existed to make the LEADER, a community initiative of the European Union that has existed since 1991 to strengthen citizens at the centre of their actions, rely on their own initiative, focus on innovation and activities happen (financial, rural regions. The broadband expansion of the municipality of Munderfing is funded by the creativity, and involve their citizens in brainstorming, design and decision‐making processes. institutional etc.) Federal Ministry for Transport, Innovation and Technology (bmvit) as part of the Broadband Places of the Future alsol earn from the best (and thus from each other), have a long‐term Austria 2020 empty pipe programme. strategy and implement it consistently, rely on the best experts (focus: creative industries), have high quality standards, take responsibility for future generations and cooperate. Seperately C‐8 Sectors involved in the development of the creative works with public spaces: mentioned should be: As early as 2004, a concept for the complete conversion to renewable energies was drawn up in a one‐year process involving the entire community population of Culture  Munderfing. Education  162 C‐13 Achievement of the targeted impact: Yes/no/partly: Yes How important were the broader The municipality has been very experienced in obtaining local, national and European funding for conditions (e.g. the supporting many years. This fact, together with their active citizen participation, is the main reason for their Comment: Citizen participation has become a well‐functioning and regularly used tool. Schools have been state of the art in the community, numerous successes. enlarged and the seminar house serves as a training venue for all interested groups; it is also used, infrastructure, institutional support, for example, for in‐house training by the KTM company. The Munderfing wind farm is the first to financial sources, local or be majority‐owned by an Austrian municipality and pushes a special kind of citizen participation. "imported" know‐how etc.) for the main success and main failure factor C‐14 Additional achieved impacts: C‐23 Provide the links to public data on the creative works Were any additional impacts New services were developed and jobs created, particularly in connection with the construction achieved? of the wind farm. Link to public data to better https://www.zukunftsraumland.at/pdf.php?inc=project&id=1451 understand the activities and actors, (https://www.zukunftsraumland.at/pdf.php?inc=project&id=1451) C‐15 The main beneficiaries of the creative work in public space(s): as well as impacts: Who were the main beneficiaries of The municipal administration and all citizens have benefited from the activities, but also the local The link: Netzwerk Zukunftsraum Land (Network Future Space Country). the creative works in public companies. spaces(s)? Link to public data to better https://www.agenda21‐ooe.at/themen/co‐working (https://www.agenda21‐ooe.at/themen/co‐ understand the activities and actors, working) C‐16 Presence (or not) of economic benefits for the local community as a whole or any as well as impacts: specific actors in particular, resulting from the creative works with/in public spaces: The link: Netzwerk Oberösterreich (Network Upper Austria) Were there any, no matter how big On the overall growth of the community and the increase of tax incomes. In addition, there is the or small, economic benefits for the income from the wind turbine, which now also produces electricity for many neighbouring Link to public data to better https://www.meinbezirk.at/braunau/c‐leute/moser‐erwin‐amtsleiter‐und‐ local community as a whole or any communities. Some companies have started up, one of them, the company REGIOHELP, emerged understand the activities and actors, initiator_pic12298154_a2534805#gallery=default&pid=12298154 (https://www.meinbezirk.at specific actors in particular, from a group of people who worked together in the co‐working space in the Braeu. as well as impacts: /braunau/c‐leute/moser‐erwin‐amtsleiter‐und‐initiator_pic12298154_a2534805#gallery=default& resulting from the creative works pid=12298154) with/in public spaces? The link: Local magazine "Mein Bezirk" (my district) C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Link to public data to better https://kommunal.at/wie‐sich‐munderfing‐digital‐vernetzt (https://kommunal.at/wie‐sich‐ potentially empowered the actors to prosper in their future development: understand the activities and actors, munderfing‐digital‐vernetzt) as well as impacts: Were there any exchanges of Experts from outside have played a major role in all projects and processes: Nonconform as knowledge or other activities specialists in citizen participation processes have certainly played a very decisive role here. But The link: Online magazine about communal work performed that potentially also experts who deal with renewable energy and the more technical side of implementation. empowered the actors to prosper in Link to public data to better https://www.brandeins.de/magazine/brand‐eins‐wirtschaftsmagazin/2018/service/das‐donut‐ their future development? understand the activities and actors, dilemma (https://www.brandeins.de/magazine/brand‐eins‐wirtschaftsmagazin/2018/service/das‐ as well as impacts: donut‐dilemma) C‐18 Monitoring (or not) of the impact of the project: The link: Business magazine How was the impact of the project / Where there was and is financial support, the activities were monitored accordingly. The problem Link to public data to better https://dahoamau�lian.at/co‐working‐space‐im‐gasthof‐braeu/ (https://dahoamau�lian.at/co‐ activities monitored? If it wasn’t – is, as the current head of department Rebekka Krieger told us, that so many projects are taking understand the activities and actors, working‐space‐im‐gasthof‐braeu/) how do you think it could be place at the same time and that some of them are intertwined. as well as impacts: monitored? The link: © Verein Zukunft Oberinnviertel‐Mattigtal LEADER‐Management C‐19 Way in order to communicate the impact of the project: Link to public data to better https://www.derstandard.at/story/2000103206653/neue‐ideen‐mit‐ausheimischen‐gegen‐die‐ How was the impact of the project / The results of the wide range of activities, but especially the Braeu, which is the focus of this understand the activities and actors, landflucht (https://www.derstandard.at/story/2000103206653/neue‐ideen‐mit‐ausheimischen‐ activities disseminated or study, have been very well discussed. Since the focus is less on the design quality of the projects, as well as impacts: gegen‐die‐landflucht) communicated? the trade magazines are accordingly. In addition, the municipal administration is very active in providing information on the municipality's own website. The link: Article in "Der Standard", Austrias most important national daily newspaper C‐20 Perception of the creative works in public space(s) by the final users and the reactions D‐1 Main editor in charge of this entry and potential other authors of this case study of the general public: description How were the creative works in Here the answer focuses on the Braeu as a co‐working space, seminar room and restaurant: the Name and surname: Anke Strittmatter public space(s) perceived, building, which has a very central location in the village, could finally be reactivated after many evaluated, judged by the final users years of vacancy. All residents, commuters and passers‐by benefit from this. Small start‐ups were Organization: University of Applied Sciences FH JOANNEUM, Graz – what were the reactions of the able to launch their projects and network here without much financial outlay. A company has just Email: anke.strittmatter@�‐joanneum.at general public? been formed from former users of the rooms, which had to leave the co‐working space due to lack of space. Role: Author C‐21 The (one) main success and the (one) main failure of the project/activities D‐2 Representative pictures Main sucess: Rebekka Krieger, head of the municipal office, names the wind farm as the biggest success for the Picture's caption: The Braeu, a formerly vacant inn that now houses a restaurant, co‐working space and seminar entire municipality. The biggest success for the Braeu was the first tenants to leave ‐ due to house. professional success. Main failure: Rebekka Krieger could not name us a failure. C‐22 Importance of broader conditions for the main sucess and main failure factor: 163 Picture's author: Energie Munderfing Picture's author: Energie Munderfing Picture's date: 6/1/2018 12:00:00 AM Picture's date: 6/1/2018 12:00:00 AM Picture's source: Anke Strittmatter Picture's source: Energie Munderfing Picture's caption: Transformation of the old vacant inn into a co‐working space Picture's caption: The Braeu is centrally located. Picture's author: Anke Strittmatter Picture's date: 5/4/2021 12:00:00 AM Picture's author: Gemeinde Munderfing Picture's source: Anke Strittmatter Picture's date: 6/1/2017 12:00:00 AM Picture's caption: The Munderfing wind farm is the first to be majority‐owned by an Austrian municipality Picture's source: Rebekka Krieger Picture's caption: The new co‐working space 164 Picture's author: Astrid Knie Picture's date: 6/1/2018 12:00:00 AM Picture's source: Gemeinde Munderfing Picture's caption: A new restaurant has moved into the old inn. Picture's author: Anke Strittmatter Picture's date: 5/4/2021 12:00:00 AM Picture's source: Anke Strittmatter Picture's caption: The stream side of the Braeu Picture's author: Anke Strittmatter Picture's date: 5/4/2021 12:00:00 AM Picture's source: Anke Strittmatter Picture's caption: The entrance to all facilities of the Braeu 165 Optional final remarks: is there any Part of the analysis of this project was an on‐site inspection and a discussion with Rebekka additional information that was not Krieger on 4 June 2021. communicated through the template Picture's author: Anke Strittmatter Picture's date: 5/4/2021 12:00:00 AM Picture's source: Anke Strittmatter D‐3 Additional information Additional information: Link: D‐4 Optional final remark 166 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Culture Play Spaces – farmhouse parlor Dense settlement Kultur Spiel Räume - STUBENrein +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3  ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Österreich ‐1 Region name (in local language): Steiermark ‐2 Place name (in local language): Murau ‐3 Country name (in english): Austria ‐4 Region name (in english): Styria ‐5 Place name (in english): Murau Open landscape Map of the network of public The area around the district capital Murau covers a total of 1,385 km2, 14 municipalities and 28,000 inhabitants. It extends in an spaces in the remote place east-west direction from Scheifling to Stadl an der Mur, in a north-south direction from Oberwölz and Krakau to Steirisch Lassnitz and Neumarkt. It is sparsely populated and suffered from a declining population since the 1970s. In the past, the region lay along Caption of the map: Comment: important trade routes, which led to the development of historic cities. Now there are no more important thoroughfares and only a Legend of the map: seldom running regional railway. Geographically, it is a wide river valley with several side valleys in the low mountain range. Forestry, agriculture and rather small craft businesses serve the acquisition of the residents. Difficult terrain +5 +4 +3 +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain The numerous small hamlets and scattered farms are mostly only accessible by car. Public transport is insufficiently developed. There is a connection between the village centers with bus network and a regional train in the Murtal, which is connected to the Comment: supra-regional train network. As a result of the sparse population, a complete connection to a public transport network will probably also be difficult in the future. 167 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1  +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The creative sector in the Murau district is well developed and broadly based. It includes a rich traditional club life, contemporary Low‐income households prevail exhibitions and events, but also classic museums. This offer is aimed at tourists as well as the local population. The region is also Overall, it is a more traditional political structure that is still largely patriarchal. Participation is therefore not yet very strongly Comment: shaped by architects, artists and designers. Economically, the region is characterized by farms (mainly forestry and cattle), but there developed, in the case of the “murauerInnen” (female residents of Murau) project that we have selected as an example, working out are also many good craft businesses and a little trade. Larger industrial companies are completely absent. the topics together with the population is already common practice, as it has turned out that externally determined events are simply Comment: not so well received. In the absence of larger industrial companies, the average household income is likely to be slightly below Daily‐life‐support facilities well developed average, but conversely, it is not a crisis region with strong fluctuations either. The situation of the numerous mountain farmers in the region is definitely problematic. +5 +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: Most households have one or more cars and probably do not find the places and scattered  +1 farmhouses to be very remote because they have lived in relative isolation for generations. They Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound have also learned to cultivate the exchange by repeatedly inviting cultural workers, artists etc. demographic demographic into the region. This open‐mindedness and the maintenance of a network is also a way to fight structure structure against isolation. ‐1 A‐4 Elements that characterise the remoteness of the place: ‐2 Low population density  ‐3 Geographical barrier/allocation  ‐4 No good transportation links  ‐5 Difficulties in accessing daily‐life‐  support facilities Daily‐life‐support facilities none‐existing The emigration of younger people is a certain problem, but attempts are being made to create high-quality jobs for them and social Social specifics and/or divisions  Comment: cohesion through a lively club life. Department stores in the village settlements provide local supplies. Economic inferiority  Subjective criteria  Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: 168 Summary of the elements that The area around the district capital Murau covers a total of 1,385 km2, 14 municipalities and Recreational space/s, Sport‐field/s  characterise this case as a remote 28,000 inhabitants. It is sparsely populated and suffered from falling populations since the 1970s.  place: In the past, the region lay along important trade routes, which led to the development of historic Community open‐air space/s cities. Now there are no more important thoroughfares and only a seldom running regional train. Institution‐related open‐air space/s  Geographically, it is a wide river valley with several side valleys in the low mountain range. (e.g.University grounds) Agriculture and rather small craft businesses are used to acquire the residents. The numerous small hamlets and scattered farms are mostly only accessible by car. Public transport is Watersides  insufficiently developed. There is a connection between the village centers with bus network and a regional train in the Murtal, which is connected to the supra‐regional train network. As a result Meadows  of the sparse population, a complete connection to a public transport network will probably also Parking area  be difficult in the future. Service yard  Low population density rank: 1 Other types:  Geographical barrier/allocation rank: Specify other types: No good transportation links rank: 2 Type of indoor public spaces that Difficulties in accessing daily‐life‐ 3 can be found in this remote place: support facilities rank: Social specifics and/or divisions A‐8 General description of.. rank: The network of roads, streets, paths There are several villages in a wide valley floor with a few side valleys and plateaus in between. Economic inferiority rank: and alike elements that tie this The small towns and villages are connected by two larger roads and a large number of small remote place together: roads. Often only single‐lane roads lead to the remote farmhouses. These are held together less Subjective criteria (e.g. community’s by places where you meet than by events and activities where people get together. In the past, self‐perception of being remote etc) for example, the Sunday service and the subsequent standing together were very important for rank: maintaining friendships or exchanging news and ideas. Instead of these regular opportunities to maintain contacts, new formats must now be developed, and this is exactly where the activities Other rank: of the murauerInnen start. A‐5 Provide the links to public data The quantity and structure of public The small cities and villages have historically grown public spaces, sometimes in front of the space network (besides church, sometimes in the area of earlier markets. These seem to be sufficient but are not of great Links to public data on the remote Region of Murau in Styria roads/streets/paths network) in this importance except for larger festivals and processions. More important are bars (from disco to place remote place: café and inn) and events in various places. For example the murauerInnen use empty restaurants The link: https://www..regionmurau.at (https://www..regionmurau.at) for exhibitions or unused barns or parsonages that are no longer needed temporarily for discussions, workshops or lectures. These places are more varied, more exciting and more Links to public data on the remote Murau district popular than the often too large and sterile‐looking community centers, which have been built at place great expense in recent decades. At the moment an exhibition about women in politics is being set up on the walls of some bus stops (including Teufen‐bach). This is a good idea, because it is The link: https://www.murau.gv.at (https://www.murau.gv.at) precisely in this public place that people linger a little to wait for the bus. And that's why they have time to deal with the contents of the exhibition. Links to public data on the remote Background organization of Holzwelt (wood world) place A‐9 General description of the quality of public spaces in this remote place The link: https://www.holzweltmurau.at (https://www.holzweltmurau.at) Answer: In a sparsely populated rural region, in contrast to larger cities, there is enough space. The explicit Links to public data on the remote Events of the women of the district Murau need for unobserved public space in order to come together is most likely to be experienced by place young people. They are very inventive and flexible when it comes to meeting places like this. Sometimes it's a bus stop, sometimes a parking lot in front of a supermarket, sometimes an The link: https://www.facebook.com/murauerInnen/ (https://www.facebook.com/murauerInnen/) empty barn where they meet to have a drink together. Important is to let it happen and eventually provide some infrastructure like rubbish bin or access to a toilet. As far as meeting Links to public data on the remote Leader funded projects in the background organization Holzwelt places for adults are concerned, including women in particular, the organizers emphasize the place importance of creating an atmosphere in which one can speak honestly. Because often there is The link: https://www.holzweltleader.at/ (https://www.holzweltleader.at/) fear of what the neighbors might think and therefore a facade is maintained that avoids real conversations and different opinions. However, only based on honest discussions sustainable Links to public data on the remote project of creative works KulturSpielRäume solutions can be developed. As taboo subjects for example were mentioned the problems place between daughters‐in‐law and old women farmers on the farms or the suicide risk of farmers in the mountains. The link: https://www.kulturspielraeume.at/stubenrein‐uebersicht/archivstubenrein/ (https://www.kulturspielraeume.at/stubenrein‐uebersicht/archivstubenrein/) B‐1 Name(s) of the public space(s) A‐7 The type of public spaces that can be found in this remote place (besides the Name(s) of the public space(s) (in Scheifling, Atelier Hirt roads/streets/path network) local language): Square/s, Plaza/s  Name(s) of the public space(s) (in Scheifling, Studio Hirt English): Park/s, Garden/s  Latitude of the public space(s): 47.14999 Market space/s  Longitude of the public space(s): 14.41073 Playground/s  169 Ground plan showing the land use Caption's map of the public space: of the public space(s): Legend's map of the public space: Caption's map of the public space: Main location  Legend's map of the public space: Name(s) of the public space(s) (in Stadl‐Predlitz, Adeg Kau�aus Main location  local language): Name(s) of the public space(s) (in Mühlen Name(s) of the public space(s) (in Stadl‐Predlitz, Crocery Adeg local language): English): Name(s) of the public space(s) (in Mühlen Latitude of the public space(s): 47.08892 English): Longitude of the public space(s): 13.98318 Latitude of the public space(s): 47.030805 Ground plan showing the land use Longitude of the public space(s): 14.506 997 of the public space(s): Ground plan showing the land use Caption's map of the public space: of the public space(s): Legend's map of the public space: Caption's map of the public space: Main location  Legend's map of the public space: Name(s) of the public space(s) (in Schöder Dorfplatz Main location  local language): Name(s) of the public space(s) (in St. Marein, Schloss Lind Name(s) of the public space(s) (in Schöder Mainsquare local language): English): Name(s) of the public space(s) (in St. Marein, Lind castle Latitude of the public space(s): 47.18225 English): Longitude of the public space(s): 14.11144 Latitude of the public space(s): 47.05562 Ground plan showing the land use Longitude of the public space(s): 14.42575 of the public space(s): Ground plan showing the land use Caption's map of the public space: of the public space(s): Legend's map of the public space: Caption's map of the public space: Main location  Legend's map of the public space: Name(s) of the public space(s) (in St. Lambrecht, Stiftsgarten Main location  local language): Name(s) of the public space(s) (in Gasthaus Winter, St. Georgen Name(s) of the public space(s) (in St. Lambrecht, monastery garden local language): English): Name(s) of the public space(s) (in Restaurant Winter, St. Georgen Latitude of the public space(s): 47.07203 English): Longitude of the public space(s): 14.30277 Latitude of the public space(s): 47.11096 Ground plan showing the land use Longitude of the public space(s): 14.06329 of the public space(s): Ground plan showing the land use Caption's map of the public space: of the public space(s): Legend's map of the public space: Caption's map of the public space: Main location  Legend's map of the public space: B‐2 Describe the physical environment Main location  Name(s) of the public space(s) (in Teufenbach, Kau�aus Glanzer local language): Name(s) of the public space(s) (in Teufenbach, Crocery Glanzer English): Latitude of the public space(s): 47.13093 Longitude of the public space(s): 13.98318 Ground plan showing the land use of the public space(s): 170 Physical environment description of The creative work took place in very different places: in an exciting, modern monastery garden as Access regarding time of day/week It is very different: some can be accessed online, sometimes there are time‐limited events over a the public space(s) with creative well as on a village square in a small hamlet, in a village inn, in an artist's studio, in a castle used as /year: day or a few hours, some remain in public space for weeks or months and can be visited at any works: a museum, on the parking place in front of a larger department store and in the shop of a local time (exhibitions, e.g. at bus stops). supplier. The organizers wanted to do something in each of the 14 communities, spoke to existing activists there and worked with them to find suitable locations for the different formats. Some B‐7 Kind of activity initially designed for this public space: took place outdoor, some indoor, an exhibition at bus stops. The rooms were not much designed What kind of activity has been this The focus is on a lively social life, taking up controversial topics, empowering women, because it was a Interim use and that was not the focus. Work was done on the branding of the public space designed for initially unconventional access to current topics and open exchange and discussion. event series, on a corporate design with a high recognition value (white cardboard signs reminiscent of satellite dishes with the respective title and white lacquered chairs in the B‐8_a Which are the activities in this public space(s)? landscape, on a parking or village square. But they did not stand alone, they were always only photographed together with the protagonists and distributed in social media. This emphasized Activity: Stay lonely and depressed at home that it was always about the respective people. All these temporary spaces seemed to work well but were not really supported by the mayors, but also not prevented but allowed. The focus was Activity: No exchange of experi‐ences or memories on event design, brand recognition and professional communication design (from the exhibition board to the homepage). Activity: Playing with the idea of moving to town Physical environment elements As already mentioned, the physical environments did not play a central role, but what was Activity: Consider giving up the mountain farm were important and/or actually important were temporary spaces for events and recognizable signs with which the branding Activity: To believe you are alone with certain problems. "used" by creative people for their succeeded (white painted chairs and large, round, white cardboard signs). activities: B‐8_b Who are the main users of this public space(s)? B‐3 Describe the general functions User: Modern women in a conservative environment Functions and land uses description The public spaces that were used by creative works were partly commercial, partly they are User: People who do not dare to speak about their worries in their environment. in the area of the public space: cultural institutions such as museums, a monastery or studios of artists and cultural workers, in some cases empty formerly commercial places such as a restaurant or a kind of pilgrim User: People who want to get to know their neighborhood better. accommodation / youth hostel. In order to increase public presence, the bus stops were used as an information hub. A waste material collection center served primarily to procure material for B‐8_c What are the users activities of this public space(s)? the construction. The tourist aspect hardly played a role, as the activities were explicitly aimed at the residents of the region. There in no important industrial infrastructure. Users Activity Before After   Functionalities of space were Important was the availability and the connection of the places to the respective activists. In Modern women in a conservative Stay lonely and depressed at home important and/or actually "used" by addition, the team acted with great flexibility and developed different formats adapted to the environment creative people for their activities: respective locations. Only the digital space (podcast) turned out to be difficult and did not bring Modern women in a conservative No exchange of experi‐ences or   the desired success. environment memories B‐4 General demographic characteristics of the area around the public space: Modern women in a conservative Playing with the idea of moving to   environment town Describe the general demographic It is a sparsely populated mountain region in the Alps (area 1,384 km2, 27,659 inhabitants characteristics (according to the population register from 01‐01.2019). The Murau district is an old settled area, Modern women in a conservative Consider giving up the mountain   the Alpine valleys were inhabited by Illyrians, Celts, Romans and Slavs before Bavarian settlers environment farm took possession of the land at the end of the Great Migration period. The Murau district is one of the most densely wooded areas in Styria. Forestry and wood processing are important branches Modern women in a conservative To believe you are alone with certain   of the economy. One fifth of the population lives from the income from agriculture and forestry environment problems. and the related trades (sawmill and wood industry). In addition, it is grazing land for cattle People who do not dare to speak Stay lonely and depressed at home   farming. These are small farms on a European scale, but within the Alpine region they are about their worries in their comparatively medium‐sized farms. Many of them are part‐time farmers, i.e. the official farmer environment. works in a company and leaves a large part of the everyday work to the wife, which, however, hardly appears to the publicity (outside world). The district has been affected by a decline in People who do not dare to speak No exchange of experi‐ences or   population since the 1970s, partly because the life plans are unsatisfactory, especially for women. about their worries in their memories On the other hand, it is a very scenic region, there are enough schools (although some complain environment. that there are too few alternative school models) and a good cultural live. The latter leads to a bond with the region also by those who have left it, to a comparatively high level of cohesion and People who do not dare to speak Consider giving up the mountain   to a lively commitment to the development of village life. about their worries in their farm environment. B‐5 Type of the public space(s) with creative work People who do not dare to speak To believe you are alone with certain   Form and function: Monastery garden, castle and museum, shop, pub, main square of a village, abandoned parish about their worries in their problems. house, farm buildings, bus stops etc. environment. Ownership: Most of them are private locations, but often formerly or currently used commercially. Also some People who want to get to know No exchange of experi‐ences or   semi‐public places are used, such as private museums run by associations or the Benedictine their neighborhood better. memories monastery, which is important for the region. Concerning public places particularly the bus stops and the village squares are worth mentioning. B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Access regarding entry‐control: The people who take part in the events are reached through invitations (especially electronically) and word of mouth. But through the actions in village squares and at bus stops, you can also reach people who have not yet come into contact with the formats. In principle, no entry is required and participation is open to anyone interested. 171 Describe what parts seem to be the In this spacious region there is no shortage of public or semi‐public spaces, rather it is a matter of Caption: Wertvoll, 2020‐10‐01 most attractive to people allowing their use. On the one hand, this affects young people who feel the need to meet outside their parents' home or the family garden, and on the other hand, adults who feel the need to exchange ideas a little more deeply than is usually the case in the existing environment. This requires, on the one hand, a certain budget with which events can be carried out and, on the other hand, the willingness of the mayor, various organizations or private individuals to make changing rooms available. In view of the considerable effort involved in developing activities in the remote communities, it is also necessary that a person is paid and employed for organizational work. The latter guarantees continuity and synergy effects. The conscious inclusion of various event locations and organizations strengthens the network and already leads to individual active citizens or associations continuing the topics addressed and subsequently initiating follow‐up events on their own. In connection with the empty former rectory, the event was carried out together with Caritas (a huge catholic aid organization and NGO). In connection with the exhibition at bus stops, it was the Steiermärkische Bahn und Bus GmbH. (a regional train an bus network), which allowed the intervention. That may not sound unusual, but I know from my own experience that such requests have repeatedly failed, e.g. in the provincial capital Graz. B‐10 Provide the links to public data on the public space(s) Website: Events organized by the activists Website's link: Facebook@STUBENrein (Facebook@STUBENrein) Website: background organization Website's link: www.holzwelt.at (www.holzwelt.at) Website: organizing the cultural activities Website's link: www.kulturspielraeume.at (www.kulturspielraeume.at) Website: Creative Austria reporting the project Website's link: https://www.creativeaustria.at/2018/12/31/kultur‐spiel‐raeume‐zwischen‐kultur‐und‐ regionalentwicklung‐murau/ (https://www.creativeaustria.at/2018/12/31/kultur‐spiel‐raeume‐ zwischen‐kultur‐und‐regionalentwicklung‐murau/) Website: reported project of futurespaceland Website's link: https://www.zukunftsraumland.at/projekte/2326 (https://www.zukunftsraumland.at/projekte /2326) Website: Event of the activist women of the district Website's link: fabook@murauerInnen (fabook@murauerInnen) B‐11 Provide photos of the public space(s) with creative works Photo's author: Kulturspielräume Caption: Eröffnung, 2020‐09‐09 Caption: Kulturspielräume 1, 2018‐09‐07 Photo's author: Anita Galler Photo's author: Andreas Staudinger 172 Caption: Site plan of one of the Creative works locations (here Teufenbach) Photo's author: Strittmatter‐Thümmel Caption: Former rectory 2, 2021 June 17th Photo's author: Drawing by Anke Strittmatter based on current geodata. Caption: Locations of some actions/projects in the Murau district Photo's author: Strittmatter‐Thümmel Caption: MurauerInnen, Heldinnen May 2020 Photo's author: Drawing by Anke Strittmatter based on current geodata. Caption: former rectory 2021 June 17th Photo's author: Kulturspielräume Caption: Busstop, 2021 June 17th 173 Photo's author: Strittmatter‐Thümmel Caption: Busstop, 2021 June 17th Photo's author: Strittmatter‐Thümmel Caption: Kultur muss sich lohnen, 9.9.2020 Photo's author: Kulturspielräume Caption: Männer, 2020 174 Photo's author: Uli Vonbank Caption: Ehrenamt, 2020‐09‐05 Photo's author: Drawing by Anke Strittmatter based on current geodata. C‐1 Official name of the activity/project Photo's author: Maria Auer Name in local language: Kultur Spiel Räume ‐ STUBENrein Caption: Kulturspielräume 2, 2018‐09‐17 Name in English: Culture Play Spaces – farmhouse parlor Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The central concern of the “Culture Play Spaces” and “STUBENrein” project in the Murau region took place in the analysed public in Styria is promoting exchange through art. Murau is an originally rural region in the Alps that is space(s) affected by emigration. The STUBENrein project was created in 2016 on the initiative of the regional development association “Holzwelt Murau” (Wood World Murau) and is a district‐wide cultural project. The series of different events is led by the theater director Andreas Staudinger, the project manager and architect Gunilla Plank and the curator and artist Uli Vonbank‐Schedler. The tension between showing and hiding, representation and retreat, public and private sphere is reflected, as living today is strongly linked to the personal search for meaning. With the temporary occupation of private and public spaces in each of the fourteen communities in the Murau district, easily accessible cultural participation is implemented. The goal is the development of visions for a possible (re)design of social coexistence. Around forty artists and everyday experts are active as part of “Kultur Spiel Räume – STUBENrein” in places that range from the recycling center to a tavern, from the empty buildings to the truck hall, from the retirement home to the empty business space. Women from the district have a special place there. Their life, wishes, goals, living conditions and disappointed hopes should be made visible. Photo's author: Andreas Staudinger This is because women‘s concerns affect everyone. The current Leader‐funded project runs from February 1, 2019 to January 31, 2022. It is already becoming apparent that some of the impulses Caption: Location of the photos in the site plan (Murau ‐Teufenbach) emanating from the project have fallen on fertile ground and led to local follow‐up events. In view of the commitment of the main protagonists, it can also be assumed that follow‐up projects will be sought. KEYWORDS: ARTS AND CULTURE WOMEN IN RURAL AREAS STRENGTHENING OF THE NETWORK MEETING POINTS EVENTS C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The extensive terrain and the big distance between the locations are a challenge. Obviously, the (activities) trying to tackle – what cooperation with avant‐garde cultural organizers such as the “Styrian Autumn” from the was the aim provincial capital Graz was also a bit difficult. That was probably not so well received because the local population was not sufficiently integrated. C‐4 Time frequency: Time Frequency A constant process Other information: 175 C‐5 Time period How was the local community It was the declared aim of the organizers to hold at least one event in each of the 14 existing involved in the project/activities? districts. It turns out that this works best if you get in touch with activists in the relevant region Start: 2/1/2019 12:00:00 AM and integrate them into the planning from the beginning. It was only as a result of these preliminary discussions that the relevant topics were determined and, in a next step, the formats End: 1/31/2022 12:00:00 AM and locations that would be suitable for the specific topic were considered. The local protagonists Comment: also played a central role in the implementation, as their local network was also used. This close cooperation ensured that themes were dealt with were important for the people. So they did not C‐6 Actors in relation to the analysed creative work, their main motivation and their roles have the feeling that someone from the outside was coming to tell them where to go. This taking up of the topics proposed by the local communities was also the reason that there were Actor(s): Uli Vonbank‐Schedler autonomous follow‐up events, which can be seen as a major success. Motivations: Enjoyment of cultural activities and positive envelopment of the cultural and social live in her C‐11 The role of natural/cultural heritage in the project/activities: community Did cultural and/or natural heritage The cultural heritage played a role in the sense that traditions were taken up, questioned and Roles: Designer (exhibitions) and artist play any specific role in the further developed. Some of the events also took place in historically valuable buildings, but the project/activities? focus was not on the cultural heritage, but on the availability of these rooms. Actor(s): Andreas Staudinger Motivations: Resident of the region, positive change, job and expansion of the regional network of C‐12 The targeted impact of the project/activity: relationships What was the targeted impact of The aim of the activities of the “Kultur Spiel Räume” was to establish a contemporary, up‐to‐date Roles: Designer and director (theater) the project / activities? discourse that picks up on regional traditions such as sitting together in the rural parlors or standing together on Sunday after the service and brings them to the present day. It differs Actor(s): Gunilla Plank fundamentally from traditional folklore in the sense that a radically modern approach has been chosen. Traditions are not taken up in their formal form, but in their important function for a Motivations: Job, enjoyment of cultural activities, positive change in her home community successful living together. The role of women in rural regions is deliberately made visible and strengthened. The overall thrust is to improve the quality of life not through material measures, Roles: Organizer and employee, architect but through functioning social relationships and equal participation in cultural life, even for C‐7 Description of the supporting background that existed to make the activities happen: somewhat marginalized groups. It is about a cultural climate of openness and an environment in which evolution in the sense of a participatory, democratic and ecological change is favored. What kind of supporting For the project to come about, it was of great importance that one of the main organizers, Ms. DI background existed to make the Gunilla Plank, is employed by the “Holzwelt Murau” association (Wood World Murau). This C‐13 Achievement of the targeted impact: activities happen (financial, brought continuity, time resources and led to the development of a wealth of experience and a Yes/no/partly: Yes institutional etc.) tightly knit network in the region. Just as important was the financial support from the LEADER project (EU pot for the promotion of innovation in rural areas), because only with these financial Comment: It gives the impression that the targeted impact was largely achieved, although the past Corona resources numerous events could be implemented over three years, the necessary awareness year 2020 meant that not all events could be implemented in the different villages as planned. The gained and a brand established. As a third requirement, it must be noted that the “Holzwelt involvement of many people and their ideas resulted in very different activities and event formats Murau” has been active in many areas and for many years and has a lot of experience in handling in which many current topics were taken up. That this led to follow‐up events taking place such projects. The working method of the local action group of the “Holzwelt Murau” builds on exceeded expectations. Overall, it was very important that a new dynamic emerged and political‐ the LEADER methods and relies on local development strategies as a whole. ly, socially and culturally well‐trodden paths were broken up. The central concern was that previously little represented groups, people and accesses to the world have finally found a place C‐8 Sectors involved in the development of the creative works with public spaces: in the discourse. It is regionally rooted and yet fresh and definitely feminist. And it seems that this Culture  has left a lasting mark and opened a contemporary discourse that is very likely to be continued. Culture and art play a big role, but they never take off. Education  C‐14 Additional achieved impacts: Health  Were any additional impacts Self‐organization, participation in cultural live and taking up repressed or taboo topics. Sustainability  achieved? Science  C‐15 The main beneficiaries of the creative work in public space(s): Tourism  Who were the main beneficiaries of The beneficiaries of this project were probably those who are currently not sufficiently Sport  the creative works in public represented in general social life. The activists demand that women and men are finally spaces(s)? represented in the local councils and that parity be established among the mayors. These are not Industry  minorities or marginalized groups in the narrower sense, but groups that are not represented enough in political representation and who (cannot) make themselves heard enough in public Other:  discourse, such as part‐time farmers, young women‐farmers, the socially disadvantaged, etc. In the population (for women as well as for mountain farmers and regional service and product Specify other: providers), however, the better networking seems to have led to a certain empowerment, which C‐9 Sector which was.. is likely to have an economic impact over a longer period of time and indirectly. ..the initiator of the activities: Culture C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: ..the most crucial for the whole case Other study: Were there any, no matter how big There is no direct economic benefit for the local community, but the organizers were paid for or small, economic benefits for the their work through the Leader project. Comment: participation local community as a whole or any specific actors in particular, C‐10 How was the local community involved in the project/activities: resulting from the creative works 176 with/in public spaces? C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that D‐1 Main editor in charge of this entry and potential other authors of this case study potentially empowered the actors to prosper in their future development: description Were there any exchanges of The central activists (basically three people) are very well networked nationwide and very well Name and surname: Erika Thümmel knowledge or other activities informed. There is therefore a continuous lively exchange with artists, designers, cultural workers performed that potentially and active citizens far beyond the borders of the region. Organization: FH JOANNEUM empowered the actors to prosper in Email: erika.thuemmel@�‐joanneum.at their future development? Role: author C‐18 Monitoring (or not) of the impact of the project: D‐2 Representative pictures How was the impact of the project / The events in the 14 villages were attended by 10–150 participants. Specific places and the some activities monitored? If it wasn’t – people had a good traction. The number of visitors is of course a measure of the interest that a Picture's caption: Event "Männer" (Men) how do you think it could be certain topic triggers, but it is not the only criterion. Further impulses that are triggered can be monitored? described qualitatively by observing, but can hardly be measured quantitatively. C‐19 Way in order to communicate the impact of the project: How was the impact of the project / Numerous articles appeared in the regional newspaper and the events were received by the activities disseminated or interested cultural and design community in the country and published in their online media. The communicated? stringent corporate design and the striking and professional photo series had a very positive effect on the recognizability of the formats. C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in The use of vacant buildings triggered memories of previous experiences in these rooms in the public space(s) perceived, visitors. Intervention at the bus stops is a good way to take advantage of boring waiting times. In evaluated, judged by the final users addition, it was not the public spaces that played a central role, but the topics dealt with. – what were the reactions of the general public? C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: The greatest success was that formats and topics that were developed through the “Kultur Spiel Raum” were taken up by the groups concerned and the corresponding follow‐up events were organized by them. A space for discourse also seems to have been opened, which had a lasting effect on the atmosphere and culture of conversation. Picture's author: Uli Vonbank‐Schedler Main failure: Projects that did not work out of the needs of the local population but were implemented externally (for example the opening in cooperation with the avant‐garde art festival “steirischer Picture's date: 9/17/2021 12:00:00 AM Herbst” (styrian autumn). And the podcasts were not as accepted as expected, this did not work because apparently the need to come together in real space is too strong. Picture's source: C‐22 Importance of broader conditions for the main sucess and main failure factor: Picture's caption: Event of KulturSpielräume How important were the broader Institutional and financial support was crucial for the “Kultur Spiel Räume” (Culture Play Spaces) conditions (e.g. the supporting project and the “murauerInnen” (women of Murau). Without this it would not have come about. state of the art in the community, Ms. DI Gunilla Plank, a committed architect from the region, was employed by the “Holzwelt infrastructure, institutional support, Murau” (Wood World Murau) and commissioned with the coordination. “Holzwelt Murau” is an financial sources, local or association for regional development in the Murau district and deals in many areas with impulses "imported" know‐how etc.) for the for regional development on many different levels. They work on the following topics: climate, main success and main failure factor environment & sustainable energy, wood & innovations, culture, economy, nature and tourism, education, regional ambassadors and museums. The project “Kultur Spiel Räume” (Culture Play Spaces) was financed by “Leader”, an EU funding pot for innovations in rural areas. The total project costs amount to € 240,000, the Leader funding amounts to € 144,000. The term is from 01.02.2019 to 31.01.2022. C‐23 Provide the links to public data on the creative works Link to public data to better Facebook murauerInnen (Facebook murauerInnen) understand the activities and actors, as well as impacts: The link: Activities of the activist women of Murau Link to public data to better • http://www.findglocal.com/AT/Murau/1743639069243315/STUBENrein (• understand the activities and actors, http://www.findglocal.com/AT/Murau/1743639069243315/STUBENrein) Picture's author: Andreas Staudinger as well as impacts: Picture's date: 9/17/2019 12:00:00 AM The link: Glocal report on the project 177 Picture's source: Picture's caption: Heldinnen Event Picture's author: murauerInnen Picture's date: 5/1/2020 12:00:00 AM Picture's source: Picture's caption: Busstop Exhibition with Gunilla Plank and Uli Vonbank‐Schedler Picture's author: KulturSpielRäume Picture's date: 9/9/2020 12:00:00 AM Picture's source: D‐3 Additional information Picture's author: Strittmatter‐Thümmel Additional information: Homepage of one part of the activists Picture's date: 6/17/2021 12:00:00 AM Link: https://www.kulturspielraeume.at/ (https://www.kulturspielraeume.at/) Picture's source: D‐4 Optional final remark Picture's caption: Event "Kultur muss sich lohnen" Optional final remarks: is there any additional information that was not communicated through the template 178 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Benches Express Dense settlement Bankerl Express +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Österreich ‐1 Region name (in local language): Steiermark  ‐2 Place name (in local language): Stanz im Mürztal ‐3 Country name (in english): Austria ‐4 Region name (in english): Styria ‐5 Place name (in english): Stanz in the Mürz valley Open landscape Map of the network of public Loosely built village character in a valley floor in the low mountain range, 1855 inhabitants (1.1.2020). The place consists of four spaces in the remote place main settlement centers and has two churches. In one of the main settlement places is the municipal office and now also the new Comment: village center with the local supplier. Not far from a motorway (S6 via Semmering) and an important railway line, but the last 15 km to Caption of the map: the scattered houses is difficult to cope with without a car. Legend of the map: Difficult terrain +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1  ‐2 ‐3 ‐4 ‐5 Effortless terrain Not far from a highway (S6 via Semmering to Vienna) and an important and old railway line, but the last 15 km to the scattered Comment: houses is difficult to cope without a car (State Road L 114, local and private roads). 179 Diversified economic activities High‐income households prevail +5 +5 +4 +4  +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3  ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The creative sector is existing but not well developed. Knowing about the importance of design, however, external professionals Low‐income households prevail related to the village were commissioned in an very early state of the project: for example the graphic designer Manfred Derler from The residents have an above-average median income, as most of them are industrial employees with collective agreements as metal Joanneum Research or the architect Nüssmüller with questions about the development of the location. There is a village workshop workers. There are also a few dairy farmers (6) whose farms are getting bigger and bigger as smaller farmers gave up in the last run by some art enthusiasts, it is one building for concerts, readings and production work-shops. In addition, traditions are cultivated Comment: years. Citizens' participation is practiced particularly intensively in Stanz, as the incumbent mayor's party emerged from a citizens' Comment: through a lively club life (all together 25 clubs like traditional brass bands, ice stock sport etc.). There are hardly any companies in initiative against the amalgamation of municipalities. The relevant topics are worked out in working groups by citizens and the village, almost all residents commute to industrial companies (metal processing) 20–30 km away. In the 19th century there was a accompanied by a specialist hammer mill, now there is mainly agriculture in the place. Tourist overnight stays (regional visitors) have declined sharply in the past decades, in the past it was up to 25,000 per year. A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) Daily‐life‐support facilities well developed Estimation: 2 +5 Explanation: Most households have several cars and do not perceive the place to be remote, as this, in +4 combination with the close and good train connections, allows you to get to work and to larger +3 cities quickly. The rapid transit train system is currently being expanded. Schoolchildren take the school bus in the next larger town (Kindberg) and the “Bankerl‐Express” and e‐taxis with 18 +2 drivers (= not paid residents) were developed especially for single women without their own vehicle and in somewhat remote single‐family homes.  A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  The demographic structure can be regarded as healthy, as there is a good mix, residents of all age groups and no over-aging (in the moment 60 children!). The local supply is covered by a newly opened and very modern shop for mainly regional food and everyday Specify subjective criteria (e.g. needs. The special thing is that the shop is designed in such a way that it has become a communicative meeting point, that it is not community’s self‐perception of Comment: dependent on large corporations and tied to their supply chains but specializes in features from the region. The opening times are being remote etc): very long, so that commuters can also shop there. Outside of the long opening times guaranteed by complicated shift operations,  there is a 24/7 vending machine shop. But of course there used to be more shops (5 stores) in the past. With regard to the energy Other supply, one of the first measures in reactivating the village was to connect 90 % of the houses to district heating (local heating). Specify other: Summary of the elements that The place is a remote side valley in which there are almost no bigger compagnies. As in many characterise this case as a remote regions in Austria, it is not a closed village structure, but rather scattered single‐family houses. place: Low population density rank: 1 180 Geographical barrier/allocation rank: Type of indoor public spaces that Recreational space can be found in this remote place: No good transportation links rank: 2 Park Difficulties in accessing daily‐life‐ 3 Playground support facilities rank: Waterside Social specifics and/or divisions Parking area rank: Economic inferiority rank: Subjective criteria (e.g. community’s A‐8 General description of.. self‐perception of being remote etc) The network of roads, streets, paths It is an open street village in a valley floor with a few side streets leading up to the surrounding rank: and alike elements that tie this mountains. The settlement structure is tattered, private single‐family houses and farms scattered Other rank: remote place together: outside the village center dominate. As part of the village renewal measures, rental apartments for families were built in the center in order to counteract the extinction of the village center. A‐5 Provide the links to public data The quantity and structure of public The village has enough public spaces, but some of them are in a very unattractive condition in Links to public data on the remote Information about the community space network (besides terms of the quality of stay. They are affected by traffic noise, their soil is sealed and they are place roads/streets/paths network) in this mostly used as car parking spaces. An exception to this, however, is a large recreation park for remote place: young and old not far from the center. The link: http://www.stanz.at (http://www.stanz.at) A‐9 General description of the quality of public spaces in this remote place Links to public data on the remote Citizens' initiative concerning Stanz place Answer: A few hundred meters from the center there is a very beautiful swimming pond, a park with large, old trees and an attractive and much used children's playground. Right in the center of the village The link: http://fuerdiestanz.at (http://fuerdiestanz.at ) there is a small square in front of the town hall and the new local supplier, which is severely impaired by the traffic and has no quality of stay. Measures to make this place more attractive are Links to public data on the remote Styrian Energy Agency being planned. Near to this place is a forecourt in front of a closed bank branch that is used as a place car parking space. The “Benches Express” station is located here. In addition, there are numerous The link: http://www.ea‐stmk.at (http://www.ea‐stmk.at) parking spaces for cars and too much sealed ground in the local area with no quality of stay. On the other hand, the need for public spaces does not seem to be as great as in larger cities, since Links to public data on the remote Information about Styrian communities almost every house has its own garden. place B‐1 Name(s) of the public space(s) The link: http://www.meinbezirk.at stanz‐im‐mürztal (http://www.meinbezirk.at stanz‐im‐mürztal) Name(s) of the public space(s) (in Park, Spielplatz und Badeteich Links to public data on the remote State agency for energy‐efficient communities local language): place Name(s) of the public space(s) (in Park, playground and swimming pond The link: http://www.e5‐steiermark.at (http://www.e5‐steiermark.at ) English): A‐7 The type of public spaces that can be found in this remote place (besides the Latitude of the public space(s): 47.46546 roads/streets/path network) Longitude of the public space(s): 15,50117 Square/s, Plaza/s  Ground plan showing the land use Park/s, Garden/s  of the public space(s): Market space/s  Caption's map of the public space: Playground/s  Legend's map of the public space: Recreational space/s, Sport‐field/s  Main location  Community open‐air space/s  Name(s) of the public space(s) (in Hauptplatz (zentraler Platz vor dem Gemeindeamt) local language): Institution‐related open‐air space/s  (e.g.University grounds) Name(s) of the public space(s) (in mainsquare (central square in front of the municipal office) English): Watersides  Latitude of the public space(s): 47.46584 Meadows  Longitude of the public space(s): 15.50053 Parking area  Ground plan showing the land use Service yard  of the public space(s): Other types:  Caption's map of the public space: Specify other types: Legend's map of the public space: Main location  181 Name(s) of the public space(s) (in Bankerl Express Form and function: Clearly visible point along a country road with the possibility for vehicles to stop without risk. local language): Ownership: Mostly small public spaces along streets, sometimes also privat spaces along state roads. Name(s) of the public space(s) (in Benches Express English): Access regarding entry‐control: There is a completely open access for everyone, but the service is mostly used by residentials without private cars (joung people and elderly) but probably also by hiking tourists. Latitude of the public space(s): 47.46546 Access regarding time of day/week There is no formal time limitation but of cource it is used and offered mostly during the daytime. Longitude of the public space(s): 15.50117 /year: Ground plan showing the land use B‐7 Kind of activity initially designed for this public space: of the public space(s): What kind of activity has been this As far as the Benches Express is concerned, it is exclusively transit area, the two existing public Caption's map of the public space: public space designed for initially spaces are also transit area, only the large recreation area is an old park and probably a fishpond. Legend's map of the public space: B‐8_a Which are the activities in this public space(s)? Main location  Activity: Stay at home B‐2 Describe the physical environment Activity: Drive by car to their job Physical environment description of In connection with creative works, the Benches Express deserves special mention among the Activity: Wait for a neighbour to get a trip the public space(s) with creative various public spaces. The Benches Express consists of its simple wooden bench, which is painted works: with bright yellow and green stripes and a yellow parasol that is stretched out when someone Activity: Sit down on a marked bench or call the neighborhood e‐taxi wants a ride. These benches are located along the main streets. It was an extremely affordable investment that attracted a great deal of public attention and was well received. The beautiful Activity: Buy fresh and regional food also before or after work park and swimming pond are basically a historical legacy, i.e. a creative achievement of past Activity: Visit the doctors meet friend or go for shopping centuries. What was very important, however, was to make this facility accessible to the public. The creation of a simple and low‐threshold infrastructure is also worth mentioning (outdoor B‐8_b Who are the main users of this public space(s)? showers, simple wooden changing rooms and a few bathing jetties. However, the fact that there are no larger buildings and no restaurant makes the bathing pond so attractive and close to User: Inhabitants without car nature. User: People with the need to buy food etc. Physical environment elements The Benches Express is not primarily aimed at creative people but at everyone, especially at were important and/or actually citizens who do not have their own car. What is important is their striking appearance and, at the User: Families with children "used" by creative people for their same time, their down‐to‐earth design, which blends in well with the rural area. All elements are activities: familiar and the simple wooden benches also invite you to take a break if you don't want to get a B‐8_c What are the users activities of this public space(s)? ride. Users Activity Before After B‐3 Describe the general functions Inhabitants without car Wait for a neighbour to get a trip   Functions and land uses description The Benches Express is not primarily aimed at creative people but at everyone, especially at Inhabitants without car Sit down on a marked bench or call   in the area of the public space: citizens who do not have their own car. What is important is their striking appearance and, at the the neighborhood e‐taxi same time, their down‐to‐earth design, which blends in well with the rural area. All elements are familiar and the simple wooden benches also invite you to take a break if you don't want to get a Inhabitants without car Visit the doctors meet friend or go   ride. Only a few square meters are required as a place for setting up a bench and the umbrella, for shopping but of course these must not be directly on the street, but next to it. And at the bench you also need a way to stop your car without disturbing the traffic, i.e. something like a small bay. This is Inhabitants without car Stay at home   the case at existing public bus stops. At other places it was probably necessary that private People with the need to buy food Wait for a neighbour to get a trip   owners of the property allowed this (public areas in squares, pastureland or parking areas in front etc. of companies). People with the need to buy food Sit down on a marked bench or call   Functionalities of space were It was important to be close to a street that is not too seldom used, good visibility and the etc. the neighborhood e‐taxi important and/or actually "used" by possibility for drivers to stop at this point. creative people for their activities: People with the need to buy food Buy fresh and regional food also   etc. before or after work B‐4 General demographic characteristics of the area around the public space: Families with children Drive by car to their job   Describe the general demographic It is loosely built‐up land with small villages and towns, scattered farms, and single‐family houses characteristics with gardens around the villages. In the vicinity of the industrial areas in the Mürz Valley, the Families with children Buy fresh and regional food also   population is likely to have higher incomes than in the more remote areas in the hinterland. The before or after work emigration is not as high as in other areas, but the number of farms is declining. As for the Bankerl   Express as a charming alternative to the public transport network, it has one of the starting Families with children Visit the doctors meet friend or go points in the center of the small village of Stanz with only about 50 houses. This initiative, for shopping launched three years ago, started with a few locations in the vicinity of the sparsely populated B‐9 Parts/sections/spots seem most attractive within the public space (location and area. In the meantime there are already 25 yellow‐green banks, because some neighboring communities have also taken up the idea and joined the alternative transport concept via low‐ duration) ‐ Parts/sections/spots at people seem to avoid: threshold carpooling. Beyond the district boundaries, the benches are now located along the state road L 114 between the cities of Kindberg and Birkfeld on a distance of approx. 40 kilometers. B‐5 Type of the public space(s) with creative work 182 Describe what parts seem to be the The main road through the village is still avoided as a place to stay. The reasons for this are the most attractive to people traffic noise, that sometimes there are no sidewalks and it is very dusty. As before, the central areas in the place are parking spaces for cars or traffic areas. The location on the busy street is only important for the Benches Express. The area in front of the new shop is slowly coming to life and is to be made even more attractive by measures to calm down traffic and design the square. This is urgently needed in order to give the place something like a perceptible center. The before mentioned beautiful bathing pond, located near the center of the village, and the old park with large trees and children's playground equipment are very popular. The creative work consisted less in the design of the furniture or the like, but in negotiating the possibility of use with the owner. B‐10 Provide the links to public data on the public space(s) Website: Article in the Austrian Newspaper Standard Website's link: https://www.derstandard.at/story/2000127647288/ohne‐eigenes‐auto‐unterwegs‐wie‐ mitfahrbankerl‐am‐land‐funktionieren (https://www.derstandard.at/story/2000127647288/ohne‐ eigenes‐auto‐unterwegs‐wie‐mitfahrbankerl‐am‐land‐funktionieren) B‐11 Provide photos of the public space(s) with creative works Caption: village of Stanz 2021, May 3rd Photo's author: Strittmatter/Thümmel Caption: description benches, 2021 May 3rd Photo's author: Strittmatter/Thümmel Caption: benches‐express, 2021 May 3rd 183 Photo's author: Strittmatter/Thümmel Caption: Embedding of the village in the landscape Photo's author: @strittmatter Caption: Grocery Store, 2021 May 3rd Photo's author: Strittmatter/Thümmel Caption: Valley Stanz Photo's author: Strittmatter/Thümmel Caption: Wind Mills, 2021 May 3rd Photo's author: Strittmatter/Thümmel 184 Caption: street without sidewalk, 2021 May 3rd Photo's author: Strittmatter/Thümmel Caption: The location of the creative works Time Frequency A constant process Other information: C‐5 Time period Start: 9/1/2013 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Werner Nußmüller Motivations: Relationship to the place (mother is from the village), positive change and job Roles: Architect (new residential building in the center and spatial planning) Actor(s): Fritz Pichler Motivations: Positive change in his home community Roles: Spokesman for a citizens' initiative, now mayor Actor(s): Rainer Rossegger Photo's author: Drawing by Anke Strittmatter based on current geodata. Motivations: Relationship to the region, positive change and job C‐1 Official name of the activity/project Roles: Sociologist Name in local language: „Bankerl Express", früher "Hupfauf‐Bankerl" Actor(s): Andrea Reunhofer Name in English: Benches Express, before they used to be called “jump up benches Motivations: Positive change in his home community, turning away from the car Nickname: Banker Express Roles: Participant in the quality of life working group Overall name:  C‐7 Description of the supporting background that existed to make the activities happen: C‐2 Description of the project (activities) that took place in the analysed public space(s): What kind of supporting The commitment of the activists, the personal relationship to the village or the area and the Describe the project (activities) that Stanz: the power of civic initiative Stanz is a village in the low mountain range not far from an background existed to make the involvement of external experts in the civic participation processes were very important. The took place in the analysed public important railway line, a motorway, and an industrial area with metal processing plants. It is a bit activities happen (financial, contacts to successful and prominent former residents of the place or to people whose families space(s) off the beaten track and the village and the houses around are difficult to reach without a car. A institutional etc.) come from the area were specifically activated. In the first phase there was almost no institutional citizens‘initiative, which was formed to prevent the amalgamation of municipalities, has got an and financial support. With the election of the “Citizens List for a Livable Stanz” in 2015 and then important political rule and provides the very successful mayor. Since this initiative a group of also in 2020, access to the community budget was made and Fritz Pichler became mayor. In activists has gathered and is still active. The identification of the problems in the village and its addition the community applied for funding from the state government with increasing success. surroundings and participation processes are the basis for the ongoing changes. Particularly And the success aroused the interest of the neighboring communities and so they too began to important are a newly designed grocery store with regional products and specially created participate in the projects (as mentioned in the Benches Express). A supraregional press coverage communication areas, as well as a new residential building in the center of the village especially (including an article by Walter Müller in the Standard) provided tailwind and further motivation. suitable for families. These cut measures enliven the center, a corresponding village square is Very important was also that the announced plans could actually be implemented. being planned. Particularly successful is a “Bankel Express” (benches express) with which people can get a ride from other residents. This simple and cheap idea grew in the last years. It is started C‐8 Sectors involved in the development of the creative works with public spaces: in particular for older female residents who do not have their own car, but is also addressed to Culture  people who want to use the car less because of ecological reasons. In the meantime it connects many villages in the area (40 km of distance). The place emphasizes the importance of Education  independence in all decisions concerning the village. They see “Smart Rural” as a very positive new trend. KEYWORDS: LACK OF LOCAL SUPPLIERS LACK OF PUBLIC TRANSPORT CITIZENS‘ Health  INITIATIVES PARTICIPATION PROCESSES Sustainability  C‐3 Challenge that the project (activities) tried/is trying to tackle: Science  What challenge was the project Our impression was that a lot is not implemented in a firmly established party landscapes because Tourism  (activities) trying to tackle – what the protagonists do not allow members of the other party to be successful. This could be was the aim circumvented by means of the citizens' initiative and active citizen participation. So suddenly a Sport  climate developed in which change was possible. And it showed the inhabitants that it is possible  to shape one's own environment. It is a process of change that started 8 years ago (2013) and is Industry still going on. Success keeps the group alive. But a very tight organization is required so that the Other:  whole thing works out. This is the reason of the mayor to have regular no consultation hours, little attendance at events and no alcohol at events. If something takes too long, people break Specify other: away. C‐9 Sector which was.. C‐4 Time frequency: 185 ..the initiator of the activities: Sustainability ..the most crucial for the whole case Sustainability Who were the main beneficiaries of The local community has benefited the most and has been greatly strengthened. As far as local study: the creative works in public businesses are concerned, many small shops have of course been closed in recent years, but with spaces(s)? “Trixis Dorfladen” an attractive local supplier has been created, that not only supplies the local Comment: population, but also supplies the residents of neighboring areas with its high‐quality range of regional products. The settlement hat become famous and a center of attraction for other C‐10 How was the local community involved in the project/activities: communities. The mayor, provided by a list of citizens, has established himself well and has been How was the local community The involvement and activation of the residents was decisive for the success. The re‐elected. The cultural life has expanded beyond the extremely lively traditional club scene (brass involved in the project/activities? citizens'movement formed out of the protest against the amalgamation of municipalities driven music, ice stock sport etc.), to current cultural events from film screenings to experimental forward by the styrian government. In total, a group of around 80 committed citizens was theater projects and crafts. Because of a forest kindergarten, the primary school in the village created, with an inner circle of activists comprising 13 people. In the first phase, five topics which offers afternoon care, cross‐border school attendance with a gymnasium and a new crystallized out (missing center of the village, bathing pond, culture, quality of life, energy) and secondary school is possible via a school bus, the place is also interesting for young families working groups were formed on these. It was very important that there was an external expert in moving in. each working group who, on the one hand, was supposed to contribute his specialist know‐how, C‐16 Presence (or not) of economic benefits for the local community as a whole or any but who also invested his heart and soul and was good at establishing communication. It was essential to focus on a few topics and their actual implementation. This gave rise to a sense of specific actors in particular, resulting from the creative works with/in public spaces: achievement and with it you could get the people out from behind the stove. A very lean Were there any, no matter how big The public perception and the success of the innovative community facilitates access to public municipal administration was also important (positions that had become vacant through or small, economic benefits for the funding. The slight influx into the community increases tax revenue. The team of architects retirement were not filled) and radical digitization measures. local community as a whole or any around Werner Nussmüller was important for the planning of a new residential building especially specific actors in particular, for families in the village center with a medium‐sized local supplier at ground level (larger than in C‐11 The role of natural/cultural heritage in the project/activities: resulting from the creative works the old building stock, but not an anonymous supermarket on the edge of the settlements) and is Did cultural and/or natural heritage The cultural heritage only played a role in the construction of the public bathing pond and the with/in public spaces? currently working on a new central place with quality of stay. However, there is still a lot to be play any specific role in the nearby playground. The beautiful layout of the park as well as the artificially created former done in this area; the place does not yet have a high quality of stay. project/activities? fishpond go back to the local rule of the noble Malburg family, who let the community use them. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that C‐12 The targeted impact of the project/activity: potentially empowered the actors to prosper in their future development: What was the targeted impact of Several goals were pursued to which the various working circles had adapted and whose priority Were there any exchanges of The activists were supported by an expert who was called in to each working groups and the project / activities? was rated high. What these lines had in common was the improvement of the quality of life for knowledge or other activities accompanied them. The idea of take‐me‐with‐you‐benches was discovered and taken up in the younger and older residents and ecological goals (energy self‐sufficiency, regional products, less performed that potentially former East Germany. car traffic ...). So far, no projects in the narrow sense of “creative works in public space (s)” have empowered the actors to prosper in been implemented. The redesign of the village square was not on the top on the agenda and will their future development? only be tackled in the coming years. What can, however, also be understood as a kind of public place is deliberately planned open space as a meeting zone in the newly built grocery store. And C‐18 Monitoring (or not) of the impact of the project: the benches of the “Benches Express” set up along the streets are also in a certain sense publicly How was the impact of the project / So far there has been no official project monitoring. Demographic developments (balance sheet occupied space and, apart from transport, also offer the opportunity to meet or get to know activities monitored? If it wasn’t – and age structure), traffic data (pedestrians, cyclists, motorists, public transport), public fellow residents. In addition, a skate park for young people was built, a former power station how do you think it could be participation and the maintenance of pubs and shops can be measured. building was gutted and converted into a youth club, and the swimming pond and a children's monitored? playground were put into operation. C‐19 Way in order to communicate the impact of the project: C‐13 Achievement of the targeted impact: How was the impact of the project / Numerous articles and regional and national newspapers appeared, YouTube videos were made Yes/no/partly: Yes activities disseminated or and the project was documented in films. Overall, it was disseminated and communicated well Comment: The public perception as well as the conversations with those involved suggest that the targeted communicated? and professionally. Since the problem of villages is currently being discussed a lot, there is also impact exceeded the original expectations. This certainly is true for the Benches Express, which great interest in how successful villages act. has meanwhile been expanded to the neighboring villages, but also to the numerous and complex interlocking measures to renew the place and transform it into a sustainable and C‐20 Perception of the creative works in public space(s) by the final users and the reactions innovative village in which the population decline has not only been stopped, but there is of the general public: currently even a small positive migration balance. Qualitative immigration has already been How were the creative works in The Benches Express, the new local supplier and the public bathing pond with adjoining children's achieved and will continue to be promoted. But what is perhaps the most important aspect is the public space(s) perceived, playground were rated and received very well. They are and were not perceived by the activists increased cooperation within the settlement and the awareness of many citizens that they are evaluated, judged by the final users and in the public perception as a creative achievement, but as successful social and ecological responsible for helping to shape their environment. The citizens' list perceived a success when a – what were the reactions of the projects and as improvement of quality of life. Further measures, where the design aspect is councilor from the Social Democrats also made herself available as an e‐taxi driver. Resentment general public? probably more noticeable, await implementation (main square in front of the municipality office). between the parties had therefore dissolved in favor of the place. C‐21 The (one) main success and the (one) main failure of the project/activities C‐14 Additional achieved impacts: Main sucess: The Benches Express was cheap and successful. Were any additional impacts The power of traditional competitive parties has been reduced, and citizen participation and the achieved? culture of conversation have improved. Main failure: Too fast changes overwhelms many people and because of the difficulties in combining activities with work and family, people fell away from the citizens' movement. C‐15 The main beneficiaries of the creative work in public space(s): C‐22 Importance of broader conditions for the main sucess and main failure factor: 186 How important were the broader In the beginning there was almost no money from public bodies but private people who donated conditions (e.g. the supporting something (often anonymously), sometimes even from other parties. It was also important to state of the art in the community, include people who used to live in the village in former times. They have a relationship with the infrastructure, institutional support, place and provide their know‐how and their network free of charge. Only in a later phase did the financial sources, local or Styrian state government support the projects. That only happened after the first successes had "imported" know‐how etc.) for the been recorded. The Benches Express project nominated by the 48‐person jury of the "German main success and main failure factor Design Awards" was invented and implemented by the quality of life working group around Andrea Reinhofer: "Shopping or a visit to the doctor in the neighboring village often becomes a logistical challenge for people without their own vehicle. These people depend on friends, relatives, neighbors or on local public transport. The idea was born out of this need for benches with yellow put up the 'Benches Express' parasol to bring drivers and passengers together. The green and yellow benches becomes a meeting point for spontaneous car groups. " C‐23 Provide the links to public data on the creative works Link to public data to better Woche, 3. Juli 2020: „Eine neue Form der Mobilität“ (Woche, 3. Juli 2020: „Eine neue Form der understand the activities and actors, Mobilität“ ) as well as impacts: The link: Article from Markus Hackl in the magazine meinbezirk.at Link to public data to better Der Standard, 26./27. Juni 2021: Im Bankerl‐Express (Der Standard, 26./27. Juni 2021: Im Bankerl‐ understand the activities and actors, Express) as well as impacts: The link: Article from Franziska Zoidl in the national newspaper "Der Standard" D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Erika Thümmel Organization: FH JOANNEUM Picture's author: Strittmatter‐Thümmel Email: erika.thuemmel@�‐joanneum.at Picture's date: 5/3/2021 12:00:00 AM Role: author Picture's source: D‐2 Representative pictures Picture's caption: Instruction Benches Express Picture's caption: Stop of the Benches Express in Stanz Picture's author: Strittmatter‐Thümmel Picture's date: 5/3/2021 12:00:00 AM Picture's source: Picture's caption: Wind mills in Stanz 187 Picture's author: Strittmatter‐Thümmel Picture's date: 5/3/2021 12:00:00 AM Picture's source: Picture's caption: New grocery in Stanz Picture's author: Strittmatter‐Thümmel Picture's date: 5/3/2021 12:00:00 AM Picture's source: Picture's caption: Village of Stanz Picture's author: Strittmatter‐Thümmel Picture's date: 5/3/2021 12:00:00 AM Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 188 Legend of the map: The settlement structure of the municipality of Trofaiach and the study area. A place kissed awake Ein wachgeküsster Ort A‐1 General information about the location of the remote place Country name (in local language): Österreich Region name (in local language): Steiermark Place name (in local language): Trofaiach Country name (in english): Austria Region name (in english): Styria Place name (in english): Trofaiach Map of the network of public spaces in the remote place Caption of the map: Trofaiach Groundplan 189 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Diversified economic activities Dense settlement +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed creative sector creative sector Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Open landscape At the beginning of the project, it looked like there was no creative sector. However, it turned out that there was one but it was not Comment: Comment: visible or perceptible. Through the activities, a networking of institutions and people began. Difficult terrain Daily‐life‐support facilities well developed +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good  (infrastructure (infrastructure Aged ‐5 ‐4 ‐3 ‐2 ‐1 +1 +2 +3 +4 +5 Sound for) access for) access demographic demographic structure structure ‐1 ‐1 ‐2  ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Effortless terrain Daily‐life‐support facilities none‐existing Comment: Comment: 190 High‐income households prevail Difficulties in accessing daily‐life‐ support facilities rank: +5 Social specifics and/or divisions +4 rank: +3 Economic inferiority rank: +2 Subjective criteria (e.g. community’s +1  self‐perception of being remote etc) rank: Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory practices none‐ practices well Other rank: 1 existing developed A‐5 Provide the links to public data ‐1 Links to public data on the remote Participation & Sustainable Development in Europe Information website of the Federal Ministry ‐2 place for Climate Protection, Environment, Energy, Mobility, Innovation and Technology (BMK) ‐3 The link: www.partizipation.at/trofaiach (www.partizipation.at/trofaiach) ‐4 Links to public data on the remote Statistics Austria place ‐5 The link: www.statistik.at (www.statistik.at) Low‐income households prevail The income of the population is above average, as a large part of the population works in the metal processing industry. Wages there Links to public data on the remote nonconform ideenwerkstatt in Trofaiach Comment: are very good so far. However, these jobs are not guaranteed in the long term due to the location policy of these internationally place operating companies. The link: www.nonconform.at/trofaiach‐ein‐wachgeküsster‐ort (www.nonconform.at/trofaiach‐ein‐ A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote wachgeküsster‐ort) at all) to 5 (extremely remote) Links to public data on the remote Webpage Trofaiach place Estimation: 3 The link: www.trofaiach.gv.at (www.trofaiach.gv.at) Explanation: The degree of remotness here refers not so much to the place itself but to the village centre. Before the actions, this was characterised by inner‐city vacancies (donut effect), while around the Links to public data on the remote Digital Atlas Styria / GIS town there were, or still are, numerous shopping facilities. In addition to the implementation of a place vacancy management for the inner city area, the city has also decided that the construction of shopping centres and large supermarkets outside the centre will no longer be permitted. The link: https://gis.stmk.gv.at/wgportal/atlasmobile (https://gis.stmk.gv.at/wgportal/atlasmobile) A‐4 Elements that characterise the remoteness of the place: A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Low population density  Square/s, Plaza/s  Geographical barrier/allocation  Park/s, Garden/s  No good transportation links  Market space/s  Difficulties in accessing daily‐life‐  support facilities Playground/s  Social specifics and/or divisions  Recreational space/s, Sport‐field/s  Economic inferiority  Community open‐air space/s  Subjective criteria  Institution‐related open‐air space/s  (e.g.University grounds) Specify subjective criteria (e.g. community’s self‐perception of Watersides  being remote etc): Meadows  Other  Parking area  Specify other: Vacant shops Service yard  Summary of the elements that The village is, on average, well supplied with all the facilities necessary for life. However, the  characterise this case as a remote donut phenomenon was also evident here, where the inner city is affected by vacancies and Other types: place: heavy motorised individual traffic, while the edges melt away. At the beginning of the project, the Specify other types: aim was to counteract the vacancy and thus to obtain a more liveable public space. Low population density rank: Geographical barrier/allocation rank: 191 No good transportation links rank: Type of indoor public spaces that For the bullet points mentioned above we refer to the whole village and not to the closer study Functionalities of space were All vacant ground floor zones including the main street are used for activation. can be found in this remote place: area with the inner‐city vacancy. important and/or actually "used" by creative people for their activities: Music school. B‐4 General demographic characteristics of the area around the public space: It should be mentioned here that the music school is a very important cultural and social institution for almost every Styrian community. Describe the general demographic The demographic situation along the main road is quite average. However, as the main street and characteristics its shops are a focal point for the entire population of the town, the use of the street is not so The music school uses the public street space in front of the building for its activities. much intended for direct residents, but rather to attract customers and strollers. B‐5 Type of the public space(s) with creative work A‐8 General description of.. Form and function: The public space here consists of the main street with its small indentations. The network of roads, streets, paths Our focus with regard to activities in Trofaiach is on the main street of the village. Trofaiach has a and alike elements that tie this classic village centre with densely built‐up areas along the main street. Numerous small streets Ownership: MIXED: The ownership is mainly private, apart from a few public buildings such as the music remote place together: and alleys lead from this street to parallel developments. Accessibility is therefore very good. school. The quantity and structure of public There is no public square, because whenever the place became economically interesting in the Access regarding entry‐control: As the main road is a public area, it is freely accessible to everyone. The shops are easily accessible space network (besides past (special iron production know‐how, market rights, etc.), the neighbouring village would during public opening hours. However, access is determined and controlled by the operators. roads/streets/paths network) in this compete with it by taking away the market rights or becoming the forerunner in metal Access regarding time of day/week The street is of course accessible 24/7 for everyone. The ground floors of the shops and the music remote place: production. /year: school are open during the usual opening hours. A‐9 General description of the quality of public spaces in this remote place B‐7 Kind of activity initially designed for this public space: Answer: Due to the well‐functioning vacancy management, the entire area has been significantly upgraded What kind of activity has been this The area was built primarily for economic purposes, as most of the shops in the village were and is livelier. The road markings and the reduction of the speed limit to 20 km/h have also public space designed for initially located here in a concentrated manner. It was also, of course, a particularly busy area for standing supported this. The main street was not very suitable for a stay until now. In the meantime, communication. While the road was originally used for transit by pedestrians and carts, it has however, seating options have been created in the course of vacancy management. What is been used mainly by private motorised traffic, especially since the 1960s. For pedestrians and unusual here is the implementation of a very well and fun designed public toilet in one of these cyclists, the area was no longer suitable as a recreational zone. This has now changed vacancies. considerably, especially due to the redesign of the surfaces. The speed of the vehicles has decreased significantly. B‐1 Name(s) of the public space(s) Name(s) of the public space(s) (in Hauptstraße B‐8_a Which are the activities in this public space(s)? local language): Activity: renting shops and buildings Name(s) of the public space(s) (in Main Street Activity: selling products English): Activity: shopping Latitude of the public space(s): 47.426587 Activity: learn to play music Longitude of the public space(s): 15.009137 Activity: strolling and communicating Ground plan showing the land use of the public space(s): Activity: driving a car Caption's map of the public space: B‐8_b Who are the main users of this public space(s)? Legend's map of the public space: User: real estate owner Main location  User: strollers B‐2 Describe the physical environment User: cardrivers Physical environment description of The village is situated in the so‐called Trofaiach Basin at an altitude of 650 metres above sea level. User: customers the public space(s) with creative The village is surrounded by various mountain ranges. These are characterised by numerous deep works: water‐bearing incisions. The centre of the village itself, i.e. the main road, is not a difficult area, as User: shop owners the depression is flat and quite wide. User: music school Physical environment elements The entire main street with its small, square‐like bulges was used for the actions. Especially the were important and/or actually new music school, which was housed in one of the former vacancies, uses the public area B‐8_c What are the users activities of this public space(s)? "used" by creative people for their adjoining the ground floor zone for actions. activities: Users Activity Before After   B‐3 Describe the general functions shop owners shopping   Functions and land uses description The main street used to be the economic centre of the village. The buildings along the main street in the area of the public space: were almost exclusively commercial on the ground floor. There were numerous establishments shop owners driving a car   for daily needs, restaurants and specialist shops here. On the floors above, there was either shop owners selling products   commercial or residential use as well. customers shopping   customers strolling and communicating   192 real estate owner selling products   real estate owner strolling and communicating   strollers strolling and communicating   music school learn to play music   music school strolling and communicating   music school renting shops and buildings   cardrivers driving a car   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the In general, the redesign (seating and markings) has made the main street more inviting for most attractive to people passers‐by. The music school and the "Platz der Musik" (Music Square) in front of it are a particular attraction. Here, the school corresponds with the public space ‐ especially, but not only, during events. There are no known places in this area that are avoided. B‐10 Provide the links to public data on the public space(s) Website: Project page on the nonconform website Website's link: www.nonconform.at/trofaiach‐ein‐wachgeküsster‐ort (www.nonconform.at/trofaiach‐ein‐ wachgeküsster‐ort) Website: Website of the municipality of Trofaiach Website's link: www.trofaiach.gv.at (www.trofaiach.gv.at) Website: Participation & Sustainable Development in Europe Information website of the Federal Ministry for Climate Protection, Environment, Energy, Mobility, Innovation and Technology (BMK) Website's link: www.partizipation.at/trofaiach (www.partizipation.at/trofaiach) B‐11 Provide photos of the public space(s) with creative works Caption: The settlement structure of the municipality of Trofaiach and the study area. Photo's author: Drawing by Anke Strittmatter based on current geodata. Caption: The new Music Square in the Main Street 193 Photo's author: @ Foto Freisinger Caption: The area formerly affected by vacancies is marked in red. Photo's author: @ Foto Freisinger Caption: Opening of the new music school Photo's author: Drawing by Anke Strittmatter based on current geodata. Photo's author: Biberich Caption: The new music school, which moved into one of the vanacies Caption: Panoramic image of Trofaiach and its surroundings Photo's author: @ Foto Freisinger Caption: Since 2016, Trofaiach has held an annual street festival in the Main Street. 194 End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Stefan Spindler, nonconform ideenwerkstatt GmbH Motivations: Expert in conducting participatory processes with communities Roles: Expert in conducting participatory processes with communities Actor(s): Erich Biberich Motivations: suffering due to vacancies in the centre Roles: The "Kümmerer" (care‐taker). City Centre coordinator, employed by the municipality. Actor(s): Alexandra Sting‐Enge Motivations: Comes from Trofaiach and also has an architectural office in Vienna Roles: Architect Actor(s): Mario Abl Motivations: Suffering due to vacancies in the centre and wanted to be re‐elected Roles: Mayor C‐7 Description of the supporting background that existed to make the activities happen: Photo's author: @ Foto Freisinger What kind of supporting The city provides 100,000 euros annually for activities related to the upgrading of the main street background existed to make the and vacancy management. Process support for inner city development and Stadt Up project C‐1 Official name of the activity/project activities happen (financial, through Leader by the “Amt der Steiermärkischen Landesregierung Abteilung 17 Landes‐ und institutional etc.) Regionalentwicklung” (Office of the Styrian Provincial Government Department 17 Provincial and Name in local language: Trofaiach: Ein wachgeküsster Ort Regional Development). Cost sharing for the Graz University of Technology project ‐ Architectural Name in English: Trofaiach: A place kissed awake concepts for future coexistence by the “Amt der Steiermärkischen Landesregierung Abteilung 16 Verkehr und Landeshochbau, Baukultur” (Office of the Styrian Provincial Government Nickname: Department 16 Transport and Building Construction and Building Culture). Promotion of the master plan for the public space in the centre (implementation nonconform) by the “Amt der Overall name:  Steiermärkischen Landesregierung Abteilung 10 Land‐ und Forstwirtschaft ‐ Referat C‐2 Description of the project (activities) that took place in the analysed public space(s): Landwirtschaft und ländliche Entwicklung” (Office of the Provincial Government of Styria Department 10 Agriculture and Forestry Department of Agriculture and Rural Development). Describe the project (activities) that Trofaiach in Styria is a municipality that was affected by inner‐city vacancies and a high volume of took place in the analysed public traffic. The architectural group nonconform, which specialises in participatory processes, has C‐8 Sectors involved in the development of the creative works with public spaces: space(s) organised numerous workshops with residents. Since then, many projects have emerged from Culture  these ideas. The most relevant is certainly the visual and programmatic up‐grading of the main street, which has now become an area with quality of stay. Since then, the pedestrian frequency Education  has increased fivefold. A so‐called caretaker has been established who acts as a contact person and takes care of the mediation of vacancies to interested parties. The focus here is on alternative Health  uses in particular. In addition to vacancy mediation, the renovation/restoration of the building Sustainability  stock, especially the facades, is also being promoted. With the support of the municipality, homeowners renovate their buildings and thus protect them from further decay. This contributes Science  decisively to the improvement of the environment for all citizens. Tourism  C‐3 Challenge that the project (activities) tried/is trying to tackle: Sport  What challenge was the project In particular, the aim is to counteract vacancies. On the one hand, this has an economic  (activities) trying to tackle – what background, but on the other hand it should also enable the old buildings affected by decay to be Industry was the aim repaired. Both the renovation of these buildings and the redesign of the public space in front of Other:  them serve to improve the living environment of the inhabitants. The area now has an excellent quality of life again. Specify other: Municipality C‐4 Time frequency: C‐9 Sector which was.. Time Frequency A constant process ..the initiator of the activities: Other Other information: ..the most crucial for the whole case Other study: C‐5 Time period Comment: Municipality Start: 1/1/2014 12:00:00 AM 195 C‐10 How was the local community involved in the project/activities: How was the local community The mayor was the initiator of the project and placed great emphasis on citizen participation right C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that involved in the project/activities? at the beginning. The municipality has commissioned the nonconform group to carry out these potentially empowered the actors to prosper in their future development: citizen participation processes. Nonconform realised workshops with 1000 citizens, including associations, school classes and business people. The duration of the workshops was 3 days and Were there any exchanges of In the nonconform workshops and especially during the work within the working groups in the included 10 topics, including transport, culture, etc. Afterwards, interested people were assigned knowledge or other activities following year, there was an extensive exchange of knowledge and skills. to specific topics. These topics were then worked on intensively for a year. The groups met every performed that potentially few weeks or months. As the activities are ongoing, the population is also continuously involved. empowered the actors to prosper in On the one hand, you can discuss your concerns with the "care taker" at any time, and on the their future development? other hand, there is the newspaper "TROFAIACH ‐ meine Gemeindezeitung" (TROFAIACH ‐ my community newspaper), which is published regularly by the community. C‐18 Monitoring (or not) of the impact of the project: C‐11 The role of natural/cultural heritage in the project/activities: How was the impact of the project / Regular monitoring at least annually, more frequently at the beginning of the project. The activities monitored? If it wasn’t – municipality, nonconform and various local interest groups were involved. Did cultural and/or natural heritage Austria is rich in architectural and natural monuments. Therefore, the question of value is one that how do you think it could be play any specific role in the has to be seen in comparison to others. Trofaiach is not one of the places with the most monitored? project/activities? outstanding buildings in the most outstanding nature. Nevertheless, the buildings are well worth preserving. Many are already damaged by vacancy. Homeowners were faced with the decision of C‐19 Way in order to communicate the impact of the project: whether it was still worth investing in repairs. This process is in full swing. How was the impact of the project / The most important Austrian daily newspaper “Der Standard” and the most important weekly C‐12 The targeted impact of the project/activity: activities disseminated or magazine in Austria “Falter” have reported on it several times. It has also been the subject of very communicated? positive TV and radio coverage. The municipality itself also publishes the Trofaiach Magazine, What was the targeted impact of In 2013, community fusions took place throughout Styria. In the course of this, Trofaiach became which is read by 80 percent of the population and reports on the latest activities. Trofaiach is also the project / activities? the "main municipality" of several villages. This also gave it a new role as the centre of all these one of the best practice communities described in the documentary film: “Rettet das Dorf!” (Save smaller municipalities. The inner city was characterised by heavy vacancy, buildings were left to the Village!). decay and the traffic frequency in the main street was 5000 vehicles per day. The measured speeds were between 50 and 70 km/h. The aim was to make this inner‐city area economically C‐20 Perception of the creative works in public space(s) by the final users and the reactions interesting and liveable again for all residents. of the general public: C‐13 Achievement of the targeted impact: How were the creative works in The most important Austrian daily newspaper “Der Standard” and the most important weekly public space(s) perceived, magazine in Austria “Falter” have reported on it several times. It has also been the subject of very Yes/no/partly: Yes evaluated, judged by the final users positive TV and radio coverage. The municipality itself also publishes the Trofaiach Magazine, – what were the reactions of the which is read by 80 percent of the population and reports on the latest activities. Trofaiach is also Comment: All the goals set were achieved: Not only did the vacancy rate decline, in spring 2021 there were general public? one of the best practice communities described in the documentary film: “Rettet das Dorf!” (Save more enquiries than offers. The music school moved into a large vacant space in the centre and the Village!). The public is very positive about the vacancy utilisation activities. On the one hand, became a cultural magnet. Numerous specialist shops have settled in the vacancies. Some empty the quality of stay and the design of the area has improved a lot, and on the other hand, many houses were left to decay because it was no longer worthwhile for the owners to invest in high‐quality products are (and will be) offered there that clearly stand out from the mainstream. renovation. However, due to the activities of the city, many owners have now decided to restore their houses. This is already clearly visible on the facades. Further facade work is planned. The C‐21 The (one) main success and the (one) main failure of the project/activities public space has gained enormously in quality of stay. Although it is still possible to drive on the main road by car, the speed limit is now 20 km/h. In addition, the floor markings are a Main sucess: 6 years after the start of vacancy management, demand exceeds supply. psychological brake. Main failure: There was no real failure, rather frustrations. For example, when a shitstorm went through the C‐14 Additional achieved impacts: public because photos of the design of the main street were published. However, these photos are only a small part of the interventions and show ONE design measure. Taken out of context, or Were any additional impacts The author is not aware of any. insufficiently described, the project is completely inadequately described in its entirety. However, achieved? the actors were able to counteract this right away through appropriate talks. C‐15 The main beneficiaries of the creative work in public space(s): C‐22 Importance of broader conditions for the main sucess and main failure factor: Who were the main beneficiaries of The residents have benefited on several levels: The inner city has become quieter, cleaner and How important were the broader It can certainly be said that the vacancy project in Trofaiach is in many respects a prime example the creative works in public nicer. The range of special shops has increased, and people no longer have to go shopping in conditions (e.g. the supporting of successful local revitalisation for a remote place. Although it is a top‐down project, as it was spaces(s)? larger shops on the outskirts of the village. The implementation of the “Kümmerer” (care taker) state of the art in the community, directly initiated by the mayor, he also involved the population right at the beginning. This has established a permanent contact point. The city magazine has also become an important infrastructure, institutional support, process was led and carried out by the external experts from nonconform. The fact that the medium that addresses issues and in which many residents have their say. The local business financial sources, local or overall project was co‐designed and shaped by many different groups in the population means people benefit from the professional vacancy mediation and from the upgrading of the "imported" know‐how etc.) for the that there is a high level of acceptance and satisfaction with the results. surrounding area. Now it is worth investing in the properties again. The redesign of the main main success and main failure factor street and the reduction of speed have increased the pedestrian frequency fivefold. The local creative sector was involved in the actions. A Trofaiach‐born architect with offices in Vienna and C‐23 Provide the links to public data on the creative works Trofaiach was able to contribute her expertise here. The music school now has a new and very attractive location in the middle of the city. The commitment of the mayor and the city Link to public data to better www.nonconform.at/trofaiach‐ein‐wachgeküsster‐ort (www.nonconform.at/trofaiach‐ein‐ administration as a whole is highly appreciated by the population. understand the activities and actors, wachgeküsster‐ort) as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: Project page on the webpage of nonconform specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better https://www.nonconform.at/ein‐kuemmerer‐fuer‐trofaiach/ (https://www.nonconform.at/ein‐ Were there any, no matter how big Certainly all owners of buildings in this area have benefited greatly from vacancy management. understand the activities and actors, kuemmerer‐fuer‐trofaiach/) or small, economic benefits for the They now have new tenants and get support in renovating their properties. This also leads to an as well as impacts: local community as a whole or any increase in value. Tenants who are interested in a vacant project benefit financially: In the first specific actors in particular, year, they receive a rent subsidy of 300 to 400 euros per month from the municipality. The link: Nonconform describes the role of a caretaker. resulting from the creative works with/in public spaces? 196 Link to public data to better https://steiermark.orf.at/stories/3012549/ (https://steiermark.orf.at/stories/3012549/) understand the activities and actors, as well as impacts: The link: Television report in ORF Styria Link to public data to better https://www.ueber‐land.eu/gemeinde‐mit‐zukunft‐trofaiach/ (https://www.ueber‐land.eu understand the activities and actors, /gemeinde‐mit‐zukunft‐trofaiach/) as well as impacts: The link: Blog für Stadt und Land (blog for the city and the country side) Link to public data to better https://www.derstandard.at/story/2000109123162/zwei‐staedte‐kaempfen‐gegen‐leerstand‐und‐ understand the activities and actors, gewinnen (https://www.derstandard.at/story/2000109123162/zwei‐staedte‐kaempfen‐gegen‐ as well as impacts: leerstand‐und‐gewinnen) The link: Der Standard about vacancy projects Link to public data to better www.partizipation.at/trofaiach (www.partizipation.at/trofaiach) understand the activities and actors, as well as impacts: The link: Participation & Sustainable Development in Europe Information website of the Federal Ministry for Climate Protection, Environment, Energy, Mobility, Innovation and Technology (BMK) Picture's author: @ Foto Freisinger Link to public data to better http://www.begegnungszonen.or.at/details.php?Projektnummer=121 Picture's date: 6/1/2018 12:00:00 AM understand the activities and actors, (http://www.begegnungszonen.or.at/details.php?Projektnummer=121) Picture's source: Strittmatter as well as impacts: Picture's caption: nonconform organises an ideas workshop The link: Magazine: Encounter zones in Austria Link to public data to better https://a3bau.at/oegut‐umweltpreis‐verliehen (https://a3bau.at/oegut‐umweltpreis‐verliehen) understand the activities and actors, as well as impacts: The link: Award of an environmental prize Link to public data to better http://www.gat.st/news/ortskernkuemmerer‐versuch‐einer‐job‐deskription (http://www.gat.st understand the activities and actors, /news/ortskernkuemmerer‐versuch‐einer‐job‐deskription) as well as impacts: The link: Online magazine for architecture and environment GAT writes about the caretaker and its work. D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Anke Strittmatter Organization: University of Applied Sciences FH JOANNEUM, Graz Email: anke.strittmatter@�‐joanneum.at Role: Author D‐2 Representative pictures Picture's author: Biberich Picture's date: 7/30/2015 12:00:00 AM Picture's caption: The new Music Square Picture's source: Strittmatter Picture's caption: Participation meeting with nonconform, citizens and community representatives 197 Picture's source: Strittmatter Picture's caption: One of the many workshops conducted by nonconform with the residents. Picture's author: Biberich Picture's date: 6/1/2016 12:00:00 AM Picture's source: Strittmatter Picture's caption: Refurnishing of the Main Street Picture's author: @nonconform Picture's date: Picture's source: nonconform Picture's caption: One of the many workshops conducted by nonconform with the residents. Picture's author: Anke Strittmatter Picture's date: 5/3/2021 12:00:00 AM Picture's source: Strittmatter Picture's caption: The main street in the 70s, dominated by car traffic Picture's author: @nonconform Picture's date: Picture's source: nonconform Picture's caption: One of the many workshops conducted by nonconform with the residents. Picture's author: @Stadtmuseum Trofaiach Picture's date: 198 Picture's author: @nonconform Picture's author: Biberich Picture's date: Picture's date: 5/19/2018 12:00:00 AM Picture's source: nonconform Picture's source: Anke Strittmatter Picture's caption: One of the many workshops conducted by nonconform with the residents. Picture's caption: Move of the new music school into one of the former vacancies Picture's author: @nonconform Picture's date: Picture's author: @ Foto Freisinger Picture's source: nonconform Picture's date: 5/19/2018 12:00:00 AM Picture's caption: The opening of the new music school Picture's source: Strittmatter Picture's caption: Street party on the occasion of the Main Street redesign 199 Picture's author: Biberich Picture's date: Picture's source: Strittmatter Picture's caption: A well designed public toilet in one of the former vacancies Picture's author: Anke Strittmatter Picture's date: 5/3/2021 12:00:00 AM Picture's source: Strittmatter D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any Part of the analysis of this project was an on‐site inspection and a discussion with Stefan Spindler additional information that was not from nonconform and Erich Biberich, the caretaker of Trofaiach on 3 May 2021. communicated through the template 200 Revitalisation of Triglav road, VENIA Bohinjska Bistrica Oživitev Triglavske ceste, Bohinjska Bistrica O Mythical Park Mitski park The Village Garden Vaški vrt SL New wind in Tomaj Prevetrimo Tomaj House on the Hill Hiša na Hribu 201 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Revitalisation of Triglav road, Bohinjska Bistrica Dense settlement Oživitev Triglavske ceste, Bohinjska Bistrica +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Slovenija ‐1 Region name (in local language): Gorenjska ‐2 Place name (in local language): Bohinjska Bistrica ‐3 Country name (in english): Slovenia ‐4 Region name (in english): Upper Carniola ‐5 Place name (in english): Bohinjska Bistrica Open landscape The town of Bohinjska Bistrica (population of 1767 in 2020) lies in the Alpine area of north-west Slovenia and is part of the Bohinj municipality (population: 5630 in the second quarter of 2020 - a population density of only 15 people per km2). Small in size, with Comment: rather limited range of functions and surrounded by open Alpine landscapes it has a prevailing “small town/settlement in the rural area” character, even more so as it is located away from major urban centres (regional centre, the city of Kranj, is 45 kilometres away). Difficult terrain +5 +4 Map of the network of public spaces in the remote place +3 +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Caption of the map: Figure‐ground plan for Bohinjska Bistrica ‐3 Legend of the map: Key to Figure: black – built structure; light grey – terrain contour lines; dashed dark grey – railroads; dark grey ‐ roads. ‐4 ‐5 Effortless terrain Bohinjska Bistrica itself lies in the lowlands, but is surrounded by mountainous landscapes of Julien Alps all around, the nearest highest peaks are of above 2000 meters high. The accessibility of the area is limited, the main access is via a major road Bled – Comment: Bohinj. There is also a train line passing Bohinjska Bistrica, but serves mainly for tourism purposes (regional train line Jesenice – Nova Gorica). There is a rather dense network of mountainous hiking paths developed in the surrounding landscapes. A bicycle connection connecting two major tourist destinations (Bohinj and Bled) is planned in a mid-term future too. 202 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity With 271.692 tourist having visited the municipality in 2019, Bohinjska Bistrica itself relies heavily on tourism. It is located close to Low‐income households prevail major Slovenian tourist attractions such as Lake Bled, Lake Bohinj, Vintgar gorge, Vogel ski resort etc. Many of the individual Assessing the income of the inhabitants of Bohinjska Bistrica is somehow difficult due to the statistical methodologies, namely the Comment: surrounding tourist attractions are part of the Triglav National park. In terms of industry, within Bohinjska Bistrica lies a large definition of statistical units. The average wage in the Bohinj municipality is below average compared to the rest of Slovenia. woodworking facility belonging to the company LIP Bohinj, which is a major employer in the municipality and plays an important role However, this also takes into account people from other municipalities working in Bohinj and doesn’t necessarily reflect the average in the local economy. Some local food production facilities are located in Bohinjska Bistrica too. income of the inhabitants of Bohinjska Bistrica. The average wage in the entire Upper Carniola regions is slightly below average Comment: compared to the rest of the country. In terms of participatory practices, Bohinj municipality is going to implement a participatory Daily‐life‐support facilities well developed budget in 2021, where part of the municipality budget is allocated for the residents themselves to directly decide what it is to be used for. Among more active ssociations are mountaineering society, firebrigade associationa and pensioners’ association, while +5 participatory practices in urban design are weak or nearly none-existing. +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +3 at all) to 5 (extremely remote) +2 Estimation: 3  +1 Explanation: As mentioned previously, Bohinjska Bistrica, along with Bohinj municipality, is located away from Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound major road corridors and connections. The reason for this can be found in its geographical demographic demographic location, namely the settlement being surrounded by mountains. However, its status as a tourist structure structure destination does compensate partially for its somewhat remote location. Furthermore, a railway line ensures daily connections both with the rest of Gorenjska region, as well as the Goriška ‐1 region in the south. ‐2 A‐4 Elements that characterise the remoteness of the place: ‐3 Low population density  ‐4 Geographical barrier/allocation  ‐5 No good transportation links  Daily‐life‐support facilities none‐existing Difficulties in accessing daily‐life‐  Bohinjska Bistrica is relatively well equipped in terms of basic life-support facilities for the settlement of its size. It has its own support facilities community health centre, a volunteer fire house, a local culture centre, an elementary school etc. In terms of demographic structure, both the settlement itself and the municipality have a slightly above average percentage of people older than 65 (21,6 and 23,3 % Social specifics and/or divisions  respectively, while the Slovenian average is 19,8%), with the average age being 44,5 in the settlement and 45,2 in the municipality. Comment: Economic inferiority  Both these figures are slightly above average when compared to the country-wide average age of 43,5 years. The reason for the aging population in the municipality may be the fact that this environment is extremely attractive to people in retirement, as it allows Subjective criteria  them direct contact with nature and the mountains, on the other hand, almost all-important services to meet their needs are available. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: 203 Summary of the elements that The town of Bohinjska Bistrica is located in an alpine area, with traffic connections blocked from The link: https://gisportal.gov.si/portal/apps/webappviewer/index.html?id=df5b0c8a300145fda417eda characterise this case as a remote three sides by surrounding mountain ranges. The town has a direct road connection with major 6b0c2b52b (https://gisportal.gov.si/portal/apps/webappviewer place: population centres in the Ljubljana basin only towards the east, through the narrow Sava Bohinjka /index.html?id=df5b0c8a300145fda417eda 6b0c2b52b ) valley. The nearest highway entrance is 24 km away. This somewhat limited road traffic accessibility, which stems from the characteristics of the surrounding terrain, makes the town of A‐7 The type of public spaces that can be found in this remote place (besides the Bohinjska Bistrica remote in this regard. However, the town is served by the train connection roads/streets/path network) between Jesenice and Nova Gorica which, contrary to the road network, breaks through the  mountain barrier to the south with a tunnel, granting a direct connection with the Goriška region. Square/s, Plaza/s It should be noted however that this train connection operates with a relatively low frequency, Park/s, Garden/s  with 21 passenger trains departing from Bohinjska Bistrica station on a workweek in both directions combined. Thus, the town of Bohinjska Bistrica could be categorised as remote with Market space/s  regards to both geographical allocation as well as limited traffic connections. Also, remoteness is amplified by low population numbers and a low population density on the municipal level. Playground/s  Low population density rank: 3 Recreational space/s, Sport‐field/s  Geographical barrier/allocation rank: 1 Community open‐air space/s  No good transportation links rank: 2 Institution‐related open‐air space/s  (e.g.University grounds) Difficulties in accessing daily‐life‐ support facilities rank: Watersides  Social specifics and/or divisions Meadows  rank: Parking area  Economic inferiority rank: 4 Service yard  Subjective criteria (e.g. community’s Other types:  self‐perception of being remote etc) rank: Specify other types: Event tent near camp Danica Other rank: Type of indoor public spaces that ▪ Church can be found in this remote place: ▪ Sports hall A‐5 Provide the links to public data ▪ Cultural centre ▪ Museum Links to public data on the remote Official website of the Bohinj municipality place The link: https://www.obcina.bohinj.si/ (https://www.obcina.bohinj.si/ ) A‐8 General description of.. Links to public data on the remote Official municipal website ‐ spatial planning documents of the Bohinj municipality The network of roads, streets, paths The street/road network in Bohinjska Bistrica is highly irregular, with streets meandering through place and alike elements that tie this the settlement of individual houses and small apartment blocks. This irregular pattern is present The link: https://www.obcina.bohinj.si/objave/107 (https://www.obcina.bohinj.si/objave/107 ) remote place together: throughout the entire settlement, with very few examples where streets were designed to run parallel or perpendicularly to each other on longer sections. This is evident in both main roads as Links to public data on the remote Spatial planning documents of the Bohinj municipality in an interactive map well as access roads and paths. The network is denser where the original town structure is place located, which is visible on 19th century maps (western part of today’s settlement). For the settlement, it is important to mention the water network, as the town lies between two steams The link: https://gis.iobcina.si/gisapp/Default.aspx?a=bohinj (https://gis.iobcina.si/gisapp Bohinjska Bistrica and Belica and it is in the near vicinity of a river Sava Bohinjka. Unfortunately, /Default.aspx?a=bohinj) the river sequence it does not contribute to a better quality public space today. Links to public data on the remote Official website of the statistical office of Slovenia The quantity and structure of public Notable is a severe lack of open public spaces in the form of squares or plazas. In the central area place space network (besides of town, the open spaces are occupied by parking areas. Also, there is a lack of any area which The link: https://pxweb.stat.si/SiStat/sl (https://pxweb.stat.si/SiStat/sl ) roads/streets/paths network) in this could be categorised as a town centre. There is an old part of Bohinjska Bistrica, which can remote place: already be visible in the Austrian Franciscan cadastre from the years 1818 – 1828. However, this Links to public data on the remote Spatially presented data of the statistical office of Slovenia part of town also doesn’t have any significant public spaces (in the form of a main town square place for example), while today it does not function as a town centre anymore. What could be defined as the central area of Bohinjska Bistrica has thus shifted towards the south in later times. In terms The link: https://gis.stat.si/ (https://gis.stat.si/ ) of green spaces, there is a park with children’s playgrounds and the Ceconi park, both located in the vicinity of the Joža Ažman cultural centre, while the town itself is located near protected Links to public data on the remote Tourist website of the Bohinj municipality areas of nature, with quick access to walking areas right outside the town itself. Also worth place mentioning is the large green area of the Danica tourist camp, located at the north‐western edge The link: https://www.bohinj.si/ (https://www.bohinj.si/ ) of town, on the banks of the Sava Bohinjka river which, however, is intended for the camp guest only. Links to public data on the remote Participatory budget of the Bohinj municipality for the year 2021 place A‐9 General description of the quality of public spaces in this remote place The link: https://www.mojaobcina.si/bohinj/novice/participativni‐proracun‐2021.html (https://www.mojaobcina.si/bohinj/novice/participativni‐proracun‐2021.html ) Links to public data on the remote Register of cultural heritage of Slovenia presented in an interactive map – includes the imperial place Austrian Franciscan cadastre, where the early 19th century built structure of the town can be seen 204 Answer: As the town lacks sufficient public spaces as well for the inhabitants as for the visitors; the overall quality of the public space network also cannot be rated as satisfactory. The open spaces in the centre of town are occupied by parking lots, while a large open public space are lacking. However, the already described public park with a children‘s playground and the Ceconi park (located next to each other in a part of town featuring the Joža Ažman cultural centre as well as two large hotels and a wellness centre) are well maintained, with the latter featuring a diverse range of flowers as its main attraction. Also, the Danica camp is a four‐star tourist facility, located on the banks of the Sava Bohinjka river. Within its boundaries, the camp offers a restaurant, sport facilities, children’s playgrounds, a bike and boat renting service, and is well connected to the network of walking and cycling paths outside town. B‐1 Name(s) of the public space(s) Name(s) of the public space(s) (in Triglavska cesta local language): Name(s) of the public space(s) (in Triglav road English): Latitude of the public space(s): 46.2741288 Longitude of the public space(s): 13.9585759 Ground plan showing the land use of the public space(s): Caption's map of the public space: Building use on the Triglavska cesta with entrances Legend's map of the public space: Main location  B‐2 Describe the physical environment 205 Physical environment description of The wider area of the railway station in Bohinjska Bistrica along Triglavska cesta is a less accessible Access regarding entry‐control: The entry to the street and the green areas near the crossing of over Belica river is open for the public space(s) with creative area, as it is bounded on one side by railway tracks and on the other by the Belica stream. It is public. After the revitalization activities, part of the former construction company facilities are works: characterized by an abandoned industrial facility, individual houses, as well as the Bohinjska now occupied by small private businesses, and are thus not open for public. However, a Bistrica railway station and degraded land along the rail tracks, while the far north end of the temporary gallery and project space “Kamra” has also been established within these facilities, Triglavska street features a large parking lot. Near the railway station, there is a bar with a which hosted art exhibitions and workshops, and operated from June till November 2020 – children’s playground. Walking along the street, high mountain ranges and forest areas acesible for all. surrounding the town are visible and at the point where Triglavska street turns into the city centre, you also cross the water stream. The layout of the street itself is car oriented, with most Access regarding time of day/week Access to the street and riverside green areas is free 24‐7. of the street featuring a narrow sidewalk on one side only. Apart from “Ajdovska cesta” road /year: near the railway station, and the “ulica Tomaža Godca” street at the far south, the street section B‐7 Kind of activity initially designed for this public space: running parallel to the rail tracks features no other street connections, making it less accessible. A safe crossing of the railway is possible only through the ulica Tomaža Godca on the south, What kind of activity has been this The street is still serving its general purpose of providing access to the railway station of through a narrow underpass. Thus, the Triglavska cesta is relatively isolated from the rest of the public space designed for initially Bohinjska Bistrica. Apart from this, it serves as an access to the facilities of the former “Gradbeno road/street network and of Bohinjska Bistrica itself. Also, on the southern end of the street, were podjetje Bohinj”, while it also serves as an access street for residents living there and for the it turns towards the west to eventually connect to the Jelovška cesta, it crosses the Belica river. restaurant next to the railway station. This section of the road is notable by the green environment through which it passes, which also includes the previously mentioned Ceconi park. B‐8_a Which are the activities in this public space(s)? Physical environment elements A revitalisation project was carried out for the unused industrial areas of the former local Activity: Access to homes were important and/or actually construction company “Gradbeno podjetje Bohinj” by attracting new users for the vacant "used" by creative people for their facilities. The green areas at the crossing of the street over the Belica river were also given special Activity: Socialising, lunch, coffee break activities: attention and a renewal plan for its banks into a park area has been developed (renovation is expected to begin in 2021). Activity: Traveling via public transit B‐3 Describe the general functions Activity: Work Activity: Recreation Functions and land uses description The area along the Triglavska cesta is diverse in terms of land use classification. Along its route, in the area of the public space: we can find industrial, commercial, residential and natural land use classifications, as well as areas Activity: Visiting galleries/workshops for the tourist sector. Most of the land use mixing occurs on the western side of the road, as the east is dominated by the railway station and rail tracks. Industrial areas adjacent to the street can B‐8_b Who are the main users of this public space(s)? be found on its northern section, next to the open air parking lot, while a large industrial area belonging to the LIP Bohinj woodworking company lies to the east, on the other side of the rail User: Local residents tracks, along most of the section running parallel to the Triglavska cesta. The restaurant next to User: Public transit user who’s final destination is not Triglavska cesta the railway station is designated as a tourist area. Residential areas are located at the juncture with the “Ajdovska cesta” road, in the approximate centre of the street corridor running from the User: Young entrepreneurs and/or employees of small businesses Belica river to the parking area in the north, across the Triglav road from the train station, while commercial areas can be found to the south, where the facilities of the former construction User: Restaurant and railway workers company “Gradbeno podjetje Bohinj” are located. On the southern end, the road reaches green areas on the banks of the Belica river and those of the Ceconi park on the other side of the river. User: Visitors from other areas Functionalities of space were Green areas, particularly those on the banks of the Belica river. These were given special attention User: Local artist/creative individuals important and/or actually "used" by in the form of a renovation plan, as this area functions as an entry point towards the railway creative people for their activities: station and the facilities of the former construction company. These facilities are, in terms of B‐8_c What are the users activities of this public space(s)? participatory spatial interventions, the most relevant area along the Triglavska cesta, as the local Users Activity Before After population, small businesses and the creative sector were included in their redevelopment activities. Local residents Access to homes   B‐4 General demographic characteristics of the area around the public space: Local residents Socialising, lunch, coffee break   Describe the general demographic Similarly to assessing the income of the inhabitants of Bohinjska Bistrica or the Bohinj Local residents Recreation   characteristics municipality, speculating about the demographic characteristics of the area near the Triglavska cesta is difficult. It is very likely that there are no relevant differences in terms of demographics Local residents Visiting galleries/workshops   compared to the entire settlement, or even the entire municipality. Moreover, residential Visitors from other areas Socialising, lunch, coffee break   buildings located on Triglavska cesta are very few in number. Although the people living on and adjacent to Triglavska cesta are not likely to suffer economic difficulties, the area itself is Visitors from other areas Recreation   somewhat remote from the rest of the settlement, which reduces its potential for vibrant commercial activity compared to the rest of Bohinjska Bistrica. Visitors from other areas Visiting galleries/workshops   B‐5 Type of the public space(s) with creative work Public transit user who’s final Socialising, lunch, coffee break   destination is not Triglavska cesta Form and function: The relevant types of spaces present along and relevant in the redevelopment of Triglavska cesta   are: street, watersides, parking area, recreational spaces and indoor spaces (belonging to the Public transit user who’s final Traveling via public transit former local construction company, now transformed into spaces for local small businesses), destination is not Triglavska cesta public building (railway station). Public transit user who’s final Visiting galleries/workshops   Ownership: Mixed. destination is not Triglavska cesta Young entrepreneurs and/or Socialising, lunch, coffee break   employees of small businesses 206 Young entrepreneurs and/or Traveling via public transit   Describe the project (activities) that The project of the revitalisation of “Triglavska cesta” (Triglav road) in Bohinjska Bistrica employees of small businesses took place in the analysed public (Municipality of Bohinj, Upper Carniola statistical region, Slovenia) near the railway station, was space(s) developed by the non‐profit urban design group ProstoRož, and is part of the wider “Zelene Young entrepreneurs and/or Work   rešitve” (Green solutions) project, which focuses on innovative approaches and solutions for employees of small businesses redeveloping degraded and empty spaces (mostly outside urban areas) in the Upper Carniola region of Slovenia. The revitalisation project includes the arrangement of a passenger terminal Local artist/creative individuals Socialising, lunch, coffee break   (which includes examining potentials for the placement of the new bus station), a park on the Local artist/creative individuals Work   banks of Belica river, and a short term programme plan for the area, relating mostly to soft measures for the revitalisation of abandoned buildings of the former “Gradbeno podjetje Bohinj” Local artist/creative individuals Visiting galleries/workshops   construction company, which was developed in cooperation with the local population. The later was developed taking into account the needs of the local population, small businesses and Restaurant and railway workers Socialising, lunch, coffee break   creative individuals, through their involvement in the activities of the project. A number of work Restaurant and railway workers Work   actions, two public debates, an open door day, and multiple meetings with employees of the Bohinj municipality were organised. The result was the renting of the formerly abandoned B‐9 Parts/sections/spots seem most attractive within the public space (location and buildings by small businesses, and a temporary gallery space “Kamra” was also established in the duration) ‐ Parts/sections/spots at people seem to avoid: facilities. The ProstoRož group also designed a sample office and a common space. Describe what parts seem to be the As the area is somewhat isolated from the rest of the town, it also lacked – apart from people C‐3 Challenge that the project (activities) tried/is trying to tackle: most attractive to people visiting the restaurant – visitors who purposely came to this area as a final destination, excluding work and access to home. Outside the working hours, visitors of the area were therefore few and What challenge was the project The project was attempting to address the lack of spaces which could be used as business or stayed for a short time. The Ceconi park was popular before, however it lies outside the section of (activities) trying to tackle – what creative nodes (a problem evident in many small settlements) and improve public space in the the street which was part of the redevelopment. Additional users of green spaces (recreation, was the aim area. In the Bohinj municipality, most facilities are occupied by activities tied to tourism, and the casual strolling), can be expected mainly due to the planned redevelopment of the Belica wider area of the Bohinjska Bistrica railway station presented an opportunity for the development riverbanks in the south of the area (works expected to begin in 2021), while new types of users of new spaces to be used by young entrepreneurs and creative individuals. The arrangement of (creative individuals, entrepreneurs, employees of small local companies, gallery visitors), are tied the passenger terminal and the park arrangement along Belica are projects that have so far been to the redevelopment of the construction company facilities. Among the listed visitors, the ones realized only up to the conceptual stage and will greatly contribute to the overall arrangement perhaps representing the most significant change compared to the previous were creative and revitalization of this area for inhabitants as well as visitors. individuals and visitors of the gallery spaces, as they are not necessarily tied to the usual working C‐4 Time frequency: hours or use of transit (via the railway station), while together with people employed in the small businesses they represented an important diversifying force on the level of the entire settlement, Time Frequency Other which is heavily dominated by the tourism sector. Other information: B‐10 Provide the links to public data on the public space(s) C‐5 Time period Website: Redevelopment of the “Triglavska cesta” by ProstoRož Start: 1/1/2019 12:00:00 AM Website's link: https://prostoroz.org/portfolio/items/gradbena (https://prostoroz.org/portfolio/items/gradbena) End: 6/30/2021 12:00:00 AM Website: Facebook page of the KAMRA project Comment: Website's link: https://www.facebook.com/KAMRA‐projektBohinj‐108791460838866/ (https://www.facebook.com/KAMRA‐projektBohinj‐108791460838866/ ) C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Website: Official municipal website ‐ spatial planning documents of the Bohinj municipality Actor(s): Local residents Website's link: https://www.obcina.bohinj.si/objave/107 (https://www.obcina.bohinj.si/objave/107 ) Motivations: Redevelopment of the construction company buildings, new spaces for socialising and cultural involvement and for events Website: Spatial planning documents of the Bohinj municipality in an interactive map Roles: Participating in work actions, providing input in a form of their ideas and desires with regard to Website's link: https://gis.iobcina.si/gisapp/Default.aspx?a=bohinj (https://gis.iobcina.si/gisapp the Gradbeno /Default.aspx?a=bohinj ) Actor(s): ProstoRož B‐11 Provide photos of the public space(s) with creative works Motivations: Redevelopment of the section of the Triglavska cesta running in the north – south direction, from Caption: the parking area in the north to the Belica riverbanks in the south *** Roles: ProstoRož is NGO working with public spaces, addressing challenges that occur in them through long term redevelopments as well as short term projects, workshops, experimental projects etc. Photo's author: In their process they put much efforts into including residen C‐1 Official name of the activity/project Actor(s): Local creative individuals Name in local language: Oživitev Triglavske ceste, Bohinjska Bistric Motivations: Gaining new work and exhibition spaces Name in English: Revitalisation of Triglav road, Bohinjska Bistrica Roles: Providing input in the form of their needs and desires with regards to the former construction Nickname: company facilities. Overall name:  Actor(s): Local small businesses/entrepreneurs Motivations: Gaining new workspaces C‐2 Description of the project (activities) that took place in the analysed public space(s): Roles: Providing input in the form of their needs and desires with regards to the former construction 207 company facilities. Actor(s): BSC Kranj – Regional Development Agency of Upper Carniola Comment: Motivations: Encouraging revitalisation projects of abandoned places in small towns in the Upper Carniola C‐10 How was the local community involved in the project/activities: region. How was the local community The local community was involved through participation in workshops and public debates, Roles: BSC Kranj is a regional development and business support agency for the Upper Carniola region. It involved in the project/activities? through which the coordinators of the redevelopment sought to respond to the needs of the is the leading partner in the greater Zelene rešitve – Green solutions project local area. The role of the public was to provide opinions of the area being redeveloped, particularly the area containing the buildings formerly belonging to the former construction Actor(s): Bohinj municipality company: of its history, its current state in terms of the arrangement of open space, traffic Motivations: Revitalising spaces within the municipality and establishin the area of Triglavska cesta as a new situation, and of the empty buildings and their potential new uses. Also, ideas and proposals for public transit node the improvement of public spaces in the area were being gathered. The main desires expressed by local organisations, creative individuals and entrepreneurs, were to arrange new office spaces Roles: Institutional support and cooperation, owner of the land on which the abandoned buildings of and a new space for meetings and events. The pandemics has limited the opportunities for the construction company are located participation in the implementation phases of some activities – it is not clear to the date if/when the participatory activities will potentially commence. Actor(s): Janez Mencinger elementary school C‐11 The role of natural/cultural heritage in the project/activities: Motivations: Participating in events within the municipality and for the schoolchildren to get familiar with the community Did cultural and/or natural heritage Natural heritage played a role particularly in the southern part of the redevelopment area, where play any specific role in the the Triglavska cesta crosses the Belica river. Here, a redevelopment plan for the green areas along Roles: Schoolchildren participated in painting one of the outer walls of abandoned facilities project/activities? the river was made, which included a renewal of the existing chestnut and poplar tree lines, Actor(s): Društvo mladih Bohinj – Bohinj youth organisation placement of benches and a renewal of the street profile. As already mentioned, works on the Belica riverbanks are expected to begin this year (2021). The area of railway infrastructure is also Motivations: Gaining new spaces within the municipality listed as technical heritage. Roles: Renovation works in the interior C‐12 The targeted impact of the project/activity: Actor(s): Kombinat arhitekti What was the targeted impact of The project aimed towards the revitalisation of the area into a hub for local business and the Motivations: Participation in urban design and redevelopment operations the project / activities? creative sector. The targeted impact was to improve the situation which had existed before where, despite the trends giving rise to new forms of work, cultural involvement and socialising, Roles: Architecture, interior design and spatial planning office – cooperation with ProstoRož in in Bohinjska Bistrica there was a significant lack of spaces for purposes other than tourism. This verificating the placement of the future passenger centre lack of appropriate spaces for entrepreneurship and the creative sector is noticeable in many small settlements however. Thus, the wider “Zelene rešitve” (Green solutions) project in general C‐7 Description of the supporting background that existed to make the activities happen: (which the Triglavska cesta redevelopment is part of), seeks to find new approaches for the inclusion of local populations into the processes of redevelopment of degraded areas. With these What kind of supporting The project was – through the financing of the wider “Zelene rešitve” project – co‐financed by the approaches, the previously abandoned areas would receive new uses. Furthermore, the background existed to make the European agricultural fund for rural development, while the Bohinj municipality participated as a redevelopment plan in question also envisioned the location of the future new bus station of activities happen (financial, partner in the project and – being also the owner of the buildings – rented out their spaces to Bohinjska Bistrica, which combined with the railway station, would form a passenger terminal, institutional etc.) small businesses and for the creative works to take place there, as well as providing their input improving mobility for local inhabitants and visitors alike. and desires regarding the revitalisation of the Triglavska cesta area. The ProstoRož group prepared the revitalisation plan for the Triglavska cesta, and served as the coordinator of C‐13 Achievement of the targeted impact: activities tied to the search for new uses of empty facilities. BSC served as the leading partner in the Zelene rešitve project, which addressed the development of extra‐urban spaces in the Upper Yes/no/partly: Partly Carniola region. Comment: The targeted impact was at least partially achieved, although the project – the timeline is from C‐8 Sectors involved in the development of the creative works with public spaces: January 2019 to June 2021 – is still ongoing. The formerly abandoned buildings are now occupied by a distillery, a print shop, a sugar packaging operation and other small businesses, and were Culture  also occupied by a temporary gallery and project space called KAMRA, which hosted the exhibitions, the workshops and the evening events with the cultural programmes. Currently, the Education  spaces of the former KAMRA are occupied by construction planning office. This way, through the Health  revitalisation of these buildings, Bohinjska Bistrica gained a place which can function as a hub for both creative individuals as well as entrepreneurs, thus diversifying the otherwise predominantly Sustainability  touristic character of the town. The planned future combination of multiple sustainable traffic options in close proximity to each other as part of the passenger centre will allow for a better Science  connectivity of transit modes. Tourism  C‐14 Additional achieved impacts: Sport  Were any additional impacts Additionally, methods of including residents and other local stakeholders were explored, adding Industry  achieved? to the already existing experiences of the ProstoRož group in cooperating with the local environment. These experiences could perhaps be applied to future projects by the group and Other:  potentially the local authorities as well. Specify other: small business sector, public agencies C‐15 The main beneficiaries of the creative work in public space(s): C‐9 Sector which was.. ..the initiator of the activities: Other ..the most crucial for the whole case Culture study: 208 Who were the main beneficiaries of The main beneficiaries of the creative works were small businesses and individuals from the How important were the broader In terms of financing, the support of the European Union – through the European agricultural the creative works in public creative sector who gained new spaces for their operations. Furthermore, the entire community conditions (e.g. the supporting fund for rural development – was crucial for the implementation of the project. Important know‐ spaces(s)? benefits from increased entrepreneurial and creative activity, as well as a diversification of state of the art in the community, how was provided by ProstoRož, as they have plenty of experience in public space design building uses, as the tourism industry presents a disproportionally large share in building use infrastructure, institutional support, through participatory actions, which contributed to an apparently successful interaction with across the municipality. Also, local youth from the elementary school Janez Mencinger, and from financial sources, local or stakeholders, as most of the formerly vacant buildings spaces are now occupied by local the Bohinj youth organisation, got an opportunity to participate in the local community by helping "imported" know‐how etc.) for the businesses. Another condition which at least in the long term could prove to be important for the to shape or renovate the spaces of the former construction company. main success and main failure factor project’s success, is the proximity of transit services, which are provided by the railway and bus stations, as well as the proximity of parking spaces. As for failures, although transit infrastructure C‐16 Presence (or not) of economic benefits for the local community as a whole or any located nearby is beneficial for attracting people to the area, a potential drawback for the long specific actors in particular, resulting from the creative works with/in public spaces: term success may be the isolated nature of the area with regard to the rest of Bohinjska Bistrica, as it is blocked from one side by the rail tracks, while from the other there is a shortage of street Were there any, no matter how big Because previously vacant buildings are now occupied by businesses, this clearly indicates connections. Another beneficial impact was the ownership of the buildings previously belonging or small, economic benefits for the benefits in the economic sphere in terms of heightened activity as well as diversification. Instead to the bankrupt construction company. Since 2018, the land where these buildings stand is owned local community as a whole or any of businesses similar to the ones already present in the community, which are mainly tied to by the municipality of Bohinj. In combination with the municipalities’ active involvement, this specific actors in particular, tourism and wood processing, the facilities are now occupied by a diverse array of small made it easier to implement the project, as the municipality allowed the revitalisation project to resulting from the creative works businesses, namely: a distillery, a print shop, a sugar packaging operation etc. As the buildings of be carried out on its property. Regarding rents however, according to the online correspondence with/in public spaces? the “Gradbeno podjetje Bohinj” were revitalised through a participatory approach, allowing for a with ProstoRož, they are not co‐financed in any way from either the municipality or other source, good input into the needs of the local community, this further ensures the long term stability of with the tenants paying a sum which is approximately average for business uses. The same was the newly revitalised area. true for the Kamra gallery space. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that C‐23 Provide the links to public data on the creative works potentially empowered the actors to prosper in their future development: Link to public data to better https://prostoroz.org/portfolio/items/gradbena/ (https://prostoroz.org/portfolio/items/gradbena/) Were there any exchanges of In the process, methods of including different stakeholders were explored and applied. These understand the activities and actors, knowledge or other activities could be used in future projects of redevelopment and temporary activities, both by the design as well as impacts: performed that potentially group and by the authorities as well. empowered the actors to prosper in The link: Presentation of the Triglavska cesta renovation project on the official website of the prostoRož their future development? group C‐18 Monitoring (or not) of the impact of the project: Link to public data to better https://www.facebook.com/KAMRA‐projekt‐Bohinj‐108791460838866/ understand the activities and actors, (https://www.facebook.com/KAMRA‐projekt‐Bohinj‐108791460838866/) How was the impact of the project / The group ProstoRož points out that most of the spaces in the facilities formerly belonging to the as well as impacts: activities monitored? If it wasn’t – construction company are successfully rented out and occupied by business and creative sectors. how do you think it could be This could be interpreted as a measure of success and also a monitoring method – namely having The link: Facebook page of the KAMRA project monitored? a clear picture of who occupies the buildings. As the revitalisation project is a gradual process, the Link to public data to better https://www.las‐gorenjskakosarica.si/vabilo‐zelene‐resitve‐delavnica/ (https://www.las‐ entire redevelopment of the Triglavska cesta is still undergoing, with the time period of the understand the activities and actors, gorenjskakosarica.si/vabilo‐zelene‐resitve‐delavnica/) project stated to last till June 2021. The appropriate monitoring method would perhaps be to as well as impacts: continue observing the tenant structure in the buildings, while maintaining contact with them as well as the municipality to assure the future continuation of the projects’ success. The link: Invitation to a workshop (March 27, 2019) which was part of the projects participatory approach C‐19 Way in order to communicate the impact of the project: Link to public data to better https://prostoroz.org/ozivimo‐gradbeno/ (https://prostoroz.org/ozivimo‐gradbeno/) understand the activities and actors, How was the impact of the project / The activities were communicated through social media, through the official website of as well as impacts: activities disseminated or ProstoRož group, as well as through the municipal website and media outlets. communicated? The link: Invitation to a workshop (April 17, 2019) which was part of the projects participatory approach C‐20 Perception of the creative works in public space(s) by the final users and the reactions Link to public data to better https://www.obcina.bohinj.si/vsebina/kaj‐se‐dogaja‐na‐gradbeni (https://www.obcina.bohinj.si of the general public: understand the activities and actors, /vsebina/kaj‐se‐dogaja‐na‐gradbeni) as well as impacts: How were the creative works in Given that most of the spaces of the formerly abandoned buildings are now occupied, it could be The link: An announcement on the official website of the Bohinj municipality reporting on the works at the public space(s) perceived, said that the reaction from the business sector was positive, as there was an apparent need for former construction firm facilities evaluated, judged by the final users such spaces in the local community, which is otherwise dominated by the tourism sector. – what were the reactions of the Link to public data to better https://www.bohinj.si/projekt‐zelene‐resitve/ (https://www.bohinj.si/projekt‐zelene‐resitve/) general public? understand the activities and actors, as well as impacts: C‐21 The (one) main success and the (one) main failure of the project/activities The link: The “Zelene rešitve” (Green solutions) project presented on the tourist website of the Bohinj Main sucess: The main success was the revitalisation of the buildings formerly belonging to the Gradbeno municipality podjetje Bohinj construction company, which were left abandoned after the company has gone bankrupt, and are now occupied by new users. D‐1 Main editor in charge of this entry and potential other authors of this case study description Main failure: Although not necessarily a failure, as the KAMRA project has been envisioned as temporary from the beginning, the gallery and project space has stopped operating in late 2020 when KAMRA Name and surname: Jaka Veber, Matej Nikšič project had finished. However, its Facebook page is still live, while its former spaces is used by a construction planning office to ensure its continued use. Organization: UIRS C‐22 Importance of broader conditions for the main sucess and main failure factor: Email: veber.jaka@gmail.com; matej.niksic@uirs.si Role: D‐2 Representative pictures 209 Picture's caption: Triglavska cesta redevelop axonometric 3D scheme Picture's author: ProstoRož Picture's date: 2/1/2021 12:00:00 AM Picture's author: ProstoRož Picture's source: prostoroz.org/portfolio/items/gradbena Picture's date: 2/1/2021 12:00:00 AM Picture's caption: Belica banks revitalisation plan Picture's source: prostoroz.org/portfolio/items/gradbena Picture's caption: Children from the Janez Mencinger elementary school attending a workshop at the formerly abandoned construction firm facilities Picture's author: ProstoRož Picture's date: 2/1/2021 12:00:00 AM Picture's author: ProstoRož Picture's source: prostoroz.org/portfolio/items/gradbena Picture's date: 2/1/2021 12:00:00 AM Picture's caption: Formerly abandoned buildings being used for creative works Picture's source: prostoroz.org/portfolio/items/gradbena Picture's caption: Public discussion in the formerly abandoned facilities 210 Link: https://ec.europa.eu/info/food‐farming‐fisheries/key‐policies/common‐agricultural‐policy /financing‐cap/cap‐funds_en (https://ec.europa.eu/info/food‐farming‐fisheries/key‐policies /common‐agricultural‐policy/financing‐cap/cap‐funds_en ) Additional information: Rural development programme of the Republic of Slovenia Link: https://www.programpodezelja.si/en/ (https://www.programpodezelja.si/en/ ) Additional information: The invitation to a participatory workshop, where new uses for the abandoned facilities were discussed Link: https://prostoroz.org/ozivimo‐gradbeno/ (https://prostoroz.org/ozivimo‐gradbeno/ ) Additional information: The announcement of the Triglavska cesta revitalisation project on the ProstoRož website Link: https://prostoroz.org/ozivljamo‐bohinjsko‐bistrico/ ( https://prostoroz.org/ozivljamo‐bohinjsko‐ bistrico/ ) Additional information: Business data of the “Gradbeno podjetje Bohinj” construction company, which declared bankruptcy Link: https://www.bizi.si/GRADBENO‐PODJETJE‐BOHINJ‐D‐D‐V‐STECAJU/ (https://www.bizi.si /GRADBENO‐PODJETJE‐BOHINJ‐D‐D‐V‐STECAJU/ ) D‐4 Optional final remark Picture's author: ProstoRož Optional final remarks: is there any The creative works relate mostly to the revitalisation of facilities which were abandoned prior to additional information that was not the renewal plan of the Triglavska cesta (which the creative works were part of), as new uses and Picture's date: 2/1/2021 12:00:00 AM communicated through the activities for these buildings were facilitated through the inclusion of local residents, businesses template and the creative sector. These participatory approaches were presented along with the broader Picture's source: prostoroz.org/portfolio/items/gradbena Triglavska cesta revitalisation project, and not entirely independently, as the creative works were Picture's caption: Triglavska cesta redevelopment scheme part of the wider area redevelopment, both being an important factor for each‐others success. Also, presenting them together or as a joint whole allows us to gain insight into the workings of a spatial revitalisation project that combines both top‐down and bottom‐up approaches. Finally, thanks go to the group ProstoRož for answering our questions regarding the Triglavska cesta redevelopment via e‐mail. Picture's author: ProstoRož Picture's date: 2/1/2021 12:00:00 AM Picture's source: prostoroz.org/portfolio/items/gradbena D‐3 Additional information Additional information: European Union – Common agricultural policy funds 211 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Mythical Park Dense settlement Mitski park +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Slovenija ‐1 Region name (in local language): Obalno‐kraška  ‐2 Place name (in local language): Rodik ‐3 Country name (in english): Slovenia ‐4 Region name (in english): Coastal‐Karst ‐5 Place name (in english): Rodik Open landscape The village of Rodik, with a population of 351 in 2021, lies in south-west Slovenia is part of the municipality of Hrpelje-Kozina (population: 4851 in the first half of 2021). Despite being located in the hinterland of the Italian coastal city of Trieste, along with having good access to traffic infrastructure, its character is nevertheless prevailingly rural, with the village being surrounded by Comment: forests and meadows. Furthermore, the population density in the municipality is only 24 people per square kilometre, a far lower number than Slovenia’s average population density of 104 per square kilometre, which adds to the perception of remoteness. Important to note is that the creative works in question – namely the “Mitski park” (Mythical park) – encompass the bike and hiking paths surrounding the village, giving the visitor an experience of rural open space. Difficult terrain Map of the network of public +5 spaces in the remote place +4 +3 +2 +1  Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access Caption of the map: Figure‐ground plan for Rodik ‐1 Legend of the map: Key to Figure: black – built structure; light grey – terrain contour lines; dashed dark grey – ‐2 railroads; dark grey – roads ‐3 ‐4 ‐5 Effortless terrain Despite its rural character, Rodik has good access to traffic infrastructure. It is located some five kilometres from the nearest entrance to the A1 motorway, which connects major Slovenian urban centres, stretching from the coastline in the south-west to the Comment: border with Austria in the north-east of the country. Furthermore, it has its own passenger railway station, which lies on the strategically crucial rail connection between the Slovenian coastline (along with the port of Koper) and the country’s capital Ljubljana. However, frequency of passenger trains stopping at the village station is rather low. 212 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0  +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Rodik is somewhat naturally limited in its potential for developing diverse economic activities and a vibrant creative sector. In this Low‐income households prevail area there are few tourist farms (known for local gastronomy), which often attracts guests from nearby neighbouring Italy. However, Data on household income for Rodik is not available, however we can make assumptions based on data available on the municipal Comment: with the development of the Mythical park, which will be thoroughly presented later in this document, Rodik has attracted level in Slovenia, which reveals that in the Hrpelje – Kozina municipality, the average monthly net salary was 979,73 euros in 2019, individuals and organisations from the creative sector in order for them to help redefine the network of bike and hiking paths which is below the country wide average of 1133,50 euros in the same year. We should keep in mind however, that this also takes surrounding the village through the placement of artistic interventions. Comment: into account people from other municipalities working in Hrpelje-Kozina. The average net salary for the entire statistical region of Obalno-Kraška was 1113,87 euros in the same year, a value close to the country-wide average of 1133,50 euros. In 2021 and 2022, Daily‐life‐support facilities well developed the municipality is planning to establish a participatory budget and has already gathered proposals from the local community which are going to be implemented and covered by the budget. +5 +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: Simply due to its rural character and small population size, the village lacks certain basic social +1  facilities and therefore does have a strong sense of remoteness. However, due to good traffic Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound connections, this perception is mitigated somewhat as larger surrounding urban areas are easily demographic demographic accessible. structure structure A‐4 Elements that characterise the remoteness of the place: ‐1 Low population density  ‐2 Geographical barrier/allocation  ‐3 No good transportation links  ‐4 Difficulties in accessing daily‐life‐  ‐5 support facilities Daily‐life‐support facilities none‐existing Social specifics and/or divisions  Despite being a small village, Rodik has a relatively sound demographic structure. In the settlement itself, the average age of Economic inferiority  inhabitants is 42,9 years, which is below the country wide average of 43,7, and below the average for the municipality of Hrpelje – Kozina (44,1 years), all according to 2021 data. This somewhat young demographic structure is accompanied by a rising population, Subjective criteria  as the number of inhabitants rose from 296 in 2008 to 351 in 2021. Past data reveals that the average age in Rodik has actually Comment: risen to its current number from 40,7 years in 2011. This could indicate that new residents, responsible for the population rise, are Specify subjective criteria (e.g. older on average. However, in the same time period, the average age both on the country-wide as well as the municipal level have community’s self‐perception of risen as well (2011 values being 41,7 and 43,3 years respectively). With regards to daily life support facilities, Rodik is rather limited, being remote etc): the lack of a school and a community health centre being an example of this. The most noteworthy daily-life support facility is then  probably the “Vaški dom” community centre, which also functions as the central node of the creative works in question. Other Specify other: 213 Summary of the elements that Firstly, the perception of remoteness is established through the low population number of Rodik. Playground/s  characterise this case as a remote Being a small village, it has a distinct rural character, despite its location in the vicinity to high  place: quality transportation infrastructure, which allows its inhabitants to reach larger urban areas in a Recreational space/s, Sport‐field/s relatively short time. As a consequence of its small population, the village also lacks some of the Community open‐air space/s  basic daily life support facilities, forcing locals to drive in order to fulfil certain needs, such as shopping, education and health support, while visitors from outside are not likely to visit Rodik Institution‐related open‐air space/s  for everyday purposes. The remote character is also perpetuated by the low population density, (e.g.University grounds) which for the municipality of Hrpelje – Kozina was only a quarter of that of the entire country. Furthermore, another factor contributing to remoteness might be economic. As mentioned Watersides  earlier, the average monthly net salary is below the Slovenian average, indicating lower economic Meadows  attractiveness of the municipality as a whole. Speaking in terms of geographic sub‐regions, the village is located on the border area between the Kras karst plateau and the Brkini hills, both Parking area  noted for their cultural and natural heritage, but also distinctly rural in character, which again automatically links Rodik to an image of ruralness and remoteness. Traffic connections in the Service yard  vicinity are good, especially due to the motorway network, while the railway station, although  lying on an important rail section, has a low frequency of passenger trains which stop there. Other types: Low population density rank: 1 Specify other types: Geographical barrier/allocation rank: 4 Type of indoor public spaces that Church can be found in this remote place: No good transportation links rank: Vaški dom (village community centre) Difficulties in accessing daily‐life‐ 2 support facilities rank: A‐8 General description of.. Social specifics and/or divisions The network of roads, streets, paths The street and road network in the entirety of Rodik is irregular, typical of similar small rank: and alike elements that tie this settlements in the vicinity. The street network, which is densest in the southern, old part of the Economic inferiority rank: 3 remote place together: village, flows through a small‐grained structure of individual houses, with no recognisable multi‐ apartment buildings. As is evident when comparing 19th century Austrian land recordings (also Subjective criteria (e.g. community’s known as the Franciscan cadastre, made between 1818 and 1828) with today’s situation, the self‐perception of being remote etc) layout of paths and roads in Rodik and its surroundings remains practically the same, while the rank: built structure of the village itself has spread along the existing network mostly towards the north‐west, with the southern perimeter of the settlement remained virtually unchanged since Other rank: the early 19th century. A‐5 Provide the links to public data The quantity and structure of public Notable is the lack of public spaces in Rodik, such as public squares or public parks. Practically all space network (besides public surfaces are accessible for road vehicles, with no exclusively pedestrian area anywhere Links to public data on the remote Data of the Statistical Office of the Republic of Slovenia spatially presented in the online Stage roads/streets/paths network) in this within the village itself, with a possible exception being the courtyard of the local church – place application remote place: however, even that area is protected by a wall and gates from public areas. In this general The link: https://gis.stat.si/ (https://gis.stat.si/ ) absence of any proper public space, it is nonetheless worth to mention the intersection of village streets in the older southern part of Rodik, where a monument to victims of war is located. It is Links to public data on the remote Online database of the Statistical Office of the Republic of Slovenia placed centrally within the older part of the village, which is already visible on 19th century cards. place However, it suffers from the same problem as the remainder of public spaces in the village, as its entire surface is accessible to cars. Yet, despite lacking public spaces within, surrounding the The link: https://pxweb.stat.si/SiStat/sl (https://pxweb.stat.si/SiStat/sl ) village are hiking and bike trails that have been integrated into the Mythical park project, which offer an accessible contact with nature to both visitors and local residents. Links to public data on the remote Official website of the Hrpelje – Kozina municipality place A‐9 General description of the quality of public spaces in this remote place The link: http://www.hrpelje‐kozina.si/ (http://www.hrpelje‐kozina.si/) Answer: As mentioned above, even the existing areas which have potential for serving as open public Links to public data on the remote Spatial planning documents of the Hrpelje – Kozina municipality presented on an interactive map spaces within the village, are paved surfaces accessible to cars. Even the above mentioned street place intersection with a war memorial, which contains certain activities able to attract visitors (on looking the intersec‐tion are also a decorated water reservoir, a tavern with accommodation and The link: https://gis.iobcina.si/gisapp/Default.aspx?a=hrpeljekozina (https://gis.iobcina.si/gisapp a bar), suffers from the same problem of having no exclusively pedestrian surfaces, as the /Default.aspx?a=hrpeljekozina) entirety of this intersection is an asphalt paved surface where pedestrians are forced to coexist with cars both in motion and parked on the sides of the streets. The exception in this regard is the Links to public data on the remote Interactive map of cultural heritage in Slovenia church courtyard, although it does not offer any additional activities with which to attract people, place while also being gated off from other public spaces. Additionally, due to the narrow profile of The link: https://gisportal.gov.si/portal/apps/webappviewer streets, there are no dedicated sidewalks anywhere in Rodik. Although the car traffic levels inside /index.html?id=df5b0c8a300145fda417eda6b0c2b52b (https://gisportal.gov.si/portal the village are very low, with vehicles usually traveling slowly, this does hinder further the /apps/webappviewer/index.html?id=df5b0c8a300145fda417eda6b0c2b52b) attractiveness of the network of public spaces. Regarding the pub‐lic trails surrounding the settlement however, they have been implemented into the creative works in question. In these A‐7 The type of public spaces that can be found in this remote place (besides the interventions, new content has been added to the paths through artistic installations roads/streets/path network) representing local oral traditions, giving Rodik a new attraction and making it and its surroundings attractive to a wider base of visitors. The trails themselves are relatively well maintained and Square/s, Plaza/s  marked with wooden markers. Park/s, Garden/s  B‐1 Name(s) of the public space(s) 214 Market space/s  Name(s) of the public space(s) (in Mitski park Functions and land uses description The land use in the village itself is mostly residential, with a small area marked as industrial – local language): in the area of the public space: namely where the already mentioned warehouse is located, on the north‐western part of the old village centre. Among the prevailing residential structure, there are restaurants and inns directed Name(s) of the public space(s) (in Mythical park mainly towards tourists, for which there is accommodation found in the village. The village English): community centre is the central cultural facility of Rodik, and the starting point of both Mythical park trails. The Rodik railway station provides a crucial public transportation connection for the Latitude of the public space(s): 45.62614463349552 village, as it lies on the important rail line between the Slovenian seaside and the country’s capital Longitude of the public space(s): 13.979324394718683 Ljubljana. This gives the village direct access to some of the largest urban centres of the country. However, the station suffers from a low frequency of passenger trains stopping in Rodik, thus limiting its usability. Nonetheless, because it lies on an important rail line, there is potential for improvement in the future. In close vicinity to the railway station, there are bus stops on both sides of the road leading to the towns of Hrpelje and Kozina, which serve as the centre of the Hrpelje‐Kozina municipality. Outside the village, where the two thematic trails are located, the land use is defined as either farmlands (prevailing along the Baba circle), or forested areas (prevalent along the Lintver circle, leading through the hills east to the village). Functionalities of space were As mentioned, the village community centre represents the starting point and central node of the important and/or actually "used" by park. Inside the centre, on the first floor, is the park’s visitor centre, which includes an info points Ground plan showing the land use creative people for their activities: and an exhibition on local traditions related to the Mythical park, featuring archaeological of the public space(s): artefacts as well as interactive presentations of local folktales. The previously described environment of forests and meadows outside the village was used to place sculptures in the natural environment along the two trails. B‐4 General demographic characteristics of the area around the public space: Describe the general demographic According to 2021 statistics, the population of Rodik is 351, while the population of the characteristics municipality of Hrpelje‐Kozina is 4851. As already explained in the first section, despite being a small village, Rodik’s population is slightly younger than average (42,6 years old), both on the level of Slovenia (43,7 years) as well as the municipality of Hrpelje‐Kozina (44,1 years), according Caption's map of the public space: Rodik and its surroundings with the course of mythical trails with legend, scale and orientation to 2021 statistics. The availability of further demographic information for the settlement of Rodik only is somewhat limited, and we must therefore assume demographic characteristics from data Legend's map of the public space: Figure close up on the village of Rodik showing mythical trails and points of interest with available for either the municipality or the Obalno‐Kraška statistical region, of which Rodik is both legend, scale and orientation) part of. However, it is also unlikely that other demographic data have any significant impact on Main location  the creative works in question. B‐2 Describe the physical environment B‐5 Type of the public space(s) with creative work Physical environment description of The area relevant to the creative works in question – namely, Mythical park – extends well Form and function: The types of spaces present in Rodik itself as well as its surroundings relevant for the Mythical the public space(s) with creative outside the village of Rodik itself, as it includes the hiking and cycling trails leading through the park are the following: public building (first floor of the village community centre, where the works: surrounding scenery of interchanging forests and meadows. As already mentioned, the area is an park’s visitor centre is located), meadows, forests (both locations of most of the two trails). intersection between two geological units – the Kras plateau and the Brkini hills. The former is a Ownership: Mixed: the village community centre belongs to the “Krajevna skupnost Rodik” (Rodik local limestone plateau famous for its karst natural phenomena, with the word “karst” itself originating community), while land through which trails of the Mythic park lead is privately owned. from the name of the plateau. The second is a sedimentary rock (also known as flysch) hill chain. The central node of the creative works however – the village community centre, newly built in Access regarding entry‐control: The Mythical park information centre and exhibition is open for public, as well as the trails 2014 – is located within the village itself, namely in its northern extension. The older, southern outside the village, despite being privately owned. part of Rodik, largely consists of older individual houses typical for much of the littoral part of Slovenia, while the overall structure as well consists mostly of single family detached houses with Access regarding time of day/week Access to the Mythical park trails is free 24‐7, while the information centre and exhibition inside no multi apartment buildings visible on our walk through the village in early June 2021. Standing /year: the village community centre is open from 9 AM to 7 PM every day. out from the remaining built structure due to its scale, is a warehouse and production facility located on the south‐western edge of the village. B‐7 Kind of activity initially designed for this public space: Physical environment elements The village community centre was built north of the old part of Rodik. This area is marked by What kind of activity has been this The cycling trail on the flat area west of the village is already partially visible in 19th century were important and/or actually newer individual single family houses and is visually less consistent with the traditional housing public space designed for initially Austrian land recordings. We can assume it originally served the role of providing access to "used" by creative people for their typology of the region than the older, southern part of the village. The main points of interest of farmland surrounding the village, and latter also gained a recreational role. The hiking trail on the activities: Mythical park however, are scattered outside the village, along two trails – one cycling and one forested hills east of the village previously served for the maintenance of forests and for hiking path – both offering the experience of the natural environment surrounding the village. recreational purposes. The hiking trail, also called “Lintverjev krog” or Lintver circuit, leads through a forested area on the western edge of the Brkini hills above the village, while the second “Babin krog” or Baba B‐8_a Which are the activities in this public space(s)? circuit, offers an experience of interchanging lowland meadows and forests. Activity: Access to homes B‐3 Describe the general functions Activity: Visiting restaurants Activity: Farm work Activity: Visiting the village community centre Activity: Recreation Activity: Visiting sculptures and art installations 215 Activity: Attending workshops, seminars or exhibitions B‐8_b Who are the main users of this public space(s)? Describe what parts seem to be the Before the creative works in question, the village of Rodik served as a popular weekend escape most attractive to people for residents of larger urban centres in the vicinity, among them the port city of Trieste, located User: Local residents across the border in Italy. Local restaurants were one of the focal points of interest of these visits, while the surrounding areas outside the village offered a recreation opportunity (among them User: Single day visitors also the two trails today established as part of the Mythical park). There aren’t any areas visitors User: People visiting overnight or for multiple days seem to avoid, however, the lack of public spaces reserved for pedestrians only somewhat hinders the experience when walking around the village. With the establishment of the Mythical User: Children – local or from elsewhere park, the paths outside the village were transformed to more than just recreation trails, and have the potential to become points of cultural and historical interest. Further development and B‐8_c What are the users activities of this public space(s)? advertising of the Mythical park offer opportunities to attract visitors from further away and for a longer time period. Also, there is the opportunity to integrate within the park’s concept the Users Activity Before After presentation of archaeological sites, particularly the large Ajdovščina hillfort, which is already one of the stops along the forest hiking trail (Lintvercircuit) east of the village. Local residents Access to homes   B‐10 Provide the links to public data on the public space(s) Local residents Visiting restaurants   Website: Local residents Farm work   Official website of the Mythical park project Website's link: https://mitski‐park.eu/en/ (https://mitski‐park.eu/en/) Local residents Visiting the village community   centre Website: Presentation of “Babinkrog” (Baba circle – cycling circle) on the tourist website of Krasregion Local residents Recreation   Website's link: https://www.visitkras.info/babin‐krog‐mitski‐park‐rodik (https://www.visitkras.info/babin‐krog‐ mitski‐park‐rodik) Local residents Visiting sculptures and art   installations Website: Spatial planning documents of the Bohinj municipality in an interactive map Local residents Attending workshops, seminars or   Website's link: https://gis.iobcina.si/gisapp/Default.aspx?a=hrpeljekozina (https://gis.iobcina.si/gisapp exhibitions /Default.aspx?a=hrpeljekozina) Single day visitors Visiting restaurants   B‐11 Provide photos of the public space(s) with creative works Single day visitors Visiting the village community   Caption: centre Rodik and its surroundings with the course of mythical trails with legend, scale and orientation (see bottom of image). Single day visitors Recreation   Single day visitors Visiting sculptures and art   installations Single day visitors Attending workshops, seminars or   exhibitions People visiting overnight or for Visiting restaurants   multiple days People visiting overnight or for Visiting the village community   multiple days centre People visiting overnight or for Recreation   multiple days People visiting overnight or for Visiting sculptures and art   multiple days installations People visiting overnight or for Attending workshops, seminars or   multiple days exhibitions Children – local or from elsewhere Recreation   Photo's author: Jaka Veber Children – local or from elsewhere Visiting the village community   Caption: Close up on the village of Rodik showing mythical trails and points of interest with legend, scale centre and orientation. Children – local or from elsewhere Visiting sculptures and art   installations Children – local or from elsewhere Attending workshops, seminars or   exhibitions B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: 216 Time Frequency Other Other information: The Mythical park project in Rodik, although more or less finished in terms of physical interventions in the landscape, can nonetheless be defined as an ongoing activity. C‐5 Time period Start: 9/1/2018 12:00:00 AM End: 4/21/2021 12:00:00 AM Comment: The start date is the start of project implementation. The end date is the formal opening of the park, with related activities still ongoing. C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Municipality of HrpeljeKozina Motivations: Establishment of a new tourist product within the municipality. Roles: Management of the park, institutional support through application for EU funds, and provision of municipality’s own funding for the execution of works on the Rodik Mythical park Actor(s): Arhej d.o.o. Motivations: Research of archaeological sites. Roles: Drafting of exploration games for children in the Rodik Mythical park Photo's author: Jaka Veber Actor(s): Municipality of Mošćenička Draga, Croatia C‐1 Official name of the activity/project Motivations: Renewal of cultural heritage and further development of the tourist sector. Name in local language: Mitski park Roles: Institutional support and provision of funding for the Trebišće Mythical ark. Name in English: Mythical park Actor(s): ORA – Območna razvojna agencija Krasa in Brkinov (Territorial development agency of Kras and Nickname: Brkini) Overall name:  Motivations: Originally aimed at encouraging economic development in the regions of Kras and Brkini, later also shifting to the tourism sector. C‐2 Description of the project (activities) that took place in the analysed public space(s): Roles: Partners in establishing shop with goods from local producers. Describe the project (activities) that The Mythical park in Rodik is part of a cross‐border project involving the village of Rodik with its took place in the analysed public surroundings, and the Trebišće area in the Croatian municipality of Mošćenička Draga. It centres Actor(s): Individual private landowners space(s) around the arrangement of so called "mythical" trails, the purpose of which is to present old Motivations: Legal and material protection of their private land. Slavic and pre‐Slavic folktales and pre‐Christian religious traditions that are native to both areas. In Rodik, the park consists of two trails leading visitors through the natural environment Roles: Agreeing to the instalment of the 12 mythical points and path markers on private land. surrounding the village, namely the Lintver and Baba circuits, both named after mythical characters. Along them, a combined twelve mythological/folklore points are placed, telling stories Actor(s): Damjan Švara, academic sculptor of ancient legends that have passed through generations living in Rodik, while some of them also Motivations: coincide with local archaeological sites. The points consist of sculptures or stone installations Participation in the Mythical park project through sculpture representing a folk tale, one marker and one threshold which represents the entrance into the Roles: Created 7 sculptures for the Fukova Jama mythical point along the Baba circuit. mythical world, all made from rock typical for surrounding areas. The starting point of both trails is at the visitor centre, where an information point and an exhibition have been arranged. The Actor(s): Marko Drpić, typographist and calligraphist Rodik mythical park demonstrates how it is possible to introduce human made elements into the Motivations: Creation of typography natural environment without intruding into it. It offers visitors the opportunity to spend time in nature while immersing themselves into the world of mythical tales. Roles: Author of typography used for stone markers of the 12 mythical points. C‐3 Challenge that the project (activities) tried/is trying to tackle: Actor(s): Krajevna skupnost Rodik (Rodik local community) What challenge was the project The aim of the project was to create a new tourist landmark based on local legends and heritage. Motivations: Enabling self‐governance of the inhabitants of Rodik below and partially independent of the (activities) trying to tackle – what The motivation for such a project came from previous work on the exploration of local folklore municipal level. was the aim and archaeological sites. Firstly, the hillfort located on the Ajdovščina hill overlooking Rodik, has previously been extensively archeologically as well as ethnologically researched within the “Living Roles: Providing the space in the village community centre for the visitor centre of the Mythical park. Landscape” cross border project (Interreg Slovenia – Italy), which addressed the cultural heritage Actor(s): Marko Pogačnik ‐ sculptor of the Karst landscape of the Italian‐Slovenian border area. Secondly, in the case of Rodik, local folk legends, apart from being passed on orally, have also been written down, namely in the book Motivations: Main focus on creating stone sculpture installations in the natural environment. “Rodiške pravce in zgodbe” (Fairy tales and stories from Rodik) by the local historian and ethnologist Jasna Majda Peršolja (Peršolja, J. M., Omerzel, V. E., & Tomšič, M. (2000). Rodiške Roles: Author of the stone installation at the Baba mythical point on Baba circuit. The installation pravce in zgodbe. Ljubljana: Mladika.). These were the two basic foundations for the consists of circularly arranged stone blocks which are part of the former Baba monolith, establishment of a new tourist product in Rodik. destroyed during the construction of local waterworks C‐4 Time frequency: Actor(s): Turistično društvo Rodik (Rodik Tourism Association) 217 Motivations: Furthering development of tourism in Rodik. Culture  Roles: Together with Assoc. Prof. Katja Hrobat Virloget from the Faculty of Humanities, the tourist Education  Association of Rodik is the original proponent of the project in Rodik. Health  Actor(s): Faculty of Humanities, University of Primorska Sustainability  Motivations: Research and education in social sciences and humanities – initiator of the Rodik Mythical park  project; its goal was to ensure accurate information and terminology is being used in Rodik Mitski Science park presentations/brochures/booklets . Tourism  Roles: Professional guidance regarding ethnological terms and literature for works on the Rodik Sport  Mythical park, management of educational courses for educators. Assoc. Prof. Katja Hrobat Virloget was the main initiator of the project Industry  Actor(s): Šolski center Srečka Kosovela Sežana (Srečko Kosovel school centre Sežana) – vocational college: Other:  Design of Materials programme Specify other: Governmental Motivations: Higher education in treatment and design of materials (stone, wood, metals and polymers) – practical training of students through their work on the Mythical park sculptures. C‐9 Sector which was.. Roles: Design and creation of 11 of the 12 stone sculptures along the two circuit trails of Rodik’s ..the initiator of the activities: Tourism Mythical park by students of the programme under the mentorship of Špela Šedivy ..the most crucial for the whole case Other Actor(s): Turistička zajednica općine Mošćenička Draga (Tourist Board of the Mošćenička Draga study: municipality) Comment: Tourism and Education was iniator, namely Katja Hrobat Virloget from the Faculty of Humanities Motivations: Development of the tourist sector in the Mošćenička Draga municipality (Croatia). and the Rodik Tourism Association originally proposed the project to the municipality of Hrpelje‐ Kozina Roles: Promotion of tourist packages drafted by the Faculty of Tourism and Hospitality Management (Rijeka, Croatia). C‐10 How was the local community involved in the project/activities: Actor(s): Faculty of Tourism and Hospitality Management Opatija, University of Rijeka, Croatia How was the local community The involvement of the local community was crucial for the project, as its success depended on involved in the project/activities? the its recognition among local inhabitants, as well as local organisations. As already mentioned, Motivations: Education and scientific development in the fields of tourism, hospitality industry and sustainable it was of great importance that the placement of the 12 points was not objected to by local development. landowners. For this reason, a very open dialogue with them was established, resolving legal Roles: Drafting of tourist packages aimed at different sectors of the population (families with children, issues through contracts and permissions. Secondly, of great importance was the fact that active guests, couples), offering guests the experience of both the Croatian and Slovenian part of recently (in 2014) a new village community centre was inaugurated, replacing the old worn out the Mythical park. building. This way, Rodik gained new and expanded indoor facilities for cultural and community activities. This created the opportunity for part of the centre to be dedicated to the project, and Actor(s): Poslovni inkubator Sežana (Sežana Business Incubator) today the park’s visitor centre, including a dedicated exhibition operate on the first floor of the community centre building. Furthermore, the local community participates through courses Motivations: Support and development of the business sector in the region. educating people on local traditions and cultural heritage, in order for members of the local Roles: Publisher of the booklet “Kamen in označevanje”, authored by sculptor and designer Špela community to eventually participate as tour guides around the park or staff at the visitor centre. Šedivy, It also organised the exhibition of stone markers and sculptures in Rodik. Furthermore, students from the Srečko Kosovel School Centre in Sežana who specialise in sculpture, were given an opportunity to finish their required internship, while their creations are C‐7 Description of the supporting background that existed to make the activities happen: now permanently exhibited as part of the mythical points along the circuit routes. What kind of supporting The Mitski park cross border project was co‐financed through the European Union Interreg C‐11 The role of natural/cultural heritage in the project/activities: background existed to make the instrument, namely the Interreg Slovenia‐Croatia cooperation programme. In the case of the activities happen (financial, Rodik Mitski park, financing also came from the Municipality of Hrpelje‐Kozina, which also Did cultural and/or natural heritage One of the main features of Mythical park is the way it includes both natural and cultural heritage institutional etc.) provided institutional support, most notably through the project’s application for EU funds, while play any specific role in the to form a simultaneous experience of both. Stone was chosen as a material for the creation of the currently it also operates the park. Important was the cooperation of local inhabitants, project/activities? 12 points due to its non‐intrusiveness in the context of a natural environment, while the type of particularly individual landowners, who gave access and permission for the placement of the 12 stone was chosen based on the prevailing type of rock along each trail. Therefore, for the Lintver Mythical park points and trail markers on their private land. Crucial was the cooperation of the circuit, sandstone blocks were used for the sculptures, as it leads through the western edge of Univeristy of Primorska, namely the Faculty of Humanities, the original proponent of Rodik’s Brkini hills, known for their flysch geological composition, while limestone blocks were used to Mythical park, which provided professional guidance of the project. Most notable in the create sculptures in the Baba circuit, which runs through the eastern edge of a Karst plateau. Also, cooperation of the faculty was the role of Assoc. Prof. Katja Hrobat Virloget from the Department the project centred on the presentation of local folk legends, therefore addressing mainly of Anthropology and Cultural Studies, who provided the idea of the 12 points along the routes, intangible elements of cultural heritage, transferred into a physical form through the format of while also heading education course for educators. Another educational institution playing a role the park. Finally, archaeological findings also played a role in the form of the park, most notably in in the creation of the park in Rodik was the Srečko Kosovel School Centre in Sežana, whose the position and form of the mythical point on site of the Ajdovščina hillfort on the Lintver circuit, students from the Design of Materials programme participated in designing and creating but also other sites such as Njivice and Križev dren. sculptures for the 11 out of 12 mythical points under the mentorship of sculptor and designer Špela Šedivy. Furthermore, the support of local actors tied to the business sector was important, C‐12 The targeted impact of the project/activity: namely the Sežana Business Incubator, as well as the ORA territorial development agency (focusing on the Kras and Brkini regions). The first published a booklet addressing the possibilities of using stone for marcation of tourist sites titled “Kamen in označevanje” authored by designer/sculptor Špela Šedivy, while the second will act as a partner in the project of a shop with goods from local producers. C‐8 Sectors involved in the development of the creative works with public spaces: 218 What was the targeted impact of The concept of Rodik’s Mythical park, as already mentioned, originates from previous research of Were there any exchanges of The inclusion of actors from various fields as well as the international nature of the project the project / activities? archaeological and ethnological heritage in Rodik. The idea for the project was first put forward knowledge or other activities guaranteed exchange of knowledge between diverse actors from both sides of the border. by researchers at the Primorska University, primarily by archaeologist and ethnologist Katja performed that potentially Hrobat Virloget, Assoc. Prof. at the Faculty of Humanities of Primorska University. The intention empowered the actors to prosper in was to present the rich ethnological heritage of folk legends in Rodik to its visitors. This way, a their future development? potential for the establishment of a new tourist attraction inviting visitors from beyond the immediate surroundings was created, which would present the local heritage to a wider C‐18 Monitoring (or not) of the impact of the project: audience, as well as bring additional economic benefits to local businesses, particularly How was the impact of the project / A dedicated monitoring of the impacts has not (yet) been done within the project, and full effects restaurants and providers of accommodation, due to the higher number of visitors coming to activities monitored? If it wasn’t – of the park’s establishment are expected to manifest themselves in the future. However, as experience the park. Also, the park would encourage the participation of diverse actors, from the how do you think it could be reported by local restaurant owners, a number of guests visiting them have come to Rodik local population – inviting them to get to get know their area better and cooperate in the parks monitored? operation – to local institutional, educational and business actors, creating a tourist product in specifically to see and experience the Mythical park. Therefore, a good monitoring technique might be the comparison of visitor numbers to local restaurants and accommodation facilities which the surrounding community (the village, municipality as well as the wider regions of Brkini before and after and Kras) would play an important role. C‐13 Achievement of the targeted impact: C‐19 Way in order to communicate the impact of the project: Yes/no/partly: Partly How was the impact of the project / The main communication channels were social media sites (namely the Facebook page of the activities disseminated or park) and the official website of Mythical park, as well as the official website and social media of Comment: As the park’s opening coincided with the Covid‐19 pandemic – due to restrictions related to it – communicated? the municipality of Hrpelje‐Kozina. News about the project have also been reported by various the full impact of the project has not yet been fully realised and enjoyed. This applies particularly local and national media outlets to local restaurants and accommodation providers, who are (as of this paper’s writing in June 2021) yet to experience the full positive effects of the park, as health restrictions get eased C‐20 Perception of the creative works in public space(s) by the final users and the reactions further. However, the goal of creating a presentation of local tangible and intangible heritage in of the general public: space was achieved, managing to attract the cooperation of local actors – from fields of education, business, archaeology, as well as government actors – thus establishing a tourist How were the creative works in Although the full effect of the park’s establishment is yet to be seen, it has already attracted product integrated with the regional economy and cultural sphere. public space(s) perceived, visitors coming to see the new attraction specifically, while interest has been expressed among evaluated, judged by the final users tourists for purchasing of local products. Thus, the response among outside users is mostly C‐14 Additional achieved impacts: – what were the reactions of the positive. The perception among the local population has been very positive as well, particularly general public? due to the nonintrusive character of the installations in the natural environment, as well as open Were any additional impacts One additional impact is the promotion of young local artists, whose work made during the cooperation with local landowners, who were ensured the legal protection of their property achieved? internship is now permanently exhibited in the natural environment. Also, the project’s well through contracts with the municipality. thought through and original concept managed to attract the participation of two established Slovenian sculptors. The first is Marko Pogačnik – author of the design for the Slovenian coat of C‐21 The (one) main success and the (one) main failure of the project/activities arms and author of several projects in Slovenia as well as abroad, most famously stone sculpture installations in natural environments (so called geopuncture circles), and a UNESCO artist for Main sucess: Since the sculptures of the 12 mythical points are made from a natural material native to the peace from 2016. In Mitski park, he designed the Baba mythical point on the Baba circuit. The area (namely, limestone and sandstone) they are not intrusive in the natural environment in second is academic sculptor Damjan Švara, who designed sculptures for the Fukova Jama point which they are placed. This achieved harmony of the project with the natural environment can along the Baba circuit. The participation of a well‐established artists contributed to an even wider be described as the main success of the project. recognition of the project. Main failure: The Ajdovščina hillfort, although representing an important point along the Lintver circuit, has not been developed fully in terms of on‐site archaeological presentation. Also, the fact that it is C‐15 The main beneficiaries of the creative work in public space(s): designated merely as a monument of local importance (instead of national importance, despite it Who were the main beneficiaries of Although as already mentioned, the full effects of Mythical park are yet to be seen, it is likely to being one of the largest structures of such kind in the country) plays a role in its recognition and the creative works in public bring most benefits to businesses working in the tourist sector, particularly within the Rodik itself. potentially interest for further development of the site. Another factor which could stall further spaces(s)? This applies to restaurants and providers of accommodation. Additionally, the park also brings efforts is the fact that the archaeological site is located on private land. new employment opportunities for people working as guides around the park or as staff at the visitor centre, or potentially at the new shop with local goods. Beyond purely economic benefits, C‐22 Importance of broader conditions for the main sucess and main failure factor: the park brings opportunities for local creative and education sectors, most obviously in the case How important were the broader In order to be able to introduce the entire idea of the park – the 12 mythical points linked to local of sculptures made by students for the mythical points along the two trails. This way, young conditions (e.g. the supporting folk tales as well as path markers – into the natural environment, cooperation with the local creative individuals got an opportunity to finish internships while at the same time their products state of the art in the community, community was necessary. Here once again we should mention the approach towards private are now being exhibited in a public space. Also, the inclusion of various local actors, particularly infrastructure, institutional support, landowners already described, as it gave space for the idea of the park to be fully developed. local inhabitants, has raised awareness of Rodik’s heritage and of the potential of such financial sources, local or Instrumental was also the cooperation with people and institutions who helped create the cooperative projects for future development of the local economy, cultural production and "imported" know‐how etc.) for the sculptures – sculptors Damjan Švara and Marko Pogačnik, and students from the Srečko Kosovel education. main success and main failure factor School Centre in Sežana, under mentorship of designer and sculptor Špela Šedivy. Also, an open workshop was organized in Rodik in the end of May 2020, where people could come see the C‐16 Presence (or not) of economic benefits for the local community as a whole or any sculptures and stone markers being created. specific actors in particular, resulting from the creative works with/in public spaces: C‐23 Provide the links to public data on the creative works Were there any, no matter how big Economic benefits are expected to manifest most obviously in the local tourist sector, namely the or small, economic benefits for the already existing hospitality industry, while new employment opportunities directly related to Link to public data to better https://mitski‐park.eu/en/ (https://mitski‐park.eu/en/) local community as a whole or any Mythical park are also likely to be created. Also, since Mythical park is a cross‐border project of understand the activities and actors, specific actors in particular, two communities on opposite sides of the border, this widens each destination’s reach as they as well as impacts: resulting from the creative works both promote each other, while the Mythical park tourist packages, drafted by the Faculty of with/in public spaces? Tourism and Hospitality Management in Opatija (Croatia) all include both destinations, which The link: Official website of the park further boosts the potential for reaping economic benefits from an increase in the number of visitors. Link to public data to better https://www.�s.upr.si/sl/ (https://www.�s.upr.si/sl/) C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that understand the activities and actors, potentially empowered the actors to prosper in their future development: as well as impacts: 219 The link: Official website of the Faculty of Humanities Link to public data to better https://www.facebook.com/Mitski‐park‐Interreg‐SI‐HR‐652811841821592 D‐1 Main editor in charge of this entry and potential other authors of this case study understand the activities and actors, (https://www.facebook.com/Mitski‐park‐Interreg‐SI‐HR‐652811841821592) description as well as impacts: Name and surname: Jaka Veber The link: Official Facebook page of the cross‐border Mythical park project Organization: UIRS Link to public data to better Arhej d.o.o., official website (Arhej d.o.o., official website) understand the activities and actors, Email: veber.jaka@gmail.com as well as impacts: Role: The link: http://www.arhej.com/ D‐2 Representative pictures Link to public data to better https://inkubator.si/ ( https://inkubator.si/) understand the activities and actors, Picture's caption: The concept of Rodik Mythical park as well as impacts: The link: Sežana Business Incubator, official website Link to public data to better https://www.fthm.uniri.hr/en/ (https://www.fthm.uniri.hr/en/) understand the activities and actors, as well as impacts: The link: Faculty of Tourism and Hospitality Industry in Opatija, University of Rijeka, official website Link to public data to better https://www.tz‐moscenicka.hr/en ( https://www.tz‐moscenicka.hr/en) understand the activities and actors, as well as impacts: The link: Tourist Board of Mošćenička Draga, official website Link to public data to better https://www.dnevnik.si/1042954367 (https://www.dnevnik.si/1042954367) understand the activities and actors, as well as impacts: The link: Dnevnik, a newspaper covering news across Slovenia, reporting on the opening of the Mythical park Link to public data to better http://rodik.si/ (http://rodik.si/) understand the activities and actors, as well as impacts: The link: Official website of the Tourist Association of Rodik Link to public data to better http://www.markopogacnik.com/ (http://www.markopogacnik.com/) understand the activities and actors, as well as impacts: The link: Sculptor Marko Pogačnik, official website Picture's author: Katja Hrobat Virloget Link to public data to better https://www.ora.si/ ( https://www.ora.si/) Picture's date: understand the activities and actors, as well as impacts: Picture's source: Radio Prvi The link: ORA development agency of Kras and Brkini, official website Picture's caption: Students workshop under the mentorship of Špela Šedivy Link to public data to better https://radioprvi.rtvslo.si/2017/09/nedeljska‐reportaza‐85/ (https://radioprvi.rtvslo.si/2017/09 understand the activities and actors, /nedeljska‐reportaza‐85/) as well as impacts: The link: An interview with some of the key actors of Mythical park on the website of Radio Slovenia Link to public data to better https://www.primorske.si/2021/04/21/miti‐kot‐edinstvena‐turisticna‐dozivetja ‐ understand the activities and actors, https://www.primorske.si/primorska/srednja‐primorska/miti‐in‐nov‐sprejemnicenter‐cakajo‐goste as well as impacts: (https://www.primorske.si/2021/04/21/miti‐kot‐edinstvena‐turisticna‐dozivetja ‐ https://www.primorske.si/primorska/srednja‐primorska/miti‐in‐nov‐sprejemnicenter‐cakajo‐goste) The link: News coverage of the Mythical park project by Primorske novice regional news site Link to public data to better https://www.vss‐sezana.si/ (https://www.vss‐sezana.si/) understand the activities and actors, as well as impacts: The link: Vocational college of the Srečko Kosovel School Centre in Sežana, official website 220 Picture's author: Jan Antonac Picture's date: Picture's source: Mythical park website Picture's caption: Exhibition of stone elements Picture's author: Tea Požar Picture's author: Natali Iskra Picture's date: Picture's date: Picture's source: Mythical park website Picture's source: Mythical park website Picture's caption: Students workshop under the mentorship of Špela Šedivy Picture's caption: Instalment of stone elements in Rodik 221 Picture's author: Natali Iskra Picture's author: Tina Furlan Picture's date: Picture's date: Picture's source: Mythic park website Picture's source: Mythical park website Picture's caption: Sculpture workshop in Rodik, open for visitors to witness the creative process Picture's caption: Instalment of stone elements in Rodik Picture's author: Natali Iskra Picture's author: Neža Jandrlič Picture's date: Picture's date: Picture's source: Mythical park website Picture's source: Mythical park website Picture's caption: Instalment of stone elements in Rodik Picture's caption: Works on the Baba point lead by sculptor Marko Pogačnik 222 Picture's author: Natali Iskra Picture's date: Picture's source: Mythical park website D‐3 Additional information Additional information: “Mitska Krajina” (Mythical landscape) – a booklet authored by Assoc. Prof. Katja Hrobat Virloget, presenting the Mythical park project: Link: https://www.hippocampus.si/ISBN/978‐961‐ 293‐060‐8.pdf (https://www.hippocampus.si /ISBN/978‐961‐ 293‐060‐8.pdf) Additional information: Mythical park childrens memory game Link: http://mitski‐park.eu/wpcontent/uploads/2020/05/Mitski‐park_01_spomin_A3.pdf (http://mitski‐ park.eu/wpcontent/uploads/2020/05/Mitski‐park_01_spomin_A3.pdf) Additional information: The booklet “Kamen in označevanje” authored by designer and sculptor Špela Šedivy Link: https://inkubator.si/wp‐content/uploads/2018/01/Priro%C4%8Dnik‐KAMEN‐IN‐OZNA %C4%8CEVANJE_SLO_eknjiga_144ppi.pdf (https://inkubator.si/wp‐content/uploads/2018/01/Priro %C4%8Dnik‐KAMEN‐IN‐OZNA %C4%8CEVANJE_SLO_eknjiga_144ppi.pdf) D‐4 Optional final remark Optional final remarks: is there any Special thanks to Ester Mihalič, coordinator of the project from the municipality of Hrpelje‐Kozina, additional information that was not who kindly accepted to present the Mythical park project to the team from UIRS – Urban communicated through the Planning Institute of the Republic of Slovenia, who visited Rodik on June 8, 2021 – consisting of template staff members Matej Nikšič (PhD, Architecture), Nina Goršič (Architect) and student/intern Jaka Veber. She provided valuable information in a condensed form about the park’s establishment and current operation and guided us through the exhibition in the visitor centre. 223 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) The Village Garden Dense settlement Vaški vrt +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Slovenija  ‐1 Region name (in local language): Osrednjeslovenska ‐2 Place name (in local language): Smlednik ‐3 Country name (in english): Slovenia ‐4 Region name (in english): Central Slovenia ‐5 Place name (in english): Smlednik Open landscape Comment: Difficult terrain +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good Map of the network of public (infrastructure (infrastructure spaces in the remote place for) access for) access ‐1 ‐2 ‐3  ‐4 ‐5 Effortless terrain The terrain is effortless. The infrastructure is still quite suitable for access by car, bicycle and by foot (although there are no safe Caption of the map: Figure‐ground plan for Smlednik Comment: routes for pedestrians and cyclists), but it is slightly less accessible for buses (the exception is the regional road). Public transport is available only during the working day (with poor frequency). Legend of the map: Key to Figure: black ‐ built structure white ‐ open public space black stroke and white fill ‐ roads/paths black dots ‐ forest light grey ‐ river 224 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1  None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment:The Society of Arts and Culture is located in the village of Smlednik. Low‐income households prevail Households income are similar to the average in Slovenia. In the last few years, there were two projects in the settlement, which Daily‐life‐support facilities well developed Comment: have also taken place in a participatory manner. +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +4 at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: If I would ask the residents, they would probably answer that the settlement is moderately remote.  +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  Comment: The development of daily-life-support facilities is medium. Demographic structure is similar to the average in Slovenia. Specify subjective criteria (e.g. community’s self‐perception of being remote community’s self‐perception of being remote etc): Other  Specify other: poor bus frequency Summary of the elements that In my case it is the settlement of Smlednik with approximately 590 inhabitants. It is located in the characterise this case as a remote north of the municipality Medvode. The settlement has a rather poor connection with public place: transport. The biggest drawback is the poor frequency, as buses run only on weekdays (on average one in one hour / hour and a half). Also, the bus station is away from the village centre (approx. 500 meters) and most of the residential houses in the village. Smlednik is also poorly equipped with daily‐life facilities – the only smaller grocery store in the vicinity of the settlement is located in the neighbouring village Valburga. Due to all the above‐mentioned characteristics of the place, many locals also think that Smlednik is a fairly remote place – community’s self‐ perception of being remote. Low population density rank: Geographical barrier/allocation rank: 225 No good transportation links rank: The network of roads, streets, paths A regional road Zbilje‐Vodice runs near the village of Smlednik (approx. 500 meters from the main and alike elements that tie this village square). Public paths intertwine throughout the entire settlement of Smlednik, which Difficulties in accessing daily‐life‐ 1 remote place together: otherwise enables quite good connections within the settlement itself. An approximately 500‐ support facilities rank: meter‐long (but narrow) public path also connects the regional road with the village centre. Along one side of the regional road there is also a narrow sidewalk, while along other roads there Social specifics and/or divisions are no sidewalks or areas for pedestrians and cyclists. rank: The quantity and structure of public In addition to roads and paths, there is also a recently completed sports park in the settlement of Economic inferiority rank: space network (besides Smlednik (along the regional road), which is used for students of the nearby primary school in the Subjective criteria (e.g. community’s 3 roads/streets/paths network) in this morning, and for all residents in the afternoon. In the village centre itself, between the Society of self‐perception of being remote etc) remote place: Arts and Culture and the church, there is a small square ‐ St. Urh Square. I think that both – the rank: sports park and the village square – are appropriately located in the space. The sports park is located near the primary school, where children and young people gather, while the square is Other rank: 2 located next to the Society of Arts and Culture and the church, where practically all residents (both young and old) gather. I also think that the distances to the sports park / square are A‐5 Provide the links to public data appropriate for residents of Smlednik. Links to public data on the remote Municipality Medvode website A‐9 General description of the quality of public spaces in this remote place place Answer: Public areas in Smlednik are best arranged for the recreation, and a little less for the field of The link: www.medvode.si/objava/55001 (www.medvode.si/objava/55001 ) culture and art. There are many open green areas, which are mostly used for agriculture and are Links to public data on the remote Spatial data portal (GIS) for Municipality Medvode surrounded by forest, but they are accessible to the public. Local residents use recreational areas place the most (in addi‐tion to the sports park, most of them also recreate on paths that are otherwise intended for traffic). Public spaces of Smlednik are also used by residents of neighbouring villages, The link: https://medvode.gisportal.si/javno/profile.aspx?id=Medvode_Javno@Medvode which tells us that the settlement is generally (for its size) quite good equipped in comparison to (https://medvode.gisportal.si/javno/profile.aspx?id=Medvode_Javno@Medvode) neighbouring places. Links to public data on the remote Smlednik website B‐1 Name(s) of the public space(s) place Name(s) of the public space(s) (in Vaški vrt Smlednik The link: www.smlednik.si (www.smlednik.si) local language): A‐7 The type of public spaces that can be found in this remote place (besides the Name(s) of the public space(s) (in The Village Garden of Smlednik roads/streets/path network) English): Square/s, Plaza/s  Latitude of the public space(s): 46.16327626063944, Park/s, Garden/s  Longitude of the public space(s): 14.431169681284779 Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Ground plan showing the land use Parking area  of the public space(s): Service yard  Other types:  Specify other types: Type of indoor public spaces that The Society of Arts and Culture Smlednik can be found in this remote place: Church of St. Urh A‐8 General description of.. Caption's map of the public space: Plan of case study and its immediate surroundings Legend's map of the public space: Key to Figure: black stroke and white fill ‐ buildings black dots ‐ grass light grey ‐ roads/paths grey pattern ‐ square green pattern ‐ garden yellow dashed line ‐ garden area grey circles ‐ trees 226 Main location  B‐2 Describe the physical environment User: local residents Physical environment description of The garden is located in the historic part of Smlednik and it’s practically located at one of the User: visitors from nearby places / Slovenia the public space(s) with creative most important nodes in the village. An attribute of this physical environment is primarily the works: village character. The buildings are mostly renovated and create a pleasant village atmosphere. B‐8_c What are the users activities of this public space(s)? There are grassy areas around the buildings, and narrow roads lead past them. Between the Users Activity Before After church of St. Urh and the Society of Arts and Culture, an extension of the paved road was made ‐ there is the main village square and the village garden. There are also a parking lot, a cemetery, local residents gardening   green areas and the Sava river nearby. The terrain in the area is gradually rising, which allows open views of the surrounding areas and the possibility of recreation (in open green areas and in local residents events (“Flancanje” …)   the woods). local residents socializing / casual meeting   Physical environment elements The creative sector (i.e. architects) was involved in the construction of buildings in the area, while   were important and/or actually other undeveloped areas (most likely) arose spontaneously or were designed by the residents / local residents education "used" by creative people for their owners themselves. local residents garden as attraction   activities: visitors from nearby places / events (“Flancanje” …)   B‐3 Describe the general functions Slovenia Functions and land uses description The area is rural and surrounded by lots of green areas that residents use for recreation and visitors from nearby places / socializing / casual meeting   in the area of the public space: agriculture. Community buildings (church and the Society of Arts and Culture) are also located in Slovenia the vicinity of the case study. Residential buildings predominate. The public open space (i.e. St. Urh Square) surrounded by residential buildings, the church and the Society is considered the visitors from nearby places / education   main node in the village. Slovenia Functionalities of space were I think the only activity that is actually used by the creative people is the Society of Arts and visitors from nearby places / garden as attraction   important and/or actually "used" by Culture. Slovenia creative people for their activities: visitors / tourists from abroad garden as attraction   B‐4 General demographic characteristics of the area around the public space: B‐9 Parts/sections/spots seem most attractive within the public space (location and Describe the general demographic As I have already mentioned in question A‐ii‐d, the demographic structure of the settlement itself duration) ‐ Parts/sections/spots at people seem to avoid: characteristics is similar to the average in Slovenia. The demographic characteristics of the public spaces are therefore appropriate. As is well known, the population is aging, so the area is dominated by Describe what parts seem to be the The most attractive place for people / residents within the area shown on the map below is elderly people, which of course is also influenced by the immediate vicinity of the church and most attractive to people certainly the village garden. People stay for a longer time in the garden, the surrounding forest cemetery. In addition, there are many young people in the area who recreate in the area or are paths and green areas (for recreational purposes), in the Society of Arts and Culture and the part of activities in the area. We can also notice children who mostly come accompanied by their church. For shorter periods of time they linger in the village square and in the cemetery when parents or grandparents. arranging graves. I do not think there is an area here that people seemingly avoid. B‐5 Type of the public space(s) with creative work B‐10 Provide the links to public data on the public space(s) Form and function: There is a village garden for growing indigenous plant species in the area and it is in the Website: The Society for Oral History immediate vicinity of the village square (which is also considered a community open‐air space). Website's link: www.smlednik.si/drustvo‐za‐ustno‐zgodovino (www.smlednik.si/drustvo‐za‐ustno‐zgodovino) The square is on one side defined by a building dedicated to the Society of Arts and Culture. Website: The Society of Arts and Culture of Smlednik Ownership: Ownership is mixed. The study case area and its immediate surroundings is mostly owned by the Parish Smlednik and public good. Website's link: www.smlednik.si/kud‐smlednik (www.smlednik.si/kud‐smlednik) Access regarding entry‐control: The case study area (the village garden and the village square) has an open access. B‐11 Provide photos of the public space(s) with creative works Access regarding time of day/week The case study area (the village garden and the village square) has 24‐7 access. Caption: Designing and building the village garden following the principle of community gardens /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The main purpose of the project was to preserve indigenous plant species ‐ in other words: to public space designed for initially preserve nature and tradition. B‐8_a Which are the activities in this public space(s)? Activity: gardening Activity: events (“Flancanje” …) Activity: socializing / casual meeting Activity: education Activity: garden as attraction B‐8_b Who are the main users of this public space(s)? User: visitors / tourists from abroad Photo's author: Špela Rakun 227 Caption: Summer gardening in the village garden Photo's author: Janez Strojan C‐1 Official name of the activity/project Photo's author: Urška Sešek Name in local language: Vaški vrt Smlednik Caption: An exchange of seedlings in the village square Name in English: The Village Garden of Smlednik Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The garden was designed east of St. Urh Square. That area was before unused for a long time. took place in the analysed public The terrain is rising, so the garden is designed on terraces, which allows better use of space, and space(s) at the same time the terraces are also a geological feature of the settlement, so we can say that the garden is Smlednik on a smaller scale. With the arrangement of the Village Garden, the cohesion of the locals was improved. They created an innovative and learning space intended for socializing, getting to know each other and education. The garden is arranged permaculture to thrive with little maintenance and is more resistant to environmental change. It also follows the principles of sustainable develop‐ment. Wooden stairs run through the garden, making it easier to access the flower beds. At the top of the garden there is also a bench from which we have an open view on the garden and the surrounding areas. The main purpose of the Village Garden is the preservation of nature (especially indigenous plant species) and tradition in Smlednik: connection with nature and the associated local community. The founders desire was also the community self‐sufficiency, connecting locals, education and tourist enrichment of the place. It also takes place every year the event “Flancanje”, where visitors exchange seedlings, prepare an exhibition of herbs, etc. There are also organized tours of the garden and work‐shops for children. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The aim of the project was primarily to preserve the cultural heritage and indigenous plant (activities) trying to tackle – what species. In addition, the purpose of the garden was to connect locals, preserve nature and old was the aim knowledge, education, community self‐sufficiency and tourist enrichment of the place. C‐4 Time frequency: Time Frequency A constant process Other information: Due to the nature of the project, it is a constant process. The idea for the garden was born in 2016, two years later the construction of the garden began. Cultivation work ‐ongoing C‐5 Time period Photo's author: Denis Oblak Start: 5/12/2018 12:00:00 AM Caption: Children's workshop on learning about plants End: Comment: Arranging and planting in the village garden 228 Start: 1/1/2016 12:00:00 AM C‐9 Sector which was.. End: 4/1/2018 12:00:00 AM ..the initiator of the activities: Culture Comment: The idea was born in 2016, two yeas befor the 900th anniversary of the first mention of the village ..the most crucial for the whole case Culture of Smlednik. First organisation works started. study: Start: 4/1/2018 12:00:00 AM Comment: The initiator of the activity was the cultural sector, more precisely Društvo za ustno zgodovino. End: 5/12/2018 12:00:00 AM C‐10 How was the local community involved in the project/activities: Comment: Designing and building of the village garden How was the local community All generations were involved in the realization of the project. Children from the Smlednik C‐6 Actors in relation to the analysed creative work, their main motivation and their roles involved in the project/activities? kindergarten painted stones that mark the paths in the upper part of the garden. Pupils from the Simon Jenko primary school (Smlednik) made equipment for a "dwarf corner" under a tree. Actor(s): Društvo za ustno zgodovino/the local Society for Oral History Somewhat older children from the Fran Miličinski Institute made a bench that stands on the terrace above the garden. Locals and volunteers took care of the physical and mechanical work to Motivations: preservation of cultural heritage and indigenous plant species and arranging common areas for prepare the terrain and the finishing work, such as planting seedlings, which were also provided socializing and education by the locals. Many local companies and private entrepreneurs, as well as local societies, provided assistance in the form of support and donations. In the last days before the opening of the new Roles: they proposed and established the garden and helped to build and arranged the garden village garden, 27 volunteers gathered (some of them was from other places as well). The Actor(s): Local residents and volunteers youngest participant was 5 years old and the oldest 78. In one day, according to a pre‐prepared plan, more than a hundred species of herbs and other cultivated plants were planted. The locals Motivations: connected local community, arrangement of common areas and relaxation space also participated in creative works. Roles: they built and arranged the garden, contributed seedlings and other necessary material things C‐11 The role of natural/cultural heritage in the project/activities: Actor(s): Local societies (Local Community of Smlednik …) Did cultural and/or natural heritage The society that proposed the village garden (Društvo za ustno zgodovino) brings together play any specific role in the individuals from various professions and professions whose main purpose is to preserve cultural Motivations: preservation of cultural heritage and indigenous plant species, connected local community, project/activities? heritage. arrangement of common areas and improving the tourist offer Roles: they supported the idea of the garden, helped to build and arranged the garden and contributed C‐12 The targeted impact of the project/activity: financial resources What was the targeted impact of The project came to life and it was well received among all the locals. Its most important goal and Actor(s): Local educational institutions (employees and students) the project / activities? purpose has been fulfilled ‐ because of it and the event "Flancanje" some indigenous plant species and traditions of the Smlednik settlement have been preserved. More and more people come to Motivations: desire for education and involvement in a community project the garden, look at it and relax next to it. Among them are many grandparents who bring their grandchildren. The maintenance of the garden is the responsibility of Društvo za ustno Roles: they helped with the arrangement of the garden zgodovino, which coordinates work actions and gatherings. Every few weeks, all those who are interested are invited. Usually, 10 to 15 people take part in work actions, and after the work is Actor(s): Other (local) institutions and companies (Municipality of Medvode …) completed, socializing also follows. In the time between organized workshops / work actions, Motivations: connected local community, arrangement of common areas, improving the tourist offer and smaller works are done by individuals ‐ especially neighbours ‐ and thus ensure that the garden is financial support always tidy. Roles: they supported the idea of the garden and contributed financial resources C‐13 Achievement of the targeted impact: C‐7 Description of the supporting background that existed to make the activities happen: Yes/no/partly: ‐1 What kind of supporting Comment: The target impact was mostly achieved. Residents meet in or around the garden and arrange it. background existed to make the More and more people come to the garden to relax, educate and there are also many visitors activities happen (financial, from other places. In addition to existing events, they are working for more of them. institutional etc.) C‐14 Additional achieved impacts: C‐8 Sectors involved in the development of the creative works with public spaces: Were any additional impacts Culture  achieved? Education  C‐15 The main beneficiaries of the creative work in public space(s): Health  Who were the main beneficiaries of The main beneficiaries of creative work in the public space were mainly local residents and the the creative works in public association (Društvo za ustno zgodovino) that developed the idea of the village garden. Due to Sustainability  spaces(s)? the nature of the project, they previously made a plan on how to prepare the terrain for the Science  garden (in the form of terraces). They also made a well‐thought‐out plan of where individual plant species will be planted. Tourism  C‐16 Presence (or not) of economic benefits for the local community as a whole or any Sport  specific actors in particular, resulting from the creative works with/in public spaces: Industry  Other:  Specify other: 229 Were there any, no matter how big I do not think there were any specific economic benefits. However, all participants gained The link: or small, economic benefits for the valuable experience and knowledge. local community as a whole or any Link to public data to better https://permakultura.si/article/flancanje (https://permakultura.si/article/flancanje) specific actors in particular, understand the activities and actors, resulting from the creative works as well as impacts: with/in public spaces? The link: C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Link to public data to better www.delo.si/nedelo/v‐smlednik‐po‐sadike‐in‐na‐vaski‐vrt/ (www.delo.si/nedelo/v‐smlednik‐po‐ potentially empowered the actors to prosper in their future development: understand the activities and actors, sadike‐in‐na‐vaski‐vrt/) as well as impacts: Were there any exchanges of As already mentioned, all participants got acquainted with the cultural and natural heritage of knowledge or other activities Smlednik, during the implementation of the project they got to know plant species, gained The link: performed that potentially experience in the field of participation, and at the same time socialized and made new friends. empowered the actors to prosper in Link to public data to better www.vzajemnost.si/clanek/175639/vaski‐vrt‐povezuje‐krajane/ (www.vzajemnost.si/clanek/175639 their future development? understand the activities and actors, /vaski‐vrt‐povezuje‐krajane/) as well as impacts: C‐18 Monitoring (or not) of the impact of the project: The link: How was the impact of the project / The impact of the project was constantly monitored by the founders of the project and all those activities monitored? If it wasn’t – involved in the process from the beginning. They monitor how it develops, how many new Link to public data to better www.gorenjskiglas.si/article/20210408/C/210409832/1025/vaski‐vrt‐privablja‐z‐velikonocno‐ how do you think it could be participants and visitors it attracts, and how it is accepted among them. understand the activities and actors, okrasitvijo (www.gorenjskiglas.si/article/20210408/C/210409832/1025/vaski‐vrt‐privablja‐ monitored? as well as impacts: z‐velikonocno‐okrasitvijo) The link: C‐19 Way in order to communicate the impact of the project: Link to public data to better How was the impact of the project / The project and its impact have been mentioned in many local as well as other newspapers, understand the activities and actors, activities disseminated or publications, on social networks, etc. as well as impacts: communicated? The link: Žebovec, M., 2018. Če spoštujemo preteklost, bo svetla naša prihodnost: zbornik ob 900. obletnici C‐20 Perception of the creative works in public space(s) by the final users and the reactions prve pisne omembe Smlednika in Hraš. Smlednik: Krajevna skupnost Smlednik. of the general public: Link to public data to better www.academia.edu/44309830/Zgodovina_župnije_Smlednik_in_cerkve_sv_Urha How were the creative works in As I mentioned before, the project was very well accepted among all. Many journalists came to understand the activities and actors, (www.academia.edu/44309830/Zgodovina_župnije_Smlednik_in_cerkve_sv_Urha) public space(s) perceived, the opening of the garden, it was written about it in newspapers at the national and local levels. as well as impacts: evaluated, judged by the final users The project was well accepted mainly because there are very few such projects in Slovenia. With – what were the reactions of the the village garden, Smlednik put itself on the map of good practices of community management The link: Vaški vrt v Smledniku (225‐230 page) general public? of life resources from all over Slovenia. D‐1 Main editor in charge of this entry and potential other authors of this case study C‐21 The (one) main success and the (one) main failure of the project/activities description Main sucess: The main success of the project is that with the successful participation of citizens, the cultural Name and surname: Nina Goršič and natural heritage of Smlednik is preserved. Organization: Urban Planning Institute of the Republic of Slovenia Main failure: The main failure could be that they have not (yet) been able to enrich the program of events. Email: nina.gorsic@uirs.si C‐22 Importance of broader conditions for the main sucess and main failure factor: Role: editor How important were the broader The main reason for the creation of this project was Društvo za ustno zgodovino, which at the Name and surname: Ana Mravlje conditions (e.g. the supporting same time led the project through the whole process (and still does) and presented it in an state of the art in the community, interesting way to people and aroused their interest in it. I believe that the (financial) support Organization: Faculty of Architecture infrastructure, institutional support, from companies, other institutions and individuals has had a very big impact on the success of this financial sources, local or project. It also seems to me that the success has been influenced by the involvement of so many Email: anjamravljegro@gmail.com "imported" know‐how etc.) for the different groups of people and their efforts to build this project. Due to the nature of the project Role: author main success and main failure factor and its technical implementation, the knowledge and skills of the residents also had a great impact, as they did practically everything themselves, with their knowledge, experience and tools. D‐2 Representative pictures It would be difficult to say that the project has any visible shortcomings, as their original goal was achieved. Also, despite the pandemic, it still works (albeit in a reduced range), but the local Picture's caption: Izdelava Vaškega vrta v Smledniku residents regularly care for the arrangement of the village garden and thematically adapt it to each season. C‐23 Provide the links to public data on the creative works Link to public data to better www.smlednik.si/drustvo‐za‐ustno‐zgodovino (www.smlednik.si/drustvo‐za‐ustno‐zgodovino) understand the activities and actors, as well as impacts: The link: Link to public data to better https://dovoljzavse.si/praksa/vaski‐vrt‐v‐smledniku/ (https://dovoljzavse.si/praksa/vaski‐vrt‐ understand the activities and actors, v‐smledniku/ ) as well as impacts: 230 Picture's author: Špela Rakun Picture's date: Picture's source: Društvo za ustno zgodovino Picture's caption: Skupno urejanje vaškega vrta poleti Picture's author: Denis Oblak Picture's date: Picture's source: Društvo za ustno zgodovino Picture's caption: Otroci spoznavajo rastline Picture's author: Urška Sešek Picture's date: Picture's source: Društvo za ustno zgodovino Picture's caption: Vaški vrt in izmenjava sadik Picture's author: Janez Strojan Picture's date: Picture's source: Društvo za ustno zgodovino 231 Picture's caption: Zeliščna špirala Picture's author: Picture's date: Picture's source: Društvo za ustno zgodovino D‐3 Additional information Additional information: Article ‐ Vaški vrt v Smledniku (225‐230 page) Link: www.academia.edu/44309830/Zgodovina_župnije_Smlednik_in_cerkve_sv_Urha (www.academia.edu/44309830/Zgodovina_župnije_Smlednik_in_cerkve_sv_Urha) D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 232 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) New wind in Tomaj Dense settlement Prevetrimo Tomaj +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Slovenija ‐1 Region name (in local language): Obalno‐Kraška regija ‐2 Place name (in local language): Tomaj  ‐3 Country name (in english): Slovenia ‐4 Region name (in english): Coastal‐Karst Region ‐5 Place name (in english): Tomaj Open landscape Tomaj is an old and rural village on top of a hill surrounded by vineyards. Its urban tissue consists of a few small and relatively Comment: densely built-up cores and vineyards between them. Two main landmarks of the village are a church on top of the hill and Kosovel's childhood home. Difficult terrain +5 +4 +3 Map of the network of public +2 spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3  ‐4 Caption of the map: Figure‐ground plan of Tomaj. Spatial data source: GURS ‐5 Legend of the map: Key to Figure: black – built structure; white (with black stroke) – open space black line – path or Effortless terrain gravel road grey lines – boundaries of plots grey dots ‐ forest A regional road running through the village is connected by train and national motorways at the distance of 10 km. In the village there Comment: is also a bus stop to Sežana or Nova Gorica. 233 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing  ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment:The economy of Tomaj consists mostly of tourism and agriculture, which are intertwined. Low‐income households prevail Participatory practices are almost non-existent and poorly documented. The data on households' income in Tomaj doesn't exist. Daily‐life‐support facilities well developed Comment: However, the before and after-tax income of the municipality is slightly below the national average. +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +4 at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: Tomaj lies in the vicinity of Sežana, one of the region's major cities. Getting to Sežana doesn't pose a problem to car owners, but it might to the locals that rely on public transportation. +1 Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound A‐4 Elements that characterise the remoteness of the place: demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2   Difficulties in accessing daily‐life‐ ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  Comment: The population of the village is aging and rapidly shrinking. All the essential services and a retirement home are in nearby Sežana. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Tomaj is a moderately remote place. One of the main weaknesses is the poor public transport characterise this case as a remote links between Tomaj and the regional centers, like Sežana, Koper, Nova Gorica, and Trieste. There place: are only seven departures from Tomaj to Sežana on weekdays, making public transport unattractive. That also poses a problem to the elderly in the village that don't own a car or a driver's license, making it even harder to reach the essential services in Sežana. That might become an even bigger problem over time since the population is aging and in decline. Low population density rank: Geographical barrier/allocation rank: No good transportation links rank: 1 234 Difficulties in accessing daily‐life‐ 2 The network of roads, streets, paths There is one regional road running through Tomaj connecting it to Sežana, Nova Gorica, the Italian support facilities rank: and alike elements that tie this border, and neighbouring villages. It's a two‐way road with a couple of bottlenecks in places remote place together: where old houses stand very close to each other. One of its weaknesses is the absence of Social specifics and/or divisions sidewalks which makes it less safe for pedestrians. The secondary network consists of streets that rank: connect private plots of land to the regional road. Together they form a network of circuits with occasional dead ends. An average street in this network is up to 3,5 meters wide, has a steep Economic inferiority rank: slope, is suitable for one‐way traffic, has tight turns, and is surrounded by stone or concrete walls Subjective criteria (e.g. community’s on both sides. Just like the regional road, these streets also lack sidewalks. However, they are self‐perception of being remote etc) safer for pedestrians due to low and slower traffic. Paths and gravel roads form a tertiary network rank: of connections. Residents of the village use them to access vineyards, meadows, forests, and sinkhole ponds. Some of them are also used by tourists as hiking and thematic trails. Other rank: The quantity and structure of public Tomaj doesn't have many well‐defined public spaces like some other villages in the Karst region. A‐5 Provide the links to public data space network (besides Most of them are in the center of the settlement, close to the regional road. Besides a few roads/streets/paths network) in this parking lots, there are five open public spaces, of which three are not fenced up or locked. Those Links to public data on the remote remote place: public spaces are a paved courtyard outside the community building, a small paved open place in place front of the local cemetery, and a small square with an old well. There are enough open public spaces in Tomaj, considering its small population size, but they might not be enough equipped The link: http://zupnija‐tomaj.rkc.si/zgodovina‐tomaja/ (http://zupnija‐tomaj.rkc.si/zgodovina‐tomaja/) and not be easily accessible to the elderly because of the sloped streets. Links to public data on the remote place A‐9 General description of the quality of public spaces in this remote place The link: https://www.geoprostor.net/PisoPortal/vstopi.aspx (https://www.geoprostor.net/PisoPortal Answer: Most of the public spaces in Tomaj have some form of minimal equipment that is relevant to each /vstopi.aspx) open public space. Two public spaces could have more equipment to meet the needs of the users. The school's courtyard could include a playground since there aren't any in the village. Besides, Links to public data on the remote the sur‐roundings of the school are very safe due to almost non‐existent traffic. The second open place space that could be better equipped is the community center's courtyard. It does contain a boules court, but it lacks benches. Another downside of the open public spaces is a lack of surfaces to sit The link: https://www.stat.si/obcine/sl/Municip/Index/150 (https://www.stat.si/obcine/sl/Municip/Index/150) on along the streets. That would make walking around the village easier for the elderly walking along the sloped streets. There should be more emphasis on helping create the village Links to public data on the remote comfortable for the rapidly aging population of the village. However, all open public spaces are at place least minimally equipped to serve their purpose. The link: https://pxweb.stat.si/SiStatData/pxweb/sl/Data/‐/05C5002S.px/ (https://pxweb.stat.si/SiStatData /pxweb/sl/Data/‐/05C5002S.px/) B‐1 Name(s) of the public space(s) A‐7 The type of public spaces that can be found in this remote place (besides the Name(s) of the public space(s) (in Različni javni prostori roads/streets/path network) local language): Name(s) of the public space(s) (in Several public spaces Square/s, Plaza/s  English): Park/s, Garden/s  Latitude of the public space(s): 45.756058 Market space/s  Longitude of the public space(s): 13.854185 Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Ground plan showing the land use of the public space(s): Other types:  Specify other types: Type of indoor public spaces that ‐Elementary school Dutovlje ‐ Tomaj can be found in this remote place: ‐Local cultural centre (Kulturni dom) ‐Local community space (Prostori KS) A‐8 General description of.. 235 Caption's map of the public space: The area around the Elementary School and its basketball court. Spatial data source: GURS Legend's map of the public space: Legend's map of the public space: Tomaj‐karta2_©_Lovro Novak Main location  Main location  Name(s) of the public space(s) (in asfaltiran odprt prostor s spomenikom NOB local language): Name(s) of the public space(s) (in košarkarsko igrišče in dvorišče ob osnovni šoli local language): Name(s) of the public space(s) (in paved open space with a NOB memorial English): Name(s) of the public space(s) (in elementary school basketball court and courtyard English): Latitude of the public space(s): 45.754923 Latitude of the public space(s): 45.759668 Longitude of the public space(s): 13.853849 Longitude of the public space(s): 13.852807 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: Caption's map of the public space: Legend's map of the public space: Legend's map of the public space: Main location  Main location  Name(s) of the public space(s) (in avtobusnim postajališčem in parkirnimi mesti local language): Name(s) of the public space(s) (in kal v gozdiču, dvorišče kulturnega doma local language): Name(s) of the public space(s) (in a bus stop and parking spots English): Name(s) of the public space(s) (in local cultural center’s courtyard English): Latitude of the public space(s): 45.756531 Latitude of the public space(s): 45.755180 Longitude of the public space(s): 13.855318 Longitude of the public space(s): 13.854539 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: Caption's map of the public space: Legend's map of the public space: Legend's map of the public space: Main location  Main location  Name(s) of the public space(s) (in netlakovan odprt prostor in stopnišče pred župnijsko cerkvijo) local language): Name(s) of the public space(s) (in dvorišče ob sedežu krajevne skupnosti local language): Name(s) of the public space(s) (in unpaved open space and a stairway in front of the local parish church & paved open space in English): front of the local cemetery Name(s) of the public space(s) (in community center’s courtyard English): Latitude of the public space(s): 45.755825 Latitude of the public space(s): 45.754898 Longitude of the public space(s): 13.848049 Longitude of the public space(s): 13.855155 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: Caption's map of the public space: Legend's map of the public space: Legend's map of the public space: Main location  Main location  B‐2 Describe the physical environment Name(s) of the public space(s) (in majhen trg z vodnjakom Physical environment description of Creative works took place in different public spaces and spaces accessible to the public in the local language): the public space(s) with creative village. Their goal was reviving the already existing open public spaces for socialization. Those works: places are in the town center and are surrounded by old and low buildings with plaster or natural Name(s) of the public space(s) (in square with a well stone facades and gable roofs covered with clay roof tiles. Other creative works took place in the English): upper part of the village that is characterized by hilly terrain, the old church, vineyards, meadows, Latitude of the public space(s): 45.755063 fragmented forests and sink‐hole ponds. Longitude of the public space(s): 13.855737 Ground plan showing the land use of the public space(s): Caption's map of the public space: 236 Physical environment elements The ProstoRož architects' priority was to renovate disused or neglected parts of open public Teenagers Playing basketball   were important and/or actually spaces or renovate parts of buildings that impact the surrounding open public space since the aim   "used" by creative people for their of the creative works was to revitalize Tomaj. The work campaigns consisted of renovating one of Teachers Cultural events activities: the sink‐hole ponds, equipping one of the squares with a stone bench, and restoring the old B‐9 Parts/sections/spots seem most attractive within the public space (location and wooden gate of the local cultural center's courtyard. All of the renovations were carried out carefully, so they didn’t spoil the authenticity of the cultural and natural heritage that which is duration) ‐ Parts/sections/spots at people seem to avoid: very important for that village.. Describe what parts seem to be the B‐3 Describe the general functions most attractive to people Functions and land uses description Most of the village has either residential or agricultural land use. However, almost all public B‐10 Provide the links to public data on the public space(s) in the area of the public space: spaces where creative works took place border to buildings with other functions. The elementary Website: school's basketball court and courtyard are a part of the only educational institution in the settlement, the local cultural center's courtyard is an extension of an indoor cultural institution, Website's link: https://prostoroz.org/en/portfolio/items/tomaj/ (https://prostoroz.org/en/portfolio/items/tomaj/) community center's courtyard is a part of an indoor cultural place, and the unpaved open space in front of the local parish church is a cultural and touristic center of the village. Website: Functionalities of space were The most important functionalities of space for further creative activities were educational, Website's link: https://www.primorske.si/2011/07/26/mednarodni‐tabor‐mladih‐je‐snovno‐in‐idejno‐prevet important and/or actually "used" by cultural and civic. These places have been a backbone of the village’s identity and will further (https://www.primorske.si/2011/07/26/mednarodni‐tabor‐mladih‐je‐snovno‐in‐idejno‐prevet) creative people for their activities: shape its future. The creative people used these spaces because of their importance when it Website: comes to socializing. With more attractive such open public spaces the local community might become stronger and more connected. Website's link: http://os‐dutovlje.sonce.net/tiskanje/?print_path=36316,234850&mylang=0&search_words=& result_start= (http://os‐dutovlje.sonce.net/tiskanje/?print_path=36316,234850&mylang=0& B‐4 General demographic characteristics of the area around the public space: search_words=&result_start=) Describe the general demographic Tomaj has always been heavily influenced by both the Italian and Slovene culture, but the official B‐11 Provide photos of the public space(s) with creative works characteristics data on ethnic structure of Tomaj’s residents doesn’t exist. However, the main problem of the village is that its population is aging and is in decline. According to the official statistical office of Caption: Tomaj_čistilna akcija Slovenia the village has lost 60 residents over the last 13 years. The number of the people aged 65 or above has been rising and the number of people aged 0 – 14 years and 15 – 64 has been declining. B‐5 Type of the public space(s) with creative work Form and function: Sport field, recreational space. Ownership: The open space is a part of a public school. Access regarding entry‐control: Controlled access. The basketball courtyard is fenced up and is used by the students that attend the elementary school. Access regarding time of day/week The gate to the basketball court is unlocked during classes because it also leads to the school /year: entrance, but it is not clear if it’s locked once the class period is over. B‐7 Kind of activity initially designed for this public space: What kind of activity has been this This open public space is a part of the only educational institution in the village. It is an open public space designed for initially public space for education, socialisation and recreation of the young residents. B‐8_a Which are the activities in this public space(s)? Activity: Playing basketball Activity: Cultural events Activity: Playing other games Photo's author: © Prostorož B‐8_b Who are the main users of this public space(s)? Caption: Tomaj, locations of open space where creative works took place User: Teenagers User: Teachers User: Children B‐8_c What are the users activities of this public space(s)? Users Activity Before After Children Playing basketball   Children Playing other games   Children Cultural events   237 Photo's author: © Prostorož Caption: Tomaj, children creative works on the school playground Photo's author: © Prostorož Caption: Tomaj, children creative workshop on school playground Photo's author: © Prostorož Caption: Tomaj, voluntary camp Photo's author: © Prostorož Caption: Tomaj, children creative workshop for school playground Photo's author: © Prostorož Caption: Tomaj, creative works on the school playground 238 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Municipality of Sežana Motivations: Improving well‐being of people living in a remote place. Roles: Connecting regional actors. Actor(s): Ministry of Culture Motivations: Enhancing local and national culture Roles: Providing funds. Actor(s): Voluntariat Institute Motivations: Connecting Tomaj with volunteers from abroad. Roles: Forming a group of seven international volunteers for a 10‐day voluntary work campaign. Actor(s): Kosovel Library of Sežana Motivations: Educating the local community about Tomaj’s cultural heritage. Roles: Organizing literary evenings. Actor(s): prostoRož Cultural Association Photo's author: Source: Google Street View Motivations: Improving public open spaces, creating new activities. C‐1 Official name of the activity/project Roles: Guiding and coordinating the activities, sharing their previous experience and knowledge of participatory practices, connecting all the actors involved. Name in local language: Prevetrimo Tomaj Actor(s): Local Community of Tomaj (residents of Tomaj and their local administration) Name in English: New wind in Tomaj Motivations: Improving public spaces and making the community more connected. Nickname: Roles: Setting up a plan for revitalisation of the village, taking part in creative activities. Overall name:  Actor(s): Elementary School of Tomaj C‐2 Description of the project (activities) that took place in the analysed public space(s): Motivations: Creating better and more interactive places for children. Describe the project (activities) that Prevetrimo Tomaj or New wind in Tomaj was an urban revitalisation project that included took place in the analysed public participation of a local community. Cultural association prostoRož guided and coordinated the Roles: Providing open space for a cultural event and new playground. Educating children about the local space(s) activities based on the previously adopted plan for revitalisation, following their experiences and culture. knowledge of participa‐tory practices for improving public open spaces. To revive the village and Actor(s): Higher Vocational College of Sežana its public open space, strengthen the local community and connect the village to the region they used different tools such as workshops, events, presentations, clean up events. The classes on the Motivations: Providing an opportunity for its students to get more hands‐on experience. history and tradition of the vil‐lage were organised for the locals too through the social events and movie‐programme in order to im‐prove the understanding of the local cultural and natural Roles: Providing urban furniture (a stone bench) designed and made by their students. heritage. In the first stage the local community set up a plan and a vision for creative activities in the village. The next stage included activities that helped bring ideas to life. Local residents took Actor(s): Local wineries and farms part in several cultural events where they could gain more knowledge about Tomaj’s history, Motivations: Making their local food products more widely known. customs and culture. They also participated in a 10‐day voluntary work campaign when most of the revitalisation and reno‐vation activities took place. During the work campaign the residents Roles: Providing accommodation and food for the international volunteers. hosted seven international volun‐teers that helped with the physical work. C‐7 Description of the supporting background that existed to make the activities happen: C‐3 Challenge that the project (activities) tried/is trying to tackle: What kind of supporting The project was supported by different institutions that provided knowledge about certain topics. What challenge was the project All the actors involved tried to give new life to some public spaces that had more potential at background existed to make the Institutions that mainly provided different kinds of knowledge were: prostoRož Cultural (activities) trying to tackle – what helping to build a stronger community. activities happen (financial, Association, Kosovel Library of Sežana, the local community of Tomaj and High Vocational College was the aim institutional etc.) of Sežana. The source of financial support is not completely clear, but it is usually provided by the national Ministry of Slovenia and a municipality. C‐4 Time frequency: C‐8 Sectors involved in the development of the creative works with public spaces: Time Frequency One‐time activity Culture  Other information: Education  C‐5 Time period Health  Start: 1/1/2010 12:00:00 AM Sustainability  End: 1/1/2011 12:00:00 AM Science  Comment: 239 Tourism  C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Sport  Were there any, no matter how big Industry  or small, economic benefits for the Other:  local community as a whole or any specific actors in particular, Specify other: resulting from the creative works with/in public spaces? C‐9 Sector which was.. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that ..the initiator of the activities: Culture potentially empowered the actors to prosper in their future development: ..the most crucial for the whole case Culture Were there any exchanges of study: knowledge or other activities Comment: performed that potentially empowered the actors to prosper in C‐10 How was the local community involved in the project/activities: their future development? How was the local community The local community was involved during all the stages of the project. That was very important C‐18 Monitoring (or not) of the impact of the project: involved in the project/activities? since the project was a means of strengthening the community which should shape local public spaces even after the project and activities were officially over. One of their first and most How was the impact of the project / The project could be monitored by surveying the local residents about their well‐being and their important activities was setting up a plan for revitalising and improving Tomaj. They did that in activities monitored? If it wasn’t – satisfaction with the local community. Quality and impact of both public spaces that were workshops where they expressed their wishes and needs, analysed the local space, debated how do you think it could be revitalised during the project a decade ago and public spaces that might have been revitalised possible physical changes of the local environment and carried out surveys. Together with the monitored? after the official end of the project should be assessed by architects or other experts in the field help of PorstoRož they turned the ideas into a plan for revitalising Tomaj. The plan served as a of urban studies. vision for the future of a friendlier and more livable village. The next stage consisted of different creative works that were open for any resident to join in and contribute. Some residents took C‐19 Way in order to communicate the impact of the project: part in activities of the voluntary camp by providing food, accommodation, company and cultural How was the impact of the project / There wasn’t any official report done after the project. The impact of the project was mentioned exchange, and others attended cultural events to educate themselves about the less known activities disseminated or in local media only. historical and ethnologic fact about their village. communicated? C‐11 The role of natural/cultural heritage in the project/activities: C‐20 Perception of the creative works in public space(s) by the final users and the reactions Did cultural and/or natural heritage Both cultural and natural heritage played a major role in the project because the aim was to boost of the general public: play any specific role in the activities in the already existing or even neglected public spaces of the historical village and How were the creative works in project/activities? cultural landscapes surrounding it. The aim of the project was also to nourish non‐material public space(s) perceived, cultural heritage by reviving traditional games, showing the locals ethnological movies, and evaluated, judged by the final users arranging literary events. – what were the reactions of the C‐12 The targeted impact of the project/activity: general public? What was the targeted impact of The targeted impact of the project was to connect residents of the village so they would C‐21 The (one) main success and the (one) main failure of the project/activities the project / activities? spontaneously keep maintaining, cleaning and upgrading open public spaces just like the Main sucess: This project shows that a small‐scale interventions with local residents and other institutions residents of the past used to take care of the common places. These activities should help build a (library, college, local community, municipality etc.) can make changes and can empower the local stronger community. actors to maintain and upgrade common places for a better quality of life and a more vivid social C‐13 Achievement of the targeted impact: environment. It also reflects the power of voluntary work of local community. Main failure: Poor reporting about the project. Participatory practices are still evolving in Slovenia, especially in Yes/no/partly: Partly small settlements like Tomaj. Monitoring this project could be a great opportunity for the Comment: The target impact was partially achieved because there were a lot of activities at the time when Municipality of Sežana to analyse setbacks and achievements of such a project. This knowledge the project was going on, but it seems like the village still doesn’t attract more younger residents could be helpful for other villages in the Karst region. that could take care of the open public spaces in the future. C‐22 Importance of broader conditions for the main sucess and main failure factor: C‐14 Additional achieved impacts: How important were the broader ProstoRož architects contributed a lot to the main success because they specialize in Were any additional impacts Prevetrimo Tomaj project might have inspired establishment of a local political party called conditions (e.g. the supporting participatory urban practices and are one of the very few such cultural associations in Slovenia. achieved? Prevetrimo Kras. This party encourages young people of Municipality of Sežana to proactively state of the art in the community, One of their most significant contributions was bringing so many actors together and organizing a participate in spatial and social issues on the local and municipal level. infrastructure, institutional support, lot of various events. Institutional support played a big role as well, since local, municipal and financial sources, local or national administrative departments backed the project. C‐15 The main beneficiaries of the creative work in public space(s): "imported" know‐how etc.) for the main success and main failure factor Who were the main beneficiaries of The biggest beneficiary was the local community because it actively changed public spaces for the the creative works in public better and learned more about the historical values of the village. The residents also gained C‐23 Provide the links to public data on the creative works spaces(s)? knowledge and experience about improving open public spaces with small‐scale interventions and cooperation with different actors. ProstoRož architects also benefited because they gained Link to public data to better https://www.primorske.si/2011/07/26/mednarodni‐tabor‐mladih‐je‐snovno‐in‐idejno‐prevet new experience on how participatory urban revitalisation works in a small and remote understand the activities and actors, (https://www.primorske.si/2011/07/26/mednarodni‐tabor‐mladih‐je‐snovno‐in‐idejno‐prevet) settlement. as well as impacts: The link: 240 Link to public data to better https://prostoroz.org/en/portfolio/items/tomaj/ (https://prostoroz.org/en/portfolio/items/tomaj/) understand the activities and actors, as well as impacts: The link: D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Lovro Novak, Nina Goršič Organization: UIRS Email: lovro.novak.2@gmail.com, nina.gorsic@uirs.si Role: Authors of text (both) and maps (Lovro) D‐2 Representative pictures Picture's caption: *** Picture's author: Picture's date: Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 241 House on the Hill A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Hiša na Hribu Dense settlement +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Slovenija ‐1 Region name (in local language): Osrednjeslovenska ‐2 Place name (in local language): Žlebe  ‐3 Country name (in english): Slovenia ‐4 Region name (in english): Central Slovenia ‐5 Place name (in english): Žlebe Open landscape Located in the Central Slovenia region in Slovenia, Žlebe (570 inhabitants) lies in the Polhov Gradec Hills. Surrounded by Alpine landscapes and with its countryside characteristics, Žlebe has a quiet rural character. The village is part of the municipality of Comment: Medvode, near Ljubljana. However, it is a sprawling settlement which encompasses several dispersed hamlets, as we can see with its density (100 inhabitants per Km²). Difficult terrain +5 +4 Map of the network of public +3 spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1  ‐2 Caption of the map: Network of public spaces in Žlebe (©Ženja Brezovar) ‐3 Legend of the map: ‐4 ‐5 Effortless terrain As Žlebe lies at the entry of the Polhov Gradec Hills, the settlement is located at a slightly high altitude (the top is 412m). Therefore, the terrain is quite difficult : the settlement is crossed by hills, which make the access to Žlebe difficult. The infrastructures of access Comment: suffer from the terrain difficulty. Although the village is near one of the main roads which connect Kranj to Ljubljana, The settlement is hard to access by public transports : the nearest bus and railway station is Medvode at 4km away. Car is the easiest way to reach the place but there are dirt roads. However there are many pedestrian and hiking paths to join Žlebe. 242 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5  ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well  existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Economic activities are not well developed in Žlebe. Most economic activities established in the settlement concern agricultural or Low‐income households prevail Comment: rural sectors. Žlebe is composed of many farms and fields. Besides farmers, inhabitants work in more developed neighbouring Assessing the inhabitants’ incomes of Žlebe is somehow difficult due to the statistical methodologies, namely the definition of towns. However, there is no space dedicated for culture in the village. statistical units. We only have the statistics of the municipality. Thus, as Žlebe is in the Municipality of Medvode, we took the income Comment: data of this last one. In this way, the average gross income of Medvode in 2019 (14860,97€) is above the slovenian average gross Daily‐life‐support facilities well developed income (13298,38€). However, due to the specific location of Žlebe, these datas should be shaded. However, in terms of participatory practices, this kind of activity did not exist in the settlement. +5 +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +3 Estimation: 4 +2 Explanation: Here, the strong remoteness does not come from objective criterias, but rather from subjective +1 one. People here have the feeling of being far from the city and the rest of the society. Moreover, Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound the population of Žlebe follows a way of life which remains traditional. Indeed, the activities are demographic demographic mainly rural and agricultural. This lifestyle strengths the idea of remoteness. structure structure A‐4 Elements that characterise the remoteness of the place: ‐1 Low population density  ‐2  Geographical barrier/allocation  ‐3 No good transportation links  ‐4 Difficulties in accessing daily‐life‐  ‐5 support facilities Daily‐life‐support facilities none‐existing Social specifics and/or divisions  Despite its set back location, the demographic structure of Žlebe is in the average of the Slovenian demographic composition. Economic inferiority  Comment: Indeed, the distribution of ages in the settlement is equitable. However, we can distinguish a lack of life-support facilities: the nearest supermarket is located downhill of Žlebe, in Medvode at 4km away. Subjective criteria  Specify subjective criteria (e.g. lack of cultural offer community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Even if the strong remoteness comes from the self‐perception by the population of being remote, characterise this case as a remote There are several objective forms of remoteness. The density is quite low with 100 inhabitants per place: Km² in a sprawl settlement. Moreover, the Polhov Gradec Hills can represent a geographical barrier for the access to Žlebe, because the altitude is high and the settlement is surrounded by forests. Also, if the settlement is only 15km away from Ljubljana, there are no bus services in Žlebe and the nearest bus station is located 5km away. The easiest way to get to Žlebe is by car but the route uses dirt roads. The lack of daily‐life support such as supermarkets strengthens this 243 impression of remoteness. The accumulation of deficiencies gives rise to a feeling of remoteness. Low population density rank: 6 The quantity and structure of public As said before, Žlebe is not a continuous settlement, but rather a set of small and dispersed space network (besides hamlets alongside paths and connected by a road network. In these conditions, we cannot say Geographical barrier/allocation rank: 3 roads/streets/paths network) in this that there is a specific city center which hosts public spaces and where people can naturally meet. remote place: Indeed, these various hamlets have a residential function, where the people living there return No good transportation links rank: 4 home in the evening to lodge. Consequently, this area suffers from a lack of public spaces. Difficulties in accessing daily‐life‐ 2 Although some equipment exists, they are very few. Among the most notable public spaces, we support facilities rank: can quote the St. Margaret’s church or the Znamenje chapel. However, located in the heights, these two places are poorly connected and difficult to reach. The accumulation of these Social specifics and/or divisions infrastructures deficiencies feeds and reinforces the remoteness of Žlebe. However, if we rank: consider forests or green areas as public spaces, their place in Žlebe is predominant, and henceforth easily accessible by the several hiking paths. Economic inferiority rank: 5 A‐9 General description of the quality of public spaces in this remote place Subjective criteria (e.g. community’s 1 self‐perception of being remote etc) Answer: In a general way, the public spaces in Žlebe are not well equipped to respond to the different rank: needs of people. The deficiency of public spaces is not due to their quality but also to the fact that the offer does not meet the demand that the population may have. Other rank: A‐5 Provide the links to public data B‐1 Name(s) of the public space(s) Links to public data on the remote GIS Portal Medvode Name(s) of the public space(s) (in Cerkev Sv. Marjeta place local language): The link: https://medvode.gisportal.si/javno/profile.aspx?id=Medvode_Javno@Medvode Name(s) of the public space(s) (in St. Margaret Church (https://medvode.gisportal.si/javno/profile.aspx?id=Medvode_Javno@Medvode ) English): Latitude of the public space(s): 46.110556 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Longitude of the public space(s): 14.392526 Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  Ground plan showing the land use (e.g.University grounds) of the public space(s): Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Forests Caption's map of the public space: Ground plan of the "House on the Hill" (©Ženja Brezovar) Type of indoor public spaces that ‐Churches can be found in this remote place: Legend's map of the public space: ‐Tourist farm Main location  Name(s) of the public space(s) (in A‐8 General description of.. local language): The network of roads, streets, paths To connect the settlement to the nearest town, Medvode, there are roads that run around the Name(s) of the public space(s) (in Main house and alike elements that tie this wooden area. However these roads are in poor condition and mostly used by locals that are English): remote place together: willing to gain their houses. As the settlement is spread out, there is a road network which Latitude of the public space(s): 46.110775 connects the hamlets of Žlebe. However, as they are used by residents to reach their homes, most of these roads are dead ends. Only two roads cross the village to join other settlements Longitude of the public space(s): 14.392271 such as Topol but these roads are in poor quality as they go through forest. Moreover, as Žlebe is characterised by a tough topography and a lot of small hills due to its location, the roads are Ground plan showing the land use constantly sloping and this makes travelling in the settlement difficult. Along that network, there of the public space(s): are no sidewalks or special areas designed for pedestrians and cyclists but a path network, dedicated to hikings across the settlement and the wooden area exists. Caption's map of the public space: 244 Legend's map of the public space: Describe the general demographic The density of the town of Žlebe is around 100 inhabitants per km2. However, it remains difficult characteristics to assess the demographic characteristics of the studied area because of two factors. First of all, Main location  this space around St. Margaret church is at the edge of the settlement of Žlebe and thus, it should have different demographic characteristics than the “center” of the town in the North. The Name(s) of the public space(s) (in second factor is that the Jeterbenk hill is not a residential area. Visitors, hikers, tourists are local language): passing by but nobody is living here. Name(s) of the public space(s) (in Granary English): B‐5 Type of the public space(s) with creative work Latitude of the public space(s): 46.110639 Form and function: The relevant public spaces in the area are some meadows (below the church), a forest (behind in the hill), a community open‐air space (a bench with tables next to the church) and two indoor Longitude of the public space(s): 14.392288 spaces (the granary and the deacon’s house). Ground plan showing the land use Ownership: Mixed of the public space(s): Access regarding entry‐control: The access to the creative work can be defined as controlled because one artist is always on site. Caption's map of the public space: She/he introduces to visitors the exhibition before they discover it. Legend's map of the public space: Access regarding time of day/week Visits are organized and there are opening hours. The exhibition was open from 20th August to /year: 19th September 2021 every day from 15 to 20 p.m. Main location  B‐7 Kind of activity initially designed for this public space: B‐2 Describe the physical environment What kind of activity has been this This public space has been designed to serve an educational purpose. The idea was to bring Physical environment description of The creative work that we are studying here is composed of three locations (St. Margaret church, public space designed for initially culture and contemporary art to this remote settlement for locals. In fact, the artists pointed to the public space(s) with creative Homestead Pr’ Lenart and Sr. Katarina church) which create a hiking path along the forest and the fact that culture is too often limited to places that are made for it (museum, gallery, …). They works: mountains north‐east from Ljubljana. However, for greater convenience, we will focus here on wanted to bring culture to a place where people need it. By extension, this educational role has the first location which is the main exhibition space. Located in the South part of the settlement also been designed for children and younger generations that come here to learn more about of Žlebe, this public space is surrounded by mountains and dense forests. The area of study these practices. around St. Margaret church stands on the slope of the Jeterbenk hill which overlooks the valley. With clear weather, we can distinguish the Julian Alps in the North. Due to its mountainous B‐8_a Which are the activities in this public space(s)? character, the access to the area can be difficult, especially in winter during snow episodes. The road that leads to the church is a narrow and poorly maintained dead‐end. However, a path Activity: Prayers, masses allows hikers to continue their walk to the South. To access the monument, visitors need to park their cars in a parking lot next to a hay rack and continue on foot. After a 5 minutes journey, Activity: farming people discover a small settlement organized around St. Margaret church. It is composed of the Activity: Church maintenance old deacon’s house, a granary and a bench which faces the valley. The church itself is said to have been built at the beginning of the 16th century from the remains of the ruined Jeterbenk Castle Activity: Art, exhibition and it features a late Gothic design. Activity: tourism Physical environment elements During this project, creative people have tried to use the insulation of the place as a strength and were important and/or actually a red thread for all they have created. Thus, the topics covered are linked with this geographical B‐8_b Who are the main users of this public space(s)? "used" by creative people for their characteristic. Moreover, they have wanted to use all the built elements of the area to implement activities: them in their creative works (such as the church at the beginning or the granary today). There, User: Worshipers the physical environment is part of the creative works and it takes into account its features and User: Farmers history. User: Deacon B‐3 Describe the general functions User: Tourists Functions and land uses description The lands around St. Margaret Church have a rural function with some farms (see the map on A‐VI in the area of the public space: point). The presence of dense forests also allows the development of silviculture. The church and User: Visitors of the exhibition the buildings around are exceptions in this area with very different functions. The first one is tourism. Indeed, St. Margaret brings here tourists who want to discover the building and its four User: artists Baroque altars and frescos from the 17th century. Moreover, they come here to admire the view of the valley and the mountains in the background. Tourism has also been developed in this space B‐8_c What are the users activities of this public space(s)? because of the creative works which have brought visitors for 7 years (we will explain this in part Users Activity Before After C). Another proof of the touristic function of the area is the hiking path that allows an access to the settlement from the center of Medvode or from the South. Finally, we should not forget the Worshipers Prayers, masses   religious function of the church. Even if there are no weekly offices, the parish continues to celebrate in the monument some of the major Catholic feast. Normally, the church is open for Farmers farming   visits but due to renovation works, its access is temporarily closed. Deacon Church maintenance   Functionalities of space were The main functionality of space that has been important in the project is the rurality. It has been   important and/or actually "used" by important firstly because of the use of the granary and other agricultural equipment which make Tourists tourism creative people for their activities: that the creative work have taken place in the rural heritage of Žlebe. Then, this rurality has been Visitors of the exhibition Art, exhibition   important and used in the purpose of the project which has presented it as a strength, but also as a weakness for some aspects of the life in this remote place. artists Art, exhibition   B‐4 General demographic characteristics of the area around the public space: B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: 245 Describe what parts seem to be the In the public space that we are studying, the old deacon house seems to be the most attractive most attractive to people spot for visitors. Also called the main house, this place is where the artists spend the longest time in the guided tour to explain the purpose of the project. This place also hosts MI:ZA, one of the major artwork of the exhibition (explanation in part C). The attractiveness of this place can also be explained by the fact that it is an indoor space with seats. Concerning the parts that people seemingly avoid, we do not think that any fits this description. The only exception is the church which is temporarily closed. More broadly, it is interesting to see that the attractiveness of this public space has changed since the start of the project 7 years ago. The first years, the artists had to invite visitors and communicate a lot (for example, they needed to contact schools). But as time passed, we have observed a role reversal: now, schools are calling the artists in order to know when they can come to visit the exhibition. B‐10 Provide the links to public data on the public space(s) Website: Facebook page of the institute Website's link: https://www.facebook.com/zavodccc (https://www.facebook.com/zavodccc) Website: Website of the artists institute Website's link: http://www.zavod‐ccc.org/ (http://www.zavod‐ccc.org/ ) B‐11 Provide photos of the public space(s) with creative works Caption: Children in main house Photo's author: UIRS Caption: exhibition in the basement of the main house Photo's author: UIRS ‐ Grégoire Nicolleau Caption: exhibition in the basement of the granary Photo's author: UIRS Caption: Pots that are part of the hiking participatory artwork 246 Describe the project (activities) that The project “In the lap of Cultural and Natural Heritage'' has lasted for 7 years each end of took place in the analysed public summer and took place this year in three different locations (Topol, Belo and Žlebe).The main aim space(s) of this project is to bring back culture in rural and remote areas in order to promote art and particularly contemporary art to people who do not have access to it. This year, the numerous exhibitions across the Polhov Gradev Hills are the common project of a community of more than 50 artists from different backgrounds and countries who have the same feeling about the environment in order to create a common work. However, the main exhibition of the project stands “in the House on the Hill '' in Žlebe, next to St Margaret’s church where there were several activities outdoors, in a granary and an old deacon house. Among them, the table MI:ZA, which was exhibited in the deacon house, was the main piece of the exhibition this year. Its name means in Slovenian MI = for and ZA = us. The table was designed by the artist community and is supposed to be a symbol of the local community. The MI:ZA table activity consists of the reproduction of templates using the screen printing technique. This activity seeks to put the visitors in the centre of the process for a total involvement in the exhibition. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The project has a social aim. The exhibition is designed with the aim to intertwine the artists' (activities) trying to tackle – what works and connect artists from different backgrounds and countries in order to make a common was the aim work. The principle of the project is to further extend contemporary art into time and space in the more remote areas that do not have access to art while gathering people and local communities C‐4 Time frequency: Photo's author: UIRS ‐ Grégoire Nicolleau Time Frequency Periodical activity Caption: artwork in the granary Other information: C‐5 Time period Start: 8/20/2021 12:00:00 AM End: 9/19/2021 12:00:00 AM Comment: Every day from 15 to 20pm. C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): CCC Zavod/artists Motivations: Promoting contemporary art in remote places Roles: Initiator of the project Actor(s): The Public Institute Sotočje Medvode Motivations: Promoting culture in Medvode Roles: Financial help Actor(s): The European Union Motivations: Develop culture in remote territories of the Union Roles: Financial help Photo's author: UIRS ‐ Grégoire Nicolleau Actor(s): BB BIO.SI C‐1 Official name of the activity/project Motivations: Wanted to support the project Name in local language: HIŠA NA HRIBU Roles: Host some events related to the project Name in English: House on the Hill‐ IN THE LAP of Cultural and Natural Heritage C‐7 Description of the supporting background that existed to make the activities happen: Nickname: What kind of supporting The project has received the support of many actors to come into existence. In their aim to Overall name:  background existed to make the promote culture in the area, some public actors helped with financial aids such as the Public C‐2 Description of the project (activities) that took place in the analysed public space(s): activities happen (financial, Institute Sotočje Medvode or the European Union through the fund for culture. However, private institutional etc.) funds contributed to finance this project such as BB.Bio.SI. In exchange for its support, some products of the companies are exhibited in the granary. The financing of the project is an important issue for its implementation, the activities are not lucrative. In other ways, the local institutions agreed to lend the deacon’s house and the granary for the host of activities. C‐8 Sectors involved in the development of the creative works with public spaces: 247 Culture  Education  Comment: The targeted impact has mostly been achieved. At the beginning, artists had difficulties to involve the local community and most of the visitors who came to the exhibitions were already sensitized Health  to art, and particularly to contemporary art. However, as time passed, more and more locals have come and the “House on the Hill” has become a landmark for the cultural life in Žlebe. They also Sustainability  succeed in involving visitors to participate in the activities and teach them the heritage of the Science  settlement. This is mostly the case for pupils from nearby schools when they come for visits and discover printing methods with the MI:ZA table. This is also the case for adults who can bring art Tourism  with them along the hiking path. Concerning the targeted impact of the project in artists' practices, we can say that they succeed to work together and innovate in the way they conceive Sport  art practices. Industry  C‐14 Additional achieved impacts: Other:  Were any additional impacts Due to the success of the project, we have assisted in the development in Žlebe of tourism. Specify other: achieved? Visitors come here not only to admire the view from the hill, but also to experience the exhibition, which has become a landmark in the area. C‐9 Sector which was.. C‐15 The main beneficiaries of the creative work in public space(s): ..the initiator of the activities: Culture Who were the main beneficiaries of In general terms, the local community seems to be the main beneficiary of this creative work that ..the most crucial for the whole case Education the creative works in public was implemented in Žlebe. It could indeed benefit from the access to culture and art in their study: spaces(s)? remote settlement and find here a pleasant place to visit. This project is also a way for them to socialize and learn more about their roots and the traditions that took place here. Another Comment: beneficiary is the local creative sector which has been highly developed by the implementation of C‐10 How was the local community involved in the project/activities: the “House on the hill”. How was the local community Local community is involved in the project in several ways. On one hand, the local community is C‐16 Presence (or not) of economic benefits for the local community as a whole or any involved in the project/activities? involved by its help for the set‐up of the public space. Indeed they have been mobilized to help specific actors in particular, resulting from the creative works with/in public spaces: build the exhibition and their help allowed the community of Žlebe to gather and meet. For Were there any, no matter how big Even if this project has brought tourists to the settlement, we did not observe a boom in the local instance, a local farmer brought the MI:ZA table in the house and some local electricians helped or small, economic benefits for the economy due to the fact that it is practically non‐existing. Indeed, the first restaurant or store is because lights are part of this project. After helping, they want to see the production of their local community as a whole or any several kilometers away from the exhibition. work so they visit the exhibition. At this moment, the local community is involved in the exhibition specific actors in particular, through its participation in activities to create artworks. As the main activity with the MI:ZA table resulting from the creative works is based on the art of reproduction and printing, the visitors fully contribute to the project and with/in public spaces? finally become “artists” by themselves. In the end, they are their own public which gives a feeling of pride and accomplishment. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that C‐11 The role of natural/cultural heritage in the project/activities: potentially empowered the actors to prosper in their future development: Did cultural and/or natural heritage From the beginning of the project, cultural heritage has played a major role. It starts with the Were there any exchanges of The exchange of knowledge is at the heart of the project and this exchange is from the artists to play any specific role in the general purpose of the exhibition which is to bring generations together and “live” the tradition knowledge or other activities the locals/visitors and vice‐versa. Artists, by their artworks, bring to locals knowledge about project/activities? of this place. Concretely, this heritage has been implemented in the artworks, such as with the performed that potentially contemporary art and the history of the place. On their side, locals participate in the project and method of printing used with the elements of the MI:ZA table (screen printing). Then, the very empowered the actors to prosper in help the artists to implement new elements in the exhibition. concept of the table that is present in every part of the exhibition reminds some cultural and their future development? spiritual elements. This is the case for the table in the granary which reminds us at some point of “the last supper” painting from Leonardo Da Vinci. Moreover, this project also refers to local C‐18 Monitoring (or not) of the impact of the project: traditions and practices that took place hundred years ago. By inviting hikers to take with them How was the impact of the project / The impact of the project was quite well monitored because of the financial help from the jars from one location of the project to the other in the form of participatory art, the artists activities monitored? If it wasn’t – European Union. It obliged the artists to make a report of the affluence on site which gives us a wanted to remind us women that used to bring goods and share news in the past from villages to how do you think it could be good idea of the impact. Another good way to measure the impact of the project is to see that villages. In the future, CCC Zavod wants to pursue the implementation of the cultural/natural monitored? before, artists needed to invite people to come to the exhibition but now, visitors are coming on heritage of Žlebe with the use of local textiles and traditions in their artworks. their own. C‐12 The targeted impact of the project/activity: C‐19 Way in order to communicate the impact of the project: What was the targeted impact of When the project started, the artists had two targeted impacts in mind. First of all, the idea was How was the impact of the project / The CCC Zavod Institute has two major communication channels. The first one is their website the project / activities? to fight against the “cultural remoteness” of this place. Due to the location and geographical activities disseminated or where they share information about the exhibition and the second one is their Facebook page characteristics of the area, the settlement of Žlebe has suffered from a lack of offer in cultural communicated? with various photos of the project. activities. Therefore, the artists wanted to bring culture to this place and let locals discover new forms of art. It also means to let them participate in the artworks. Moreover, they wanted to C‐20 Perception of the creative works in public space(s) by the final users and the reactions make the inhabitants more aware of the history and traditions of Žlebe. The second targeted of the general public: impact was to make the artists change the way they conceive the creation of artworks. In fact, the idea was to create common pieces of art that involve visitors and question the “sacredness” How were the creative works in At the beginning of the project, 7 years ago, it was not well perceived by the local community. of the work. public space(s) perceived, One of the first editions included artworks in the church and this disturbed some locals. However, evaluated, judged by the final users time helped the following years for more acceptance and now, the “House on the hill” is pretty C‐13 Achievement of the targeted impact: – what were the reactions of the well perceived by the public. general public? Yes/no/partly: Yes C‐21 The (one) main success and the (one) main failure of the project/activities 248 Main sucess: According to Mojca Senegačnik, the main success was to involve the local community in the Picture's author: UIRS ‐ Grégoire Nicolleau project. However, it was also the hardest part because they practically started from scratch in their idea to develop culture in that remote place. Today, the project is still growing and the Picture's date: 9/16/2021 12:00:00 AM involvement of the local community is set to increase in the next few years. Picture's source: Main failure: According to the artist, there are no real failures but only some difficulties at the beginning Picture's caption: View from the road below the hill relating to the involvement of the local community. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader During the project, the broader conditions were crucial in order to make it a success. These conditions (e.g. the supporting conditions are firstly investors which allow the funding of the “House on the Hill”. But the major state of the art in the community, financial help comes from the European Union. Moreover, the project could not have come to life infrastructure, institutional support, without the support of local authorities which gave access to this place around St. Margareth financial sources, local or Church. Even if at the beginning the authorisations were difficult to obtain, the cooperation "imported" know‐how etc.) for the between the artists and these authorities went well. Finally, we should not forget the importance main success and main failure factor of the public acceptance of the project, which targeted locals. This broader condition explains itself the main failure and also the main success, because the way locals perceive the project is crucial in order for it to last. C‐23 Provide the links to public data on the creative works Link to public data to better Link to the website of Zavod CCC, the organization that organize the exhibition (Link to the understand the activities and actors, website of Zavod CCC, the organization that organize the exhibition) as well as impacts: The link: http://www.zavod‐ccc.org/hisa‐na‐hribu‐2/ Link to public data to better Facebook page of Zavod CCC (Facebook page of Zavod CCC) understand the activities and actors, as well as impacts: The link: https://www.facebook.com/zavodccc/ Picture's author: UIRS ‐ Grégoire Nicolleau D‐1 Main editor in charge of this entry and potential other authors of this case study Picture's date: 9/16/2021 12:00:00 AM description Picture's source: Name and surname: Ženja Brezovar, Thomas Delfini & Grégoire Nicolleau Picture's caption: Itinary of hiking path Organization: UIRS Email: zenja.brezovar@gmail.com // thomas.delfini@etudiant.sciencespo‐rennes.fr // gregoire.nicolleau@etudiant.sciencespo‐rennes.fr Role: Ženja : maps, Thomas & Grégoire: field trip and the report D‐2 Representative pictures Picture's caption: view from the main house to the valley Picture's author: Zavod CCC Picture's date: 5/19/2021 12:00:00 AM Picture's source: Picture's caption: MIZA table 249 Picture's author: UIRS ‐ Grégoire Nicolleau Picture's date: 9/16/2021 12:00:00 AM Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 250 Ynni Ogwen community hydro scheme Ynni Ogwen community hydro scheme Pentredwr Hub Hwb Pentredwr UNITED Utopias Bach Utopias Bach KINGDOM The Wall Is___ Mae’r Wal Yn___ Cosmic Colliery Glofa’r Gofod 251 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Ynni Ogwen community hydro Dense settlement Ynni Ogwen community hydro scheme +5 +4 +3 +2  +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Teyrnas Unedig ‐1 Region name (in local language): Cymru ‐2 Place name (in local language): Bethesda ‐3 Country name (in english): United Kingdom ‐4 Region name (in english): Wales ‐5 Place name (in english): Bethesda Open landscape Bethesda is the 5th largest community in Gwynedd with a population of 4700 in 2011, and is quite dense along its high street, which Comment: contains shops and amenities, including 10 pubs. Beyond the high street are fairly densely arranged rows of houses. The town is, however, surrounded by open mountainous landscapes, rivers, slate quarries, and farmland. Difficult terrain +5 +4 Map of the network of public +3 spaces in the remote place +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 Caption of the map: Map of Bethesda ‐2 Legend of the map: Key to Figure: white – roads light grey – open public space dark grey – private building plots ‐3 ‐4 ‐5 Effortless terrain Bethesda’s roads are well paved and the town is serviced by several bus routes. There is no train service. An online survey (as part of the development of Gwynedd’s Destination Management Plan) highlighted that visitor and public facilities, including quality visitor attractions; access to infrastructure and services, including parking; tourist friendly engagement; and shops/ shopping opportunities Comment: were all issues that should be addressed. Visitor flow through/ to the town is limited due to a lack of visitor facilities, poor evening economy, a lack of car parking spaces, the declining townscape and an over dependence on budget accommodation provision in the town centre 252 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2  +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity There are two wards of Bethesda, Gerlan and Ogwen. With regard to social class, Gerlan has a higher proportion than average of Low‐income households prevail managerial and professional, whereas Ogwen is commensurate with the averages for Gwynedd and Wales; the percentage of those Income levels rank Gerland ward within the top 50% most deprived in Wales. Ogwen is in the top 30% most deprived. There is a that are skilled is commensurate with the average (for both Gwynedd and Wales); the proportion of the population that is part/ Comment: good level of energy and engagement in community and sustainability projects, a large proportion of which are run by Partneriath Comment: unskilled in Gerlan is commensurate with the average for Gwynedd but the proportion in Ogwen is higher; 13% of Gerlan’s and 12% Ogwen, a social enterprise working for the benefit of the economy, environment and communities of the Ogwen Valley. of Ogwen’s population are students/ other, both of which are lower than the average for both Gwynedd and Wales. There is economic activity which is somewhat diversified and comes from 5 main employers in the area. Bethesda has a unique collection of A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote slate art and a recent history of a fairly active music scene in the 70s and 80s at all) to 5 (extremely remote) Daily‐life‐support facilities well developed Estimation: 2 +5 Explanation: +4 A‐4 Elements that characterise the remoteness of the place: +3 Low population density  +2 Geographical barrier/allocation   +1 No good transportation links  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Difficulties in accessing daily‐life‐  demographic demographic support facilities structure structure Social specifics and/or divisions  ‐1 Economic inferiority  ‐2 Subjective criteria  ‐3 ‐4 Specify subjective criteria (e.g. community’s self‐perception of ‐5 being remote etc): Daily‐life‐support facilities none‐existing Other  Although the town has some amenities - small shops, post office, hardware store, GP, recent surveys have identified the need to Specify other: improve the town centre; address issues such as the decline in the townscape and empty shop units. It is lacking evening Comment: recreational offer – particularly cafes/ bars/ restaurants. Cadwyn Ogwen, which is an online platform that helps independent business Summary of the elements that Geographically, Bethesda is a fairly remote town ‐ located in the Ogwen valley, it aspires to be owners to sell their local produce in the area. characterise this case as a remote considered the gateway to Snowdonia National Park, and is a 15 minute drive from Bangor, the place: nearest major city. Its relatively weak public and transport infrastructure and visitor amenities contribute to its sense of remoteness. Low population density rank: Geographical barrier/allocation rank: 2 No good transportation links rank: 3 Difficulties in accessing daily‐life‐ support facilities rank: 253 Social specifics and/or divisions The network of roads, streets, paths Bethesda has one main road that leads through the town, which is two lanes, and connects it to rank: and alike elements that tie this motorways and the nearest neighbouring city, Bangor. The streets branching off from the main remote place together: road into neighbourhoods are narrower and fairly winding. There are many hiking trails Economic inferiority rank: 1 immediately accessible from the peripheries of the town. There are public footpaths along the main road, but not necessarily on side roads. Subjective criteria (e.g. community’s self‐perception of being remote etc) The quantity and structure of public There are some small public squares and gardens along the high street, and some parks with rank: space network (besides playgrounds. There are playgrounds and sports fields and garden allotments. All of these are roads/streets/paths network) in this connected by public footpaths. The public spaces are built mostly for residents, and there is an Other rank: remote place: identified challenge of how to attract more tourists and not just be a thoroughfare town. There is A‐5 Provide the links to public data also Neuadd Ogwen, a community arts centre and concert hall. Links to public data on the remote A‐9 General description of the quality of public spaces in this remote place place Answer: There is considerable work underway to make these public spaces more appealing, sustainable, The link: https://www.gwynedd.llyw.cymru/en/Council/Documents‐‐‐Council/Key‐statistics‐and‐data/WIMD‐ and accessible. There does seem to be a good mix of spaces for different age demographics, ie 2014‐data.pdf (https://www.gwynedd.llyw.cymru/en/Council/Documents‐‐‐Council/Key‐statistics‐ adults, teens, children. Play equipment, benches, and facilities are well kept. The public library is and‐data/WIMD‐2014‐data.pdf) well used. There are several community‐owned buildings. The one issue, again, is the quality of public spaces that are designed to appeal to tourists. Links to public data on the remote place B‐1 Name(s) of the public space(s) The link: http://www.llechi.cymru/SiteElements/Dogfennau/Bethesda‐Community‐Destination‐Plan.pdf Name(s) of the public space(s) (in Bethesda (http://www.llechi.cymru/SiteElements/Dogfennau/Bethesda‐Community‐Destination‐Plan.pdf) local language): Links to public data on the remote Name(s) of the public space(s) (in Bethesda place English): The link: https://en.wikipedia.org/wiki/Bethesda,_Gwynedd (https://en.wikipedia.org Latitude of the public space(s): 53.179607086281244 /wiki/Bethesda,_Gwynedd) Longitude of the public space(s): ‐4.058918613375887 Links to public data on the remote place The link: https://www.visitsnowdonia.info/bethesda (https://www.visitsnowdonia.info/bethesda) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Ground plan showing the land use of the public space(s): Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Caption's map of the public space: Map of Bethesda Watersides  Legend's map of the public space: white – roads light grey – open public space dark grey – private building plots Meadows  Main location  Parking area  B‐2 Describe the physical environment Service yard  Physical environment description of Bethesda is a town and community on the River Ogwen and the A5 road on the edge of Other types:  the public space(s) with creative Snowdonia, in Gwynedd, north‐west Wales. It is the 5th largest Community in Gwynedd. It is an Specify other types: works: ex‐mining community, and is known for one of the longest industrial strikes in British history. The architecture is largely utilitarian. Most of the buildings are constructed of stone with slate roofs. Type of indoor public spaces that library, community hall Some are constructed wholly of slate blocks, although such buildings tend to suffer from damp can be found in this remote place: and structural slippage because the very flat and smooth surfaces of slate do not bind well to mortar. The town has 40 Grade II listed buildings and three pubs. The town sits along the base of the Carneddau mountains. A‐8 General description of.. Physical environment elements The river Ogwen, several community‐owned buildings, the public squares. were important and/or actually "used" by creative people for their activities: 254 B‐3 Describe the general functions Describe what parts seem to be the Turbine house where the hydro generator is located isn’t necessarily where creative works most attractive to people happen, although people are attracted to it to learn more about the scheme. PO considers their Functions and land uses description The river area where the hydro generator is situated is natural and rural. The public squares are creative works to be more centred around the development of green spaces in Bethesda, in the area of the public space: recreational. The community owned buildings have different purposes. The library is civic and although these are projects in development, which have slowed during covid. The plans are to educational. One of the buildings now houses a food bank which started during the pandemic. make public squares in Bethesda much more attractive, encouraging biodiversity, and using a creative design of space, with carved slate sculptures, and murals. The community owned Functionalities of space were The hydro generator requires the natural power of the river in order to function. The recreational buildings managed by PO throughout Bethesda are used much more by the community than important and/or actually "used" by function of the public squares were and are being used by creatives in that they are installing new before PO had acquired them, such as the public library. creative people for their activities: community artworks and plants in them. The library is still being used as a civic educational space. B‐10 Provide the links to public data on the public space(s) B‐4 General demographic characteristics of the area around the public space: Website: Describe the general demographic The population of Bethesda was 4,735 people in 2011. In terms of employment, there are limited characteristics opportunities in the town ‐ there are a few manufacturing businesses and some jobs in the low‐ Website's link: https://www.bbc.co.uk/news/av/uk‐wales‐38290899 (https://www.bbc.co.uk/news/av/uk‐wales‐ paid service sector and hospitality industry. For employment with higher earning potential, 38290899) residents tend to commute to towns along the North Wales coast. There is a bilingual comprehensive school with 374 pupils. 77.5% of the residents are Welsh‐speaking, higher than the Website: average for both Gwynedd and Wales as a whole. Website's link: https://www.datrys.net/project/hydro‐ogwen/ (https://www.datrys.net/project/hydro‐ogwen/) B‐5 Type of the public space(s) with creative work Website: Form and function: The Partneriaeth Ogwen project that this case study focuses on takes place around the Ogwen Website's link: https://geotopoi.wordpress.com/2017/07/30/hydro‐ogwen‐scheme/ riverbed, which is located in the same valley as Bethesda. It is a community open air space. (https://geotopoi.wordpress.com/2017/07/30/hydro‐ogwen‐scheme/) Ownership: Ynni Ogwen is the community benefit society that runs the hydrogenerator. For the hydro Website: scheme rent is paid to two landowners: Welsh Slate and Penrhyn estate. Website's link: https://www.ogwen.wales/en/community‐projects/ynni‐ogwen/ (https://www.ogwen.wales Access regarding entry‐control: There are different kinds of entry control for each of Partneriaeth Ogwen’s projects. There are /en/community‐projects/ynni‐ogwen/) scheduled visits to the site of the hydrogenerator, arranged with schools, public officials, etc. Website: Access regarding time of day/week Although the public can visit the site of the hydrogenerator at any time of day, an average of 15 /year: people visit it at a time, twice a month. Ynni Ogwen would like to develop display boards around Website's link: https://www.partneriaethogwen.cymru/site/assets/files the site. There have also been displays on the scheme in one of the office buildings managed by /1274/partneriaeth_ogwen_annual_report_2020.pdf (https://www.partneriaethogwen.cymru PO. /site/assets/files/1274/partneriaeth_ogwen_annual_report_2020.pdf) B‐7 Kind of activity initially designed for this public space: Website: What kind of activity has been this Each of the public spaces where PO’s projects have taken place were initially designed for Website's link: https://www.bbc.co.uk/news/uk‐wales‐38236414 (https://www.bbc.co.uk/news/uk‐wales‐ public space designed for initially different activities. The riverbed was simply a natural riverbed before the hydrogenerator was 38236414) installed. Website: B‐8_a Which are the activities in this public space(s)? Website's link: https://www.youtube.com/watch?v=NSIRmOmR7mU (https://www.youtube.com /watch?v=NSIRmOmR7mU) Activity: tours, talks about hydro Activity: on power purchase agreement with Octopus Energy (energy supplier) B‐11 Provide photos of the public space(s) with creative works Caption: B‐8_b Who are the main users of this public space(s)? *** User: 300 members of hydro scheme Photo's author: User: board of voluntary directors (8) User: general public, visitors C‐1 Official name of the activity/project Name in local language: Ynni Ogwen community hydro scheme B‐8_c What are the users activities of this public space(s)? Name in English: Users Activity Before After Nickname: 300 members of hydro scheme tours, talks about hydro   Overall name:  300 members of hydro scheme on power purchase agreement with   Octopus Energy (energy supplier) C‐2 Description of the project (activities) that took place in the analysed public space(s): board of voluntary directors (8) tours, talks about hydro   general public, visitors tours, talks about hydro   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: 255 Describe the project (activities) that Partneriaeth Ogwen is a place‐based regeneration organisation that is committed to Circular What kind of supporting A significant supporting background factor was PO’s guidance as the community was setting up took place in the analysed public Economy principles. All the work they do is geographically defined by the 3 community council background existed to make the Ynni Ogwen, as many communities would not have capacity or time to set this up on their own. It space(s) parishes they work in. Their mission is to help and develop these three areas in terms of activities happen (financial, was essential to have full time staff committed to setting this up. It is perceived by surrounding economic, community, and environmental benefit. They have run a number of regeneration institutional etc.) communities as well that Bethesda is very lucky to have this kind of support. Other financial projects which are wide ranging in their scope. In terms of economic benefit, PO manages 7 background support was the result of numerous applications to grants, funding early stages of properties as community assets and helps them become more sustainable. This includes taking the hydro scheme such as feasibility studies. over the library from Gwynedd council and making it more sustainable and accessible, installing charge points for cars, improving wheelchair access, and improving it as a community space. PO is C‐8 Sectors involved in the development of the creative works with public spaces: also improving sustainable tourism, by acquiring a fleet of electric cars to help the community Culture  with everyday trips and transport, to transport the products of local businesses, as well as re‐ routing tourist traffic to the area by running a park and ride from Bethesda to Snowdonia tourist Education  attractions. The electric vehicles will be charged at the chargepoint at the library, which is linked to solar panels installed on the community run buildings. They also run a Welsh bookshop, a craft Health  shop, a pop up shop selling local produce. Cadwn Ogwen, an online shop and a food delivery  service, was set up during covid to support local businesses. The community hydro scheme, which Sustainability this case study focuses on, began in 2016. It will combine community and environmental benefits Science  by harnessing the power of the river Ogwen to supply local homes with electricity. PO was the lead organisation. (Although the hydro generator has been constructed and is generating Tourism  electricity, Ynni Ogwen is still working on the final stages of setting up a direct power supply to the homes of the scheme’s members ‐ currently members benefit from National Lottery hydro Sport  scheme until this has been arranged.) The project has spread a new awareness in the community Industry  of the potential of green jobs. It is publicised through educational visits, newsletters, annual general meetings, and there is a strong sense of ownership amongst the members. It has also Other:  become a catalyst to develop more projects. Specify other: Collaboration with other local community organisations C‐3 Challenge that the project (activities) tried/is trying to tackle: C‐9 Sector which was.. What challenge was the project PO run projects that create economic, environmental and social benefit with a focus on (activities) trying to tackle – what transferring community assets, buying new assets to create income and projects that make their ..the initiator of the activities: Other was the aim community stronger, more sustainable and resilient. ..the most crucial for the whole case Other C‐4 Time frequency: study: Time Frequency A constant process Comment: Both community involvement Other information: It depends on the project ‐ the hydro generator is a constant process. C‐10 How was the local community involved in the project/activities: C‐5 Time period How was the local community PO’s role in the project was to guide its development, and to assist community volunteers in involved in the project/activities? setting up Ynni Ogwen as a community benefit association to take leadership over the hydro Start: 1/1/2016 12:00:00 AM scheme. There was a year‐long planning stage in which legal agreements were made, grant applications were submitted, and wildlife conservation reports were drawn up. In 2016 the End: community share offer was opened, and £500k was raised in 2 months to fund the construction of Comment: the hydro. 85% of the members benefitting from the scheme live locally in Gwynedd. Members receive 3% interest, increasing to 4‐5% over the next several years. The project created jobs as well C‐6 Actors in relation to the analysed creative work, their main motivation and their roles ‐ a local contractor was employed to build the hydro, and a local project manager was employed. Actor(s): Partneriaeth Ogwen C‐11 The role of natural/cultural heritage in the project/activities: Motivations: guide its development, and to assist volunteers in setting up Ynni Ogwen Did cultural and/or natural heritage Ynni Ogwen’s administration all takes place bilingually, as Welsh language is a key part of play any specific role in the organisation, as well as cultural heritage. Welsh speaking communities are talented at developing Roles: initial project leader project/activities? cultural projects ‐ the new challenge is to take on innovative environmental projects, raising the confidence of community to take leadership in this area. In terms of natural heritage, the quarry Actor(s): Ynni Ogwen on Penrhyn estate has always used the power of river Ogwen to power compressors. This project Motivations: Lead on hydro scheme, benefit from hydro scheme looks to the history of community energy generation, using it not for the Penrhyn estate but for community benefit. Roles: community benefit association C‐12 The targeted impact of the project/activity: Actor(s): Steering Group (including local community groups ‐ veterans shed, National Trust, litter picking group, Snowdonia Society, Ynni Ogwen, Voice of the Forest What was the targeted impact of In addition to the impact of supplying the community with locally generated electricity that is the project / activities? cheaper than buying from the grid, the hydro scheme should make approx £500k community Motivations: advise direction of project profit over a 20 year period, which will be distributed through a new charity. There is clear direct Roles: steering group financial impact, but the project also has good Social Return on Investment. Actor(s): Volunteers C‐13 Achievement of the targeted impact: Motivations: support project, have input Yes/no/partly: Partly Roles: volunteers C‐7 Description of the supporting background that existed to make the activities happen: 256 Comment: Partly as some targets are still ongoing. Although the hydro generator has been constructed and C‐22 Importance of broader conditions for the main sucess and main failure factor: is generating electricity, Ynni Ogwen is still working on the final stages of setting up a direct power supply to the homes of the scheme’s members ‐ currently members benefit from National How important were the broader For the hydro scheme it was very important to have a subsidy from the English government for Lottery hydro scheme until this has been arranged. It is on track for generating 500k kilowatt conditions (e.g. the supporting every unit of elect generated, in the form of Ofgen’s Feed In Tariff. There was a strong incentive hours annually. state of the art in the community, to capitalise on this, and bring money back into the community. Another important broader infrastructure, institutional support, condition was the strong, close knit community in Bethesda; this was crucial to the success of the C‐14 Additional achieved impacts: financial sources, local or project. Welsh government to cover the feasibility studies was also a significant factor, bringin in "imported" know‐how etc.) for the ‘imported know‐how’ in the form of experts on bats, otters, trees, fish, and geomorphology. Were any additional impacts The project raised awareness in the community regarding environmental matters, history, main success and main failure factor achieved? language, and culture. It was a catalyst for setting up a new climate assembly in the Ogwen Valley. PO’s support of the hydro project means that the community now has the resources to C‐23 Provide the links to public data on the creative works organise this assembly, to tackle climate change on grass roots level. Link to public data to better C‐15 The main beneficiaries of the creative work in public space(s): understand the activities and actors, as well as impacts: Who were the main beneficiaries of Ynni Ogwen (300 members), the Steering Group (8 members), and volunteers. the creative works in public The link: spaces(s)? D‐1 Main editor in charge of this entry and potential other authors of this case study C‐16 Presence (or not) of economic benefits for the local community as a whole or any description specific actors in particular, resulting from the creative works with/in public spaces: Name and surname: Kristin Luke Were there any, no matter how big PO is committed to Circular and Foundational Economy principles, and to supporting local supply or small, economic benefits for the chains. With the hydro scheme specifically, there are interest payments to members, profit Organization: Clear Village local community as a whole or any distribution, and employment. In 2014 PO employed two staff, now they employ 19, and are Email: kristin@clear‐village.org specific actors in particular, recruiting more. They run placements for young people ‐ 7 of them have continued on to related resulting from the creative works jobs. (bi‐lingual copy of community research on community, economy, environment, language & Role: Editor and author with/in public spaces? culture, led to theory of change document) D‐2 Representative pictures C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Picture's caption: Were there any exchanges of There is constant collaboration with community groups, sharing learning and expertise. Young *** knowledge or other activities people are also educated about social enterprises, learning the difference between them and Picture's author: performed that potentially business, and consider them as a future career prospect. empowered the actors to prosper in Picture's date: their future development? Picture's source: C‐18 Monitoring (or not) of the impact of the project: D‐3 Additional information How was the impact of the project / The main way of measuring the success of the project is social outcomes. There is continuous activities monitored? If it wasn’t – monitoring, including the electricity generation, monitoring of social impact, and numbers of Additional information: how do you think it could be beneficiaries. This takes the form of case studies, quotes from people engaged. Ynni Ogwen is Link: monitored? answerable to the Steering Group AND the community. C‐19 Way in order to communicate the impact of the project: D‐4 Optional final remark Optional final remarks: is there any The interviewee for this project had issues with the use of 'success' and 'failure' as terms to How was the impact of the project / There is a Ynni Ogwen newsletter, social media, local press, talking to people, word of mouth, additional information that was not define the project. activities disseminated or website, videos. PO have been awarded a Community Engagement Award, national award for communicated through the communicated? community engagement work, and has been shortlisted for other national awards. Politicians are template also very interested, and PO representatives often present to conferences. C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in Reactions to the hydro scheme are overwhelmingly positive. Some were initially worried it would public space(s) perceived, be ugly, but the design complements the natural environment. There has been a very positive evaluated, judged by the final users reaction from the users of the energy scheme. There is a researcher at a local university who is – what were the reactions of the doing work on the wider impacts of community energy schemes as well. The hydro scheme will general public? also feature in a State of the Sector report, which has a focus on Community Energy in Wales. C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: The main successes have been empowering the community to deliver a large scale environmental project, to raise the confidence of the community in this regard,and to attracted more attention and energy in this area to more regeneration and environmental projects. Main failure: The interviewee felt that it was not useful to think about the project in terms of ‘failure’, rather she emphasised that the project created an incredible learning experience. One obstacle was lack of expertise in terms of feasibility studies, but we overcame this by buying it in. 257 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Pentredwr Hub Hwb Pentredwr Dense settlement +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): United Kingdom ‐1 Region name (in local language): Wales  ‐2 Place name (in local language): Denbighshire ‐3 Country name (in english): United Kingdom ‐4 Region name (in english): Wales ‐5 Place name (in english): Denbighshire Open landscape Pentredwr is a small settlement that is part of Llantysilio, a community in Denbighshire, Wales, near Llangollen. It has a population of 472,[1] falling to 421 at the 2011 census.[2 Pentredwr is located in an area of distinctive carboniferous limestone scenery, including Comment: limestone hills, rock outcrops, valleys and woods. The valley is enclosed to the south by the high ridge of Llantysilio Mountain and Cyrn-y-Brain and to the north by the lower, undulating Llanelidan and Gwyddelwern Hills. Difficult terrain +5  +4 +3 Map of the network of public spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: Map of Pentredwr Community Centre ‐4 Legend of the map: Key to Figure: white – paved open public space, roads medium grey – private building plots light ‐5 grey – green open public space, farmland or open countryside star ‐ site of creative activity (Pentredwr Community Centre) Effortless terrain Comment:Pentredwr is serviced by infrequent buses and narrow roads. 95% of residents are car owners. 258 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2  ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The creative sector is not listed as one of the areas of employment for this region. The top three sectors are Education, Health and Low‐income households prevail Comment: Social Work, Accommodation and Food Service, and Wholesale and retail trade. Compared with other parts of Denbighshire, the unemployment rates and other forms of deprivation are relatively low. However, overall household income levels in Denbighshire are significantly below the national average for a range of measures. Median Daily‐life‐support facilities well developed Comment: household incomes in the area were hit hard by the economic downturn after 2008, and have struggled to recover to pre-recession levels. There are some participatory practices in the form of an active community hall. +5 +4 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: Although nearby Llangollen, the community of Pentredwr itself is quite remote and most people +1 would have to travel elsewhere to access amenities, schools, work etc. Aged ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound A‐4 Elements that characterise the remoteness of the place: demographic demographic structure structure Low population density  ‐1 Geographical barrier/allocation  ‐2 No good transportation links  ‐3 Difficulties in accessing daily‐life‐  ‐4 support facilities ‐5 Social specifics and/or divisions  Daily‐life‐support facilities none‐existing Economic inferiority  The average age in this region is 49, whereas UK-wide it is 39. There are adequate amenities in Llangollen, such as shops, public Subjective criteria  Comment: toilets, petrol stations, post offices, etc. but these are only accessible by car from Pentredwr. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: 259 Summary of the elements that Transport and access to services are a matter of concern to some residents in the Dee Valley. Type of indoor public spaces that characterise this case as a remote Llandrillo and communities outside of Corwen and Llangollen appear as relatively deprived in the can be found in this remote place: place: Access to Services domain of the Welsh Index of Multiple Deprivation due to the relatively long travel times by public or private transport to local facilities such as GPs, dentists, shops and post Pentredwr itself: offices. People living in these areas may have a higher risk of social isolation. Recent high profile bus company bankruptcies are a cause for concern for the area. There are also significant levels of ▪ Community hall report loneliness and isolation in this area. Llangollen & Llantysilio (the region where Pentredwr is located) are closely linked and Llangollen is often attributed with assets that in reality sit in ▪ Basic shop Llantysilio. The area stretches from Llantysilio Mountain to Sun Bank and includes Rhewl, Pentredwr and the Eglwyseg escarpment, a site of Special Scientific Interest. A mainly agricultural area it is also an Area of Outstanding Natural Beauty. The inhabitants of Llantysilio use Llangollen Pentredwr is near Llangollen, which has as their retail and services centre. Llantysilio has an active Community Council who often partner with Llangollen Town Council on projects. Low population density rank: 2 ▪ Shops (food, hardware, craft, outdoor gear, etc) Geographical barrier/allocation rank: 3 ▪ Churches No good transportation links rank: 4 ▪ Restaurants Difficulties in accessing daily‐life‐ 5 ▪ Schools support facilities rank: ▪ Social specifics and/or divisions Brewery rank: Economic inferiority rank: 1 A‐8 General description of.. Subjective criteria (e.g. community’s self‐perception of being remote etc) The network of roads, streets, paths The main road that connects Pentredwr to Llangollen is the A542, a narrow 2 lane road. There is a rank: and alike elements that tie this network of smaller single track roads that connect it to smaller villages in the area. There are remote place together: numerous footpaths and walking routes in the area as Llangollen is a popular destination for Other rank: hikers. A‐5 Provide the links to public data The quantity and structure of public Aside from many walking/hiking paths, there are very few public spaces in this area which can be space network (besides accessed without a car. Llangollen is a 25 minute bus ride away from Pentredwr. The nearest Links to public data on the remote Welsh wellbeing assessment roads/streets/paths network) in this market is 4 miles away. The nearest playground is 3.7 miles away. Without a car these are not place remote place: appropriately located to meet people’s needs. One of the reasons the need to renovate the old school house in Pentredwr was identified is because the area does not have a central public The link: https://conwyanddenbighshirelsb.org.uk/home/english‐wellbeing‐assessment/english‐dee‐valley/ gathering space (https://conwyanddenbighshirelsb.org.uk/home/english‐wellbeing‐assessment/english‐dee‐ valley/) A‐9 General description of the quality of public spaces in this remote place A‐7 The type of public spaces that can be found in this remote place (besides the Answer: In Llangollen, public spaces are generally well equipped. Playgrounds, village squares and public roads/streets/path network) walkways are well kept, although parking is an issue. In Pentredwr, the Community Centre, where most activities in this project happen, is well equipped. It has a freshly renovated main hall, Square/s, Plaza/s  furniture, toilet block, shower. Other than that there are public footpaths which are fairly well maintained. Park/s, Garden/s  Market space/s  B‐1 Name(s) of the public space(s) Playground/s  Name(s) of the public space(s) (in Pentredwr Community Centre Pentredwr, Llangollen LL20 8DG and Gwlangollen Lock Up Heritage local language): Centre Victoria Square Llangollen LL20 8ET Recreational space/s, Sport‐field/s  Name(s) of the public space(s) (in Community open‐air space/s  English): Institution‐related open‐air space/s  Latitude of the public space(s): 53.00883741675904 (e.g.University grounds) Longitude of the public space(s): ‐3.193944441954384 Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: In Pentredwr there are public footpaths and walking routes 260 Ownership: Gwlangollen in Llangollen is a space that is privately rented. It is run by Gwlangollen CIC. Pentredwr Community Centre is owned and managed by the Pentredwr and District Community Association. Access regarding entry‐control: Gwlangollen is open to the public by appointment. It is volunteer run. Pentredwr community centre is run by the Association and it is also open by appointment and open to the public for regularly scheduled sessions throughout the year. It is also available for hire as a venue. Ground plan showing the land use Access regarding time of day/week It is limited to the opening times or by appointment, both of which vary throughout the year. of the public space(s): /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The Community Centre was run as a school until 1982. It was then bought by the Pentredŵr and public space designed for initially District Community Association for use as a Community Centre. When initially purchased it was hardly used at all, but over the last few years usage has increased. It was used as a space for socialising and various community events until this current project started. The wool museum was an empty derelict building until it was turned into a museum. Its original use was a community lock up prison and courtroom. The room downstairs, formerly the cell, is a fleece cleaning room. Caption's map of the public space: Pentredwr Community Centre Both spaces were run down and in need of total refurbishment before this project started. Legend's map of the public space: Gwlangollen currently rents workshop accommodation in the Lock Up Heritage Centre in Llangollen town centre. There is the main first floor workshop and a smaller fleece cleaning room Main location  at street level. Prior to becoming derelict, the 1830s the Grade 2 listed building has served as Llangollen’s lock up, magistrates court, town hall, armoury & drill hall, community room and B‐2 Describe the physical environment Eisteddfod ticket office. By the 1960s it had fallen into disrepair and became unsafe. It was then privately purchased. The Armoury Conversation Trust was created and now administers the Physical environment description of Gwlangollen is in a 16th century stone building along a busier main road in Llangollen. The main building. Over time the building has served the community by meeting its judicial, civic, military the public space(s) with creative activities and displays happen in an upper loft area in the building which is full of exhibits about and social needs. Today it continues to meet the needs of shepherds, small holders, crafters and works: wool and wool wares, the history of the wool industry in and around Llangollen. There is also a those more vulnerable members of the community who enjoy coming to relax and learn new wool processing room on the ground floor, with tools and equipment for wool processing and skills. The renovations were completed in 2021. The building now comprises a one room studio crafting. The building is surrounded by shops and amenities. It is above what used to be known as flat, a small shop, fleece cleaning room and workshop. Many of the original features have been the Old Lock Up/Magistrates' Rooms, which were set up as a hands‐on Museum of Victorian retained – the barred windows, solid oak floors and doors. The stone steps up to the workshop Policing, reflecting its use as Llangollen's first Police Station, but has been closed since September means the building is inaccessible to those with mobility issues. Outreach provision helps to 2017 due to the planning of further building works. The Community Centre in Pentredwr is in a ensure our courses are available to everyone. Changing use of the space Historically the building 1909 school building which sits on a small hill surrounded by trees, with a handful of residential was used for a range of meetings in different contexts relating to its varying functions over the homes nearby and farms further away. There is a large main hall with adjoining facilities such as a years and occasional public celebrations. The 2 cells held prisoners waiting for the next storage room, toilet & shower block, and kitchen, and an outdoor yard for parking and/or outdoor magistrate’s court hearing. Following 1870 the cells were used as secure weapons storage for the crafting. local militia. It now provides single person’s living accommodation, workshop space (and a shop Physical environment elements The loft space in Gwlangollen is used for workshops, processing wool, and for participants to waiting to be let). Prior to Covid the workshop hosted classes in all wool related heritage skills were important and/or actually learn through educational displays. The main hall in the community centre in Pentredwr is used traditionally carried out in the area, free tuition for fleece producers on how to maximize the "used" by creative people for their for bigger workshops, a varied community events programme, and wool sales. Both are used as return on their fleece, it was open to casual visitors, and in the evenings let to a local craft group activities: meeting points for local sheep farmers to drop off their wool. and a writing group. Since Covid individual tuition has just recommenced. Outreach delivery is slowly picking up. Work with local schools and support agencies working with vulnerable people B‐3 Describe the general functions are both back at the planning stage. Functions and land uses description Pentredwr Community Centre is run by the Pentredwr and District Community Association, a B‐8_a Which are the activities in this public space(s)? in the area of the public space: charity dedicated to providing a place for the community to meet and hold events. It is classified as a ‘community centre, charity organisation, performance and event venue’. Significant Activity: Maker days functional nodes include neighbouring sheep farms, which have a relationship with the Activity: Primary school Association through their work with wool. Visitors are welcome to book appointments at Gwlangollen, and it has connections to local boutiques which sell wool products. It also has Activity: Wool skill sharing sessions connections with Plas Newydd, a historic house and gardens and popular tourist attraction. Gwlangollen runs workshops there. Activity: Various community events Functionalities of space were Gwlangollen offers talks demonstrations and bespoke workshops on most aspects of wool Activity: Sheep meetings, national farmers’ union important and/or actually "used" by processing either in the museum itself, or at Pentredwr Community Centre. They have a number creative people for their activities: of experienced crafters who cover a wide range of skills. The team at Gwlangollen, the Pentredwr B‐8_b Who are the main users of this public space(s)? Charity, and groups that run local boutiques and Plas Newydd, and local farmers are all important User: Adult population of Pentredwr ‐ participants to the project and used by the creative people involved in the project. User: Adult population of Pentredwr ‐ sheep farmers B‐4 General demographic characteristics of the area around the public space: User: Adult population of Pentredwr ‐ Association and Wool teams Describe the general demographic In terms of gender, this area is broadly in line with average UK figures, with 51% male, 49% female. characteristics Pentredwr is in the Llantysilio region, which has a population of 472,falling to 421 at the 2011 User: Young people census. 98.3% of the population is white. 13% are 0‐17 years old, 59% are 18‐64, and 27% are 65+. User: Wool producers B‐5 Type of the public space(s) with creative work User: Vulnerable adults Form and function: This project takes place predominantly in the two indoor spaces of the wool museum and community centre. It also has outreach activities at other venues previously mentioned ‐ Plas B‐8_c What are the users activities of this public space(s)? 261 Newydd historic house. Users Activity Before After Photo's author: Gwlangollen Adult population of Pentredwr ‐ Wool skill sharing sessions   Caption: London‐HwbPentredwr‐Gwlangollen interior2 participants Adult population of Pentredwr ‐ Maker days   participants Adult population of Pentredwr ‐ Various community events   participants Adult population of Pentredwr ‐ Sheep meetings, national farmers’   sheep farmers union Adult population of Pentredwr ‐ Wool skill sharing sessions   Association and Wool teams Adult population of Pentredwr ‐ Various community events   Association and Wool teams Wool producers Sheep meetings, national farmers’   union Wool producers Wool skill sharing sessions   Vulnerable adults Various community events   Young people Primary school   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the The renovation work to the old school house in Pentredwr is still ongoing. Although the outside most attractive to people work yard still needs renovation, the main hall is now regularly hired for events as it’s a pleasant, well‐maintained area, with a nice atmosphere, and nice views.There are now accessible toilets installed, and the track leading up to the hall is now paved. Regarding Gwlangollen, this question is not particularly applicable because people come and use the spaces for specific reasons, and they use all the spaces for their functions, ie. wool processing/crafting. There is no outdoor space. Since the pandemic began, no casual visitors have been permitted. B‐10 Provide the links to public data on the public space(s) Website: Website's link: https://gwlangollen.wixsite.com/home/home https://www.pentredwr.co.uk/index.php/en/ https://www.facebook.com/pentredwrDCA/ https://www.instagram.com/gwlangollen/ https://www.facebook.com/Gwlangollen/ https://cadw.gov.wales/sites/default/files/2019‐05 (https://gwlangollen.wixsite.com/home/home https://www.pentredwr.co.uk/index.php/en/ https://www.facebook.com/pentredwrDCA/ https://www.instagram.com/gwlangollen/ https://www.facebook.com/Gwlangollen/ https://cadw.gov.wales/sites/default/files/2019‐05) B‐11 Provide photos of the public space(s) with creative works Caption: London‐HwbPentredwr‐Gwlangollen interior Photo's author: Gwlangollen Caption: London‐HwbPentredwr‐Gwlangollen website 262 Photo's author: Gwlangollen Caption: London‐HwbPentredwr‐wool weaving Photo's author: Gwlangollen Caption: London‐HwbPentredwr‐Old Schoohouse interior1 Photo's author: Gwlangollen C‐1 Official name of the activity/project Name in local language: Hwb Pentredwr Name in English: Pentredwr Hub Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that Hwb Pentredwr is a project jointly delivered by Pentredwr Community Centre (Pentredwr, Wales) took place in the analysed public and Gwlangollen (Llangollen, Wales). They are creating Hwb Pentredwr as a rural skills centre. Photo's author: Gwlangollen space(s) Sheep production is central to farming in this region, therefore promoting wool and exploring the Caption: London‐HwbPentredwr‐Old Schoohouse interior2 wider uses of locally produced fleece is a key element of the work of Hwb Pentredwr. They explore the wider uses of wool, allowing farmers to find better ways of working than just selling to the wool board. Gwlangollen offers talks, demonstrations and bespoke workshops on most aspects of wool processing and crafting. They also operate a digital platform which facilitates exchanges of wool between crafters and farmers. Pentredwr Community Centre is the heart of this rural, remote community, and a key location for project workshops and events. We chose this project for how it sensitively combines two ambitions: strengthening the community by reducing the impact of rural and digital isolation, and embracing the pre‐existing skills and traditions in the region. The project works towards securing community prosperity by developing rural skills, enterprise, and networks. C‐3 Challenge that the project (activities) tried/is trying to tackle: 263 What challenge was the project The project addresses the increasing levels of social and digital isolation in this remote area, Culture  (activities) trying to tackle – what declining community cohesion and prosperity, and lack of communal spaces. No farmers in the  was the aim valley are making a living purely from farming sheep; each has had to diversify to include running Education caravan parks, holiday lets, and other jobs. The whole area is considered to be experiencing in‐ Health  work poverty ‐ employment levels are high, prosperity very low. Sustainability  C‐4 Time frequency: Science  Time Frequency Other Tourism  Other information: Ongoing, on a daily basis (aside from during Covid lockdown). Hwb Pentredwr is used over half days each week. Gwlangollen is open 7 days/week, with activities happening almost every day. Sport  Pentredwr fre Industry  C‐5 Time period Other:  Start: 7/1/2018 12:00:00 AM Specify other: It was a needs‐led community driven project, therefore its development was very much the result End: of the community of Pentredwr itself. Gwlangollen had a very small Economic Sustainability grant from Area Of Natural Beauty’s funding stream to purchase Comment: Wool workshops started July 2018, Pentredwr building works started 2017, C‐9 Sector which was.. C‐6 Actors in relation to the analysed creative work, their main motivation and their roles ..the initiator of the activities: Other Actor(s): Ticky Lowe ..the most crucial for the whole case Other Motivations: fundraising study: Roles: Steering Group Member Comment: For both of the above, 'the community' Actor(s): Sian Hughes C‐10 How was the local community involved in the project/activities: Motivations: supporting community, especially farming community, building community cohesion How was the local community The community has been involved at every step, from grant applications to the renovation of the involved in the project/activities? school building, and in the form of many hours of volunteer work. People with connections to Roles: Project coordinator Pentredwr, including former primary school students of the school, returned to the village Actor(s): Gwlangollen team (Gill Britten) specifically to help with building renovations, and return regularly to attend events. Everyone used their unique skills accordingly, and the Hwb Pentredwr team coordinated those skills well. Motivations: Exploring wider use of fleece, passing on heritage skills to future generations Sheep farmers also volunteer, come to events, and are very supportive. Farmers support Gwlangollen by donating as much fleece as needed. Roles: Director C‐11 The role of natural/cultural heritage in the project/activities: Actor(s): Pentredwr and district residents (crafters) Did cultural and/or natural heritage Wool and wool production is an integral part of the regional culture and natural heritage of the Motivations: skill sharing and development play any specific role in the area. It is for this reason that the project focuses on educating participants on this history, Roles: participants project/activities? material processes, and new ways of reviving this heritage. Welsh language, a major aspect of Welsh culture and heritage, also plays a significant role. Although Llangollen, where Gwlangollen Actor(s): Pentredwr and District Community Association is located, has been Anglicised, the farming community around Pentredwr is predominantly Welsh speaking. Hwb Pentredwr supports the farming community to keep the language going by Motivations: Preserve and develop school building into a community facility, to provide a central location for focussing on and using it throughout the project, always being mindful of preserving and using the community to gather for events. the language, and keeping it a living language. Roles: Community Association C‐12 The targeted impact of the project/activity: Actor(s): Steering Group What was the targeted impact of The aim of the project is to secure a more prosperous future for local people and strengthen the Motivations: Reporting to main committee the project / activities? community by reducing the impact of rural and digital isolation. The project will work towards securing community prosperity by developing rural skills and enterprise; addressing rural Roles: sub committee isolation; supporting digital inclusion and access to services thereby strengthening the community. Actor(s): Pentredwr and district residents (farmers) Motivations: Involved in developing wider and alternative uses of fleece, rather than selling it to government C‐13 Achievement of the targeted impact: agencies. Using fleece differently, hope to provide employment and training in fleece that is Yes/no/partly: Partly locally produced, processed, and sold on. Growing their ow Comment: Partly ‐ the project is ongoing. As it is at the beginning of the two year period for which it has Roles: participants, providing raw material received formal funding, is at the beginning of the phase where specific targets are being C‐7 Description of the supporting background that existed to make the activities happen: established, baseline information collected, etc. Additional funding for after the two year period will continue to be sought. What kind of supporting The idea for this project was developed in conjunction with Gwlangollen, the Pentredwr and background existed to make the District Community Association. Hwb Pentredwr is funded by National Lottery’s Rural Futures C‐14 Additional achieved impacts: activities happen (financial, grant stream. The school building renovation was funded by National Lottery. It is heavily institutional etc.) supported by volunteers. It is also supported by volunteers. C‐8 Sectors involved in the development of the creative works with public spaces: 264 Were any additional impacts Over the past several years there has been an increase in the frequency and diversity of C‐21 The (one) main success and the (one) main failure of the project/activities achieved? community events, increase in usage of the two spaces, and in community connection. But the new funding will help to build on this even more. Since the partnership was established, Main sucess: Both projects are still in infancy, but so far the main success is establishing a strong partnership, Gwlangollen has received many more opportunities for outreach work and projects. Being with a huge increase in activities and learning opportunities for the community, and completing connected to a grant aided project has meant that the Local Authority has become interested in renovations to both spaces, and dramatically changing the uses and functionality of the two working with Gwlangollen on other projects, such as working with AONB to use heritage sheep to spaces. graze out hillside, then using that fleece to make products to sell in the Llangollen visitors shop, Main failure: Covid has altered the way we work ‐ both spaces are currently ‘ticking over’ but the pandemic has as well as running demos of fleece cleaning for visitors. The formal partnership agreement with severely limited the level of activity possible in the past 1.5 years. Hwb Pentredwr has meant that Gwlangollen is now being approached by local authority agencies to be part of their community support. Gwlangollen/Hwb Pentredwr is now working with: C‐22 Importance of broader conditions for the main sucess and main failure factor: Greening Pastures ‐ a project using ancient breed sheep to graze out an overgrown hillside. Gwlangollen has been approached to use the fleece from those sheep the train volunteers to How important were the broader None of the conditions mentioned above have had any major influence on the project. Because of demonstrate fleece processing at their visitor centre. Plas Newydd ‐ Textiles in the Garden an conditions (e.g. the supporting Covid there hasn’t been enough time for any of those broader conditions to have had an impact outdoor textile project located in the gardens of an historic house in Llangollen. Working with state of the art in the community, yet. The funding from Rural Futures funding has allowed for the project to operate on a larger Wool – a schools project with 6 Denbighshire primary schools Wool to Wealth – a young people’s infrastructure, institutional support, scale. However, even without this funding the project would have carried on at a different scale competition. The winner is for the most potentially profitable, commercially viable idea, for using financial sources, local or any way. The most important broader condition is the community enthusiasm and drive to locally produced fleece. Pengwern Community – another local Rural Future project. Planning is "imported" know‐how etc.) for the address a need that the community had identified themselves. still at community consultation level. Once we have the community transport link up and running, main success and main failure factor Pengwern residents will have access to Maker Days at Pentredwr, Plas Newydd gardens and the workshop. C‐23 Provide the links to public data on the creative works C‐15 The main beneficiaries of the creative work in public space(s): Link to public data to better https://www.facebook.com/hwbpentredwr/?fref=tag (https://www.facebook.com/hwbpentredwr understand the activities and actors, /?fref=tag) Who were the main beneficiaries of The local community were the main beneficiaries, gaining rural skills, a community hub, and free as well as impacts: the creative works in public wifi in the hub. Locals are also now in employment from this project, including 3 on part time spaces(s)? contracts. The link: C‐16 Presence (or not) of economic benefits for the local community as a whole or any Link to public data to better https://gwlangollen.wixsite.com/home (https://gwlangollen.wixsite.com/home) specific actors in particular, resulting from the creative works with/in public spaces: understand the activities and actors, as well as impacts: Were there any, no matter how big The Hwb has created jobs ‐ 6 people have received some form of payment, either one‐off or or small, economic benefits for the through employment, as a result of this project. One younger participant has given up her full The link: local community as a whole or any time job to primarily work with wool and sell products on her etsy shop. Gill Britten also offers Link to public data to better https://www.instagram.com/hwbpentredwr/ (https://www.instagram.com/hwbpentredwr/) specific actors in particular, paid work for website maintenance and wool cleaning. understand the activities and actors, resulting from the creative works as well as impacts: with/in public spaces? The link: C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Link to public data to better https://www.pentredwr.co.uk/index.php/en/news/34‐exciting‐times‐ahead‐for‐pentredwr‐ understand the activities and actors, community‐centre (https://www.pentredwr.co.uk/index.php/en/news/34‐exciting‐times‐ahead‐ Were there any exchanges of The Maker Days are good examples of exchanges of knowledge ‐ once a week the community as well as impacts: for‐pentredwr‐community‐centre) knowledge or other activities meets to work on any projects they want to bring to the Hwb. Here they share skills and ask for performed that potentially training they need. In future the Hwb will also employ a professional craftsperson to come once a The link: empowered the actors to prosper in week to deliver classes on local heritage skills. their future development? D‐1 Main editor in charge of this entry and potential other authors of this case study description C‐18 Monitoring (or not) of the impact of the project: Name and surname: Kristin Luke How was the impact of the project / Although there has been significant activity related and building up to Hwb Pentredwr over the Organization: Clear Village activities monitored? If it wasn’t – past 3 years, the project is only at its formal beginning in terms of reporting and monitoring how do you think it could be impact. At its first maker day there will be ways of gathering oral feedback, audio recordings, Email: kristin@clear‐village.org monitored? attendance registers, social media, ‘likes’, photo documentation. The Hwb plans to develop ways of collecting data that don’t just feel like a bureaucratic exercise. Role: Editor and author C‐19 Way in order to communicate the impact of the project: D‐2 Representative pictures How was the impact of the project / Social media, community newsletters, formal feedback to grant organisations. Picture's caption: London‐HwbPentredwr‐Gwlangollen interior activities disseminated or communicated? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in There are no final users as this is an ongoing project. However, an indicator of the project’s public space(s) perceived, strength is that first time visitors and participants keep coming back. Geographically, Pentredwr is evaluated, judged by the final users hard to get to, and this is not a project in the middle of a town centre, so people have to make a – what were the reactions of the concerted trip to get to the activities, not just drop in. Most visitors to Gwlangollen are very general public? positive, wowed by the workshop space, and enjoy visiting. The only negative feedback is the lack of access to wheelchair users. 265 Picture's author: Gill Britten Picture's date: 7/17/2019 12:00:00 AM Picture's source: Gill Britten Picture's caption: London‐HwbPentredwr‐Gwlangollen interior2 Picture's author: Gill Britten Picture's date: 7/17/2019 12:00:00 AM Picture's source: Gill Britten Picture's caption: London‐HwbPentredwr‐Old Schoohouse interior1 266 Picture's date: 7/23/2021 12:00:00 AM Picture's source: Gill Britten D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any When interviewing representatives of the project, concerns were expressed that not a huge additional information that was not amount of the template is applicable to this project, and that not all community‐led projects fit communicated through the neatly into the parameters of this template. It was suggested by the project representatives that template there could be a more engaging way to present the questions. Picture's author: Gill Britten Picture's date: 7/23/2021 12:00:00 AM Picture's source: Gill Britten Picture's caption: London‐HwbPentredwr‐Old Schoohouse interior2 Picture's author: Gill Britten Picture's date: 7/23/2021 12:00:00 AM Picture's source: Gill Britten Picture's caption: London‐HwbPentredwr‐wool weaving Picture's author: Gill Britten 267 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement +5 +4 Utopias Bach +3 Utopias Bach +2 +1 Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character  ‐1 A‐1 General information about the location of the remote place ‐2 Country name (in local language): Teyrnas Unedig ‐3 Region name (in local language): Cymru ‐4 Place name (in local language): Gwalchmai, Penrhyndeudraeth, Fron, Bethesda, Llangoed, ‐5 Porthaethwy and Nant Peris Open landscape Country name (in english): United Kingdom The project is ongoing and so far has taken place across 7 different geographic locations in the counties of Gwynedd and Anglesey Region name (in english): Wales in North Wales, but it also puts equal importance on the digital support network and community that has grown since the start of the Comment: project, which is not tied to geographic location. Of all the principal areas of Wales, Gwynedd has the third lowest level of population Place name (in english): Gwalchmai, Penrhyndeudraeth, Fron, Bethesda, Llangoed, density and Anglesey the 7th lowest. Porthaethwy and Nant Peris Difficult terrain +5 +4  +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Map of the network of public spaces in the remote place ‐3 ‐4 ‐5 Effortless terrain Although it varies across the different locations of the project, generally Gwynedd and Anglesey have rough terrain and are Comment: connected by relatively small roads and highways. In smaller villages there is limited bus service. Caption of the map: All locations where Utopias Bach takes place Legend of the map: As mentioned above this project puts equal weight on the online support network and communities involved, in a way that is not always tied to geographic location. The project has held physical activities in the following locations, which make up its current geographic network. For the sake of this case study, we will focus on Nant Peris, one of those geographic locations, in 268 terms of public space in subsequent sections. Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4  ‐5 ‐5 Absence of economic activity The county of Anglesey is one of the poorest areas in the UK. More than one third of homes in Gwynedd live below the poverty line. Low‐income households prevail Comment: Of the 9 key employment sectors in Wales, the top 3 are financial & professional services, food & farming, and energy and Compared to all regions of Wales, Anglesey has the 7th lowest average weekly income, and Gwynedd has the 5th lowest. Both are environment. The creative industries only make up 5% of total employment and enterprise. Comment: below the Welsh average. Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 0 +3 Explanation: We had an extended conversation about the definition of remoteness with the organisers of this project. They thought that there were too many definitions of remote to be able to make one +2 judgement about all the locations that their project takes place, and that it was not appropriate to make a judgement based on assumptions on behalf of so many people from so many  +1 communities. Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound A‐4 Elements that characterise the remoteness of the place: demographic demographic structure structure Low population density  ‐1 Geographical barrier/allocation  ‐2 No good transportation links  ‐3 Difficulties in accessing daily‐life‐  ‐4 support facilities ‐5 Social specifics and/or divisions  Daily‐life‐support facilities none‐existing Economic inferiority  The average age in Anglesey is 44.9 years, and 42.4 in Gwynedd, both of which are higher than the UK average. In each area there Subjective criteria  Comment: are basic public amenities, although some of them require driving or public transport. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that The locations where this project takes place are largely rural, in small villages and towns with characterise this case as a remote direct access to nature and wildlife. This, as noted by the members of the project, is not place: necessarily a reason why a place should be labelled remote. Some of the members reported feeling much more connected to the rest of the world and their community after they moved to these purportedly ‘remote’ areas. Statistically, in terms of population density, poverty and access to services, these places sit on the lower end of the scale when compared to neighbouring regions. Low population density rank: 1 269 Geographical barrier/allocation rank: 2 Meadows  No good transportation links rank: 3 Parking area  Difficulties in accessing daily‐life‐ Service yard  support facilities rank: Other types:  Social specifics and/or divisions 4 rank: Specify other types: Economic inferiority rank: Type of indoor public spaces that can be found in this remote place: Subjective criteria (e.g. community’s self‐perception of being remote etc) A‐8 General description of.. rank: The network of roads, streets, paths The A4086 is the main road that connects Nant Peris to the main neighbouring town, Llanberis, Other rank: and alike elements that tie this and this road seems to bifurcate the village. Nant Peris is intersected by many different walking remote place together: routes as it is in the heart of the national park Snowdonia. Roads are generally two lanes, A‐5 Provide the links to public data sometimes narrowing to one lane, and are narrow and winding. There are very few paved footpaths on the main road or side streets. Links to public data on the remote place The quantity and structure of public Overall there are many natural outdoor public spaces but few indoor public spaces. There is a space network (besides small playground, a carpark, a churchyard, and a pub, as well as a number of privately run The link: https://en.wikipedia.org/wiki/Anglesey (https://en.wikipedia.org/wiki/Anglesey) roads/streets/paths network) in this campsites and a rock climbing hut business. There is instant access to many public hiking trails in remote place: pristine mountain ranges. The closest indoor public spaces are in the neighbouring town of Links to public data on the remote Llanberis, where there are car parks, playgrounds, squares, a lake with lakeside activities and place walks, and camp sites. The link: https://en.wikipedia.org/wiki/List_of_Welsh_principal_areas_by_population (https://en.wikipedia.org/wiki/List_of_Welsh_principal_areas_by_population) A‐9 General description of the quality of public spaces in this remote place Links to public data on the remote Answer: The public spaces are not well equipped for wheelchair access. There is some provision for place children with the playground, but most of the recreational activities the village caters to are for adults. The quality of what public spaces there are is very high in terms of beauty and recreational The link: https://ugeo.urbistat.com/AdminStat/en/uk/demografia/eta/isle‐of‐anglesey/379/4 purposes but there are not many places in Nant Peris that function as central community (https://ugeo.urbistat.com/AdminStat/en/uk/demografia/eta/isle‐of‐anglesey/379/4) gathering spaces. Links to public data on the remote B‐1 Name(s) of the public space(s) place Name(s) of the public space(s) (in Fron Penrhyndeudraeth Nant Peris Bethesda Porthaethwy Llangoed Gwalchmai The link: https://gov.wales/sites/default/files/statistics‐and‐research/2019‐03/priority‐sector‐statistics‐2016‐ local language): new‐gva‐data‐2014.pdf (https://gov.wales/sites/default/files/statistics‐and‐research/2019‐03 /priority‐sector‐statistics‐2016‐new‐gva‐data‐2014.pdf) Name(s) of the public space(s) (in Fron Penrhyndeudraeth Nant Peris Bethesda Porthaethwy Llangoed Gwalchmai English): Links to public data on the remote place Latitude of the public space(s): 52.30268331342794, The link: https://gov.wales/sites/default/files/statistics‐and‐research/2018‐12/141218‐local‐area‐summary‐isle‐ Longitude of the public space(s): ‐3.334445437817761 anglesey‐en.pdf (https://gov.wales/sites/default/files/statistics‐and‐research/2018‐12/141218‐local‐ area‐summary‐isle‐anglesey‐en.pdf) Links to public data on the remote place The link: https://www.streetcheck.co.uk/postcode/ll554ue (https://www.streetcheck.co.uk/postcode /ll554ue) A‐7 The type of public spaces that can be found in this remote place (besides the Ground plan showing the land use roads/streets/path network) of the public space(s): Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Caption's map of the public space: The Old Goods Yard in Bangor Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  270 Legend's map of the public space: Utopias Bach events have taken place in woodlands, artists studios, members’ private homes, in Activity: Community experiments schools, and online. One example of one specific building that one of the events has taken place in is The Old Goods Yard in Bangor. It is a collection of artists’ studios with an outdoor Activity: Community workshops such as Geocache Bach, Trawsffurfiad, a Box of Dreams, Blackout bach yard/workshop area. The studios are made up of corrugated metal warehouses and they each poetry and Microworld walks have a ground floor entrance. There is a goods yard in the middle of all of them which is also used Activity: Online meetings and workshops for boat storage and vehicle parking. Activity: Written responses and blogs Main location  B‐8_b Who are the main users of this public space(s)? B‐2 Describe the physical environment User: lead artists Physical environment description of When interviewed, the representatives of Utopias Bach felt, as this project was developed during the public space(s) with creative and in response to the pandemic, that a key element of its nature is not being directly tied to User: Writers in residence works: specific geographic places. The project touches down in geographic places to facilitate and run artistic and creative events, but equally important is the fact that it is a support network, an User: partners exchange process, and a shared virtual space for experimentation and imagining the futures of User: 30 collaborators members’ communities, without the pressures of having concrete ‘outcomes’. However, for the sake of completing this template, this response will focus on Nant Peris, one of the locations User: plantlets where activities have been based. Nant Peris is a village in Snowdonia national park, in the foothills of Mount Snowdon, in the county of Gwynedd, North Wales. The nearest major city is User: community connectors Bangor, 14 miles away. The village consists of small clusters of mostly one story cottages, farmhouses and farm buildings, a church and a pub. It is surrounded by rivers, lakes, and streams. B‐8_c What are the users activities of this public space(s)? There are several tourist accommodations in Nant Peris in the form of campsites, B&Bs, and climbing huts. Users Activity Before After Physical environment elements One of the artists involved used her studio and bases her participation in the project from Nant partners Collaboratory   were important and/or actually Peris, sometimes running Utopias Bach workshops from there. The project considers the current partners Community experiments   "used" by creative people for their and future states of the landscape, public spaces, ecologies and communities for how they all activities: connect to each other, so all of Nant Peris is ‘used’ in this project, in the sense that it is considered partners Community workshops such as   by the collective holistically. Geocache Bach, Trawsffurfiad, a Box of Dreams, Blackout bach poetry B‐3 Describe the general functions and Microworld walks Functions and land uses description Nant Peris has a combination of different kinds of spaces, including residential (mostly cottages), partners Online meetings and workshops   in the area of the public space: agricultural (sheep farms), touristic (airbnbs, pub, climbing huts, campsites). It is at the base of Mount Snowdon so the main type of land use is touristic. There are no significant functional partners Written responses and blogs   nodes as they are described in the question, although Llanberis, the town neighbouring Nant   Peris, has many facilities and nodes, including a railway station, museum, high street with shops, 30 collaborators Community experiments restaurants etc. 30 collaborators Community workshops such as   Functionalities of space were Again, the project considers the current and future states of the landscape, public spaces, Geocache Bach, Trawsffurfiad, a Box important and/or actually "used" by ecologies and communities for how they all connect to each other, so all of Nant Peris is ‘used’ in of Dreams, Blackout bach poetry creative people for their activities: this project, in the sense that it is considered by the collective holistically. and Microworld walks 30 collaborators Online meetings and workshops   B‐4 General demographic characteristics of the area around the public space: plantlets Collaboratory   Describe the general demographic Across the UK as a whole, the gender split is roughly equal at 49% male, 51% female. Nant Peris is characteristics broadly in line with those figures, with 47% male. The percentage of detached houses is higher plantlets Community experiments   than the national average, and the percentage of homeownership is higher than the national average. A significant majority are between 45‐59 years old, which is above the national average plantlets Community workshops such as   age. Geocache Bach, Trawsffurfiad, a Box of Dreams, Blackout bach poetry B‐5 Type of the public space(s) with creative work and Microworld walks Form and function: Various Utopias Bach activities have taken place in community open air spaces, shop windows, community connectors Collaboratory   and public indoor and outdoor spaces. Others have taken place online due to Covid. community connectors Community experiments   Ownership: mixed community connectors Community workshops such as   Access regarding entry‐control: It depends on the event Geocache Bach, Trawsffurfiad, a Box of Dreams, Blackout bach poetry Access regarding time of day/week It depends on the event and Microworld walks /year: community connectors Online meetings and workshops   B‐7 Kind of activity initially designed for this public space: community connectors Written responses and blogs   What kind of activity has been this This question is not relevant to this project as there are so many places that the project has taken   public space designed for initially place, and online meetings are equally integral to the project as are physical spaces. lead artists Collaboratory lead artists Community experiments   B‐8_a Which are the activities in this public space(s)? Activity: Collaboratory 271 lead artists Community workshops such as   Describe the project (activities) that Utopias Bach involves experiments where artists and diverse communities work together to re‐ Geocache Bach, Trawsffurfiad, a Box took place in the analysed public imagine the world on a small scale through interconnected, supportive, creative hubs in North of Dreams, Blackout bach poetry space(s) Wales and beyond. The experiments range from geographical communities meeting together and Microworld walks weekly to discuss ideas to dispersed networks sharing detailed observations to mini‐festivals and small scale on‐the‐ground actions. The discoveries and connections made become the starting lead artists Online meetings and workshops   point for discussion, generating lasting networks, support, tools and strategies for thought and action. This project is counter‐mainstream, counter globalisation, working small and local, and lead artists Written responses and blogs   focuses on what the world will be like in future. It values the subtle changes in energy people put Writers in residence Written responses and blogs   towards reimagining the future. It acknowledges that things are not working well now ‐ people are depressed, especially in the midst of the pandemic. The project focuses on changes that feel B‐9 Parts/sections/spots seem most attractive within the public space (location and manageable, working in small scale with miniatures to allow more things to be feasible, and for duration) ‐ Parts/sections/spots at people seem to avoid: more radical ideas to come forward, as it is difficult for individuals to think on a global level about global solutions without feeling hopeless and disempowered. The nature of the project is Describe what parts seem to be the More attention, consideration and imagination have been given to each of the different locations collaborative, democratic, and non‐judgmental ‐ each member is encouraged to explore and own most attractive to people where Utopias Bach takes place, with small‐scale, microcosmic workshops and events undertaken their biases. This is very much a process‐based, fluid project, where a discussion can become an to support participants’ radical re‐imagining of society, within their own immediate surroundings. object, then lead to another discussion or object ‐ there is no hierarchy between objects, the For example, during the nature walks, participants have paid particular attention to the imaginary, the workshops, or the website. This is very different to thinking concretely about the ecosystems that exist around them and how they connect to their communities, and they have traditional artist’s, architect’s, or urban planners’ process of ‘finishing’ a work. therefore spent more time in the natural areas near their homes. There are no parts of any locations that people have avoided as a result of this project. C‐3 Challenge that the project (activities) tried/is trying to tackle: B‐10 Provide the links to public data on the public space(s) What challenge was the project The main challenge is being overwhelmed by the current state of the world, even pre covid, ie. (activities) trying to tackle – what climate change, inequality, and all the ‘big issues’ that are a result of the existential neoliberal Website: was the aim crisis we are all in. Utopias Bach gives people freedom not to have to think about the real world, and take a playful look at problems without consequence, to radically imagine. The project asks Website's link: https://www.utopiasbach.org/ (https://www.utopiasbach.org/) how we can respond to this moment of turning that has been created by lockdown, which gives Website: us the chance to do something different. It is about making small things, feeling supported and contained, focussing on wildlife, the micro. Website's link: https://www.instagram.com/utopiasbach/ (https://www.instagram.com/utopiasbach/) C‐4 Time frequency: Website: Time Frequency Other Website's link: https://www.facebook.com/groups/530206858174320 (https://www.facebook.com/groups /530206858174320) Other information: It depends on the particular type of activity ‐ there are monthly ‘collaboratories’, which are the main structure to support, challenge, and develop the smaller group meetings & workshops, and B‐11 Provide photos of the public space(s) with creative works each se Caption: C‐5 Time period *** Start: 3/1/2020 12:00:00 AM Photo's author: End: C‐1 Official name of the activity/project Comment: Project is ongoing Name in local language: Utopias Bach C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Name in English: Utopias Bach Actor(s): Nickname: Motivations: Overall name:  Roles: C‐2 Description of the project (activities) that took place in the analysed public space(s): Actor(s): Lead Artists: Lindsey Colbourne, Julie Upmeyer, Lisa Hudson, Samina Ali, Wanda Zyborska Motivations: Learning, expanding, learning how to do co‐creation, working small scale, exploring a list of collaborative questions in colaboratories. Focusing on positive change. Being their own clients. Experimenting, connecting, supporting and creating a though Roles: Collaboratively support and facilitate Utopias Bach, share the chairing of meetings, administration Actor(s): 30 collaborators Motivations: Same as above ‐ participate in an action learning space, being part of a supportive community, having organic input into the nature of Utopias Bach, participating in a safe, supportive space, not necessarily outcome‐driven, philosophical. Noticing, e Roles: members of collaboratory Actor(s): ‘plantlets’ Motivations: Plantlets are grassroots community groups that have found their own motivations through Utopias Bach, and have grown under the core mother plant of UB, they go off to develop their 272 own projects, decide when/if work independently., ie on health and we Roles: general participation in UB Comment: Individuals coming together with their own experiences, not sectors Actor(s): community connector C‐10 How was the local community involved in the project/activities: Motivations: people who are already active in their communities; the ‘plantlets’ usually work with a community How was the local community The project consists of the local community. In Penrhyndeudraeth, for example, the community connector and a lead artist. They help ensure that marginalised voices are heard in the project, involved in the project/activities? ran online activities which moved into the real world in the form of an exhibition in a shop that the project is not top‐down, non‐hierarchical, and window. This was developed in collaboration with Community Connectors. There is also a project currently being developed in Penrhyndeudraeth with teenagers. The UB schools project was Roles: work with communities on the ground level developed with Rural Futures and local school children, who took leadership in the project. In Actor(s): lead artists Malawi UB is starting an after school club. Motivations: work with community connectors to develop the project in specific locations C‐11 The role of natural/cultural heritage in the project/activities: Roles: artist Did cultural and/or natural heritage No and yes. One factor of cultural heritage is the Welsh language, which is incorporated play any specific role in the throughout the project. Cultural heritage is also present in the project in the sense that one factor Actor(s): Seran Dolma project/activities? in radically imagining the future is learning from the past. Interviewees noted that the project is deliberately developing ways of breaking down the nature/culture divide as a symptom of our Motivations: writes about the project, on website, making mini utopias, she has always wanted to write more, disconnection from the world around us. UB’s rural projects are incredibly situated and sensitive and develop her writing career to heritage. Roles: writer in residence C‐12 The targeted impact of the project/activity: Actor(s): Frances Williams What was the targeted impact of Interviewees noted that this project is specifically resistant to targets and impacts ‐ it is about Motivations: involved outsider who writes critically on project, arts & health the project / activities? being open‐ended, asking questions, and seeing where it goes. The project website defines the nature of UB as undertaking ‘experiments that explore ideas for the future (that may already be Roles: participant observer present) /constructed/presented/framed in a small scale (physically, or as a microcosm) that in Actor(s): Rural Futures ‐ Mark Gahan some way might help us imagine the world a better place for humans and more‐than‐humans of all kinds, especially those who are most badly affected by the current state of the world.’ Motivations: Interested in new ways of hearing from young people as a starting point in engaging communities in imagining different futures in rural communities. C‐13 Achievement of the targeted impact: Roles: Rural Futures Yes/no/partly: ‐1 Actor(s): Plas Bodfa Projects Comment: See C‐XII. The project has an organic process and is still asking questions, is frequently changed by encounters with new members and world events, and is in a continuous state of becoming. The Motivations: Host organisation which coordinates activities, exhibitions project evolves along with members and with non‐members, as well as with other species. Interviewees emphasised that there is a freedom in going forward with a project without it being Roles: host organisation something, without having an ‘outcome’. UB creates space to think about things without C‐7 Description of the supporting background that existed to make the activities happen: worrying about failure, or meeting quotas. In terms of evaluation, the group is developing ways of thinking about the impact years in the future of not only the project, but the project situated What kind of supporting Significant support came from the existing network of creative people in North Wales. In terms of with a world whose future it affects. The strength of the project is that it’s not about failure or background existed to make the funding, the project has received a small seed fund grant from Creative Gwynedd which enabled success, and that deadlines and ‘outcomes’ don’t necessarily allow for deep, organic exploration activities happen (financial, the Penrhyndeudraeth pilot, a small amount of funding from Rural Futures to work in schools, of ideas, and can lead to weak or superficial solutions for problems. institutional etc.) then a sizable Arts Council Wales grant. It was also supported by 100s of hours of free labour. C‐14 Additional achieved impacts: C‐8 Sectors involved in the development of the creative works with public spaces: Were any additional impacts Not applicable. Culture  achieved? Education  C‐15 The main beneficiaries of the creative work in public space(s): Health  Who were the main beneficiaries of Marginalised voices, artists, various communities (see map), non human beings including flora the creative works in public and fauna. Sustainability  spaces(s)? Science  C‐16 Presence (or not) of economic benefits for the local community as a whole or any Tourism  specific actors in particular, resulting from the creative works with/in public spaces: Sport  Were there any, no matter how big Because of the many hours of volunteer time put into getting the project off the ground, and or small, economic benefits for the financial support from Gwynedd Council, Rural Futures, AHRC, Penrhyndeudraeth Covid grants, Industry  local community as a whole or any and the support of Metamorffosis arts festival, there is now substantial funding for the project specific actors in particular, from ACW, which will pay contributors. Other:  resulting from the creative works Specify other: The interviewees noted that in terms of this project, it is not productive to think about these as with/in public spaces? different sectors. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that C‐9 Sector which was.. potentially empowered the actors to prosper in their future development: ..the initiator of the activities: Other ..the most crucial for the whole case Other 273 study: Were there any exchanges of The entire project is structured around supporting and learning. It is about exchanging D‐2 Representative pictures knowledge or other activities knowledge, empowering communities and individuals from a wide range of professional performed that potentially backgrounds to work in different ways, taking turns to try new ways of working and new Picture's caption: Utopias Bach mapping workshop empowered the actors to prosper in activities, such as holding guided visualisations. People having so many different areas of their future development? expertise has meant that the group also tries many different ways of holding meetings and working through issues. C‐18 Monitoring (or not) of the impact of the project: How was the impact of the project / The group participating in the events in Penrhyndeudraeth had to fill in monitoring forms for activities monitored? If it wasn’t – funders. Blogs have been written about the project. During the co‐laboratories, the group how do you think it could be discusses and reflects on projects people present. There were feedback sessions on the school monitored? activity. There is a significant amount of photo documentation, video, and recorded meetings, and reviewing and writing on meetings. The group is developing a schedule for holding ‘reflective cycles.’ C‐19 Way in order to communicate the impact of the project: How was the impact of the project / It is disseminated internally, as well as on the project website and social media. activities disseminated or communicated? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in After Metamorffosis arts festival, there was an online imaginary museum in which participants public space(s) perceived, reimagined how the project could be different the next time. Feedback is also gathered through evaluated, judged by the final users participants telling narratives of their experience during the project. – what were the reactions of the Picture's author: Mark Gahan general public? Picture's date: 7/10/2021 12:00:00 AM C‐21 The (one) main success and the (one) main failure of the project/activities Picture's source: Utopias Bach Main sucess: Interviewees stated they don’t use the terms ‘success’ and ‘failure’ to talk about Utopias Bach, as Picture's caption: 1 Geocache Bach 26‐27.6.21, Treborth thinking and acting according to those terms would dictate the nature of the project. Main failure: C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader See response in CXXI regarding the use of terms ‘success’ and ‘failure’. Factors that contribute to conditions (e.g. the supporting the project’s existence include a strong pre‐existing network and culture of artists working state of the art in the community, together. The broader network also included people on the ‘periphery’ of art, who felt they were infrastructure, institutional support, welcome to join in, without structured hierarchies, outside of institutions. The project’s openness financial sources, local or has meant that people choose to be involved through genuine interest, regardless of whether it "imported" know‐how etc.) for the would advance their career. The project also receives individual support and guidance from main success and main failure factor academics. The interviewees observed that there is a particularly strong energy from the community in North Wales to get involved in projects, without necessarily being previously involved in visual arts. In other contexts this project may have been perceived as having more barriers, but in North Wales it is perceived as open and inviting. Another broader condition was the pandemic and consequent lockdown, which structured the ways in which people were able to work together. C‐23 Provide the links to public data on the creative works Link to public data to better https://www.utopiasbach.org/blog‐1/utopias‐bach‐eglurhad‐aneglur understand the activities and actors, (https://www.utopiasbach.org/blog‐1/utopias‐bach‐eglurhad‐aneglur) as well as impacts: Picture's author: Lindsey Colbourne The link: Picture's date: 7/27/2021 12:00:00 AM D‐1 Main editor in charge of this entry and potential other authors of this case study Picture's source: Utopias Bach description Picture's caption: 2 Geocache Bach 26‐27.6.21, Treborth Name and surname: Kristin Luke Organization: Clear Village Email: kristin@clear‐village.org Role: Editor and author 274 Picture's author: Lindsey Colbourne Picture's date: 6/27/2021 12:00:00 AM Picture's source: Utopias Bach D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any The interviewees for this case study, and the other case studies I have undertaken, have taken additional information that was not real issue with the terms ‘success’, ‘failure’ and ‘remote’. My experience so far, with all of the communicated through the people I have interviewed, whether their project is linked to the arts, social enterprise, or template grassroots community groups, is that being asked questions from this template which label them and their communities as remote, creates a situation where they feel the need to explain and defend why they are not remote. This puts us, the Human Cities interviewers, in a hierarchical position in relation to them, as the party who is ‘not remote’. Furthermore, being asked questions about a project’s main ‘failure’ has caused all interviewees to feel uncomfortable, as none of them thought about their projects in these terms. It would be good to talk about these issues as we, the partners, develop the approaches we might take when we start co‐developing our actual projects with our communities. 275 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement +5 The Wall Is___ +4 Mae’r Wal Yn___ +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): United Kingdom ‐1 Region name (in local language): Wales ‐2 Place name (in local language): Llandudno ‐3 Country name (in english): United Kingdom ‐4 Region name (in english): Wales ‐5 Place name (in english): Llandudno Open landscape Of all Clear Village’s case studies, this one takes place in the most built up area, but we consider the community to be economically Comment: and socially remote. The particular area of Llandudno where this project takes place is a housing estate on the outskirts of the town and is separated by a large boundary wall. The housing estate is comprised of apartment blocks and rows of individual houses. Difficult terrain +5 +4 +3 Map of the network of public spaces in the remote place +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2  ‐3 Caption of the map: Tre Cwm Housing Estate ‐4 Legend of the map: Light grey: public amenities or residences not considered part of the estate Dark grey: residences on the estate Light green: private green areas Dark green: public green areas ‐5 Effortless terrain There are good quality roads and buses which service the estate. Llandudno train station is a 20 minute walk away. The estate is Comment: adjacent to a hospital and community centre so the entire area is easily accessible by cars. There are sidewalks throughout the estate for pedestrian access and some bike routes. 276 Diversified economic activities High‐income households prevail +5 +5 +4  +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity There is a diverse creative sector in the area, not within the estate itself, but accessible within the rest of Llandudno. Llandudno is Low‐income households prevail home to a contemporary art gallery, theatre venues, museums, and hosts numerous arts festivals throughout the year. There are The estate community has been the recipient of different socially engaged arts projects over the past 6 years and until the pandemic Comment: several community arts organisations which provide access to the arts within the broader community. Economic activities are diverse the community centre on the estate offered a rich programme of community services and activities. However, there are higher levels but heavily weighted on the hospitality sector as Llandudno is a holiday destination. Comment: of poverty on the estate than in other parts of Llandudno, and ‘parts of the Tudno ward in Llandudno are in the 10% most deprived areas of Wales’ Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4  Estimation: 1 +3 Explanation: Although this is difficult to judge and to make assumptions about what an entire community +2 thinks, most residents would assume that remote means geographic remoteness and hence think the estate is not particularly remote. +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  On the estate there is a community centre, an NHS outreach centre, a shop. In the rest of Llandudno a wide variety of amenities can Comment: be accessed - post office, shops, petrol, restaurants, health and wellbeing facilities, gyms, libraries etc. Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that This particular ward of Llandudno, the Tudno ward, is within the top 10% most deprived in Wales characterise this case as a remote overall, and in terms of health, income, employment, and community safety, even though its place: neighbouring wards are in significantly less deprived percentiles in these aspects. There is a community self‐perception that they are not a part of the rest of Llandudno, although they would like to be. The boundary wall that separates the estate from the rest of Llandudno gives a visual impression that it is separate as well. Low population density rank: Geographical barrier/allocation rank: 2 277 No good transportation links rank: The quantity and structure of public There is a footpath at the back of the estate which leads up to Cwm Mountain, a network of space network (besides walking trails around a hilly outcrop with ancient ruins. Within the estate are roughly 14 small Difficulties in accessing daily‐life‐ roads/streets/paths network) in this public green spaces, but some of these are very small and may be just a patch of grass lining a support facilities rank: remote place: footpath. There are three play areas for children with play equipment, some public seating, and a basketball court. These are either tarmaced or covered in grass. Most seating is in the form of Social specifics and/or divisions 1 concrete blocks. rank: Economic inferiority rank: 3 A‐9 General description of the quality of public spaces in this remote place Subjective criteria (e.g. community’s Answer: The children’s play areas have relatively new and good quality play equipment, some made with self‐perception of being remote etc) natural boulders. There are some pathways through green areas which have been freshly paved. rank: Spaces are generally made accessible to wheelchair users. The community centre provides for many different residents’ needs through its services and activities, from youth club, support with Other rank: job applications, bingo club, art classes, exercise classes, etc. The public green areas on the estate are generally well built and landscaped but are often sites of fly tipping. The public passageways A‐5 Provide the links to public data through the estate, although originally built to facilitate pedestrian access, can be areas which are unsafe. Links to public data on the remote place B‐1 Name(s) of the public space(s) The link: https://gov.wales/welsh‐index‐multiple‐deprivation‐full‐index‐update‐ranks‐2019 Name(s) of the public space(s) (in Multiple sites across the Tre Cwm housing estate, between Maesdu Road, Maesdu Avenue, https://www.conwy.gov.uk/en/Council/Statistics‐and‐research/Census/Census‐2011/Area‐profiles local language): Bodnant Road, and Ty Llywelyn Community Centre, Llandudno, LL30 1LA. /Assets/documents‐CC/2011‐Census‐area‐profile‐Llandudno.pdf https://www.conwy. (https://gov.wales/welsh‐index‐multiple‐deprivation‐full‐index‐update‐ranks‐2019 Name(s) of the public space(s) (in Multiple sites across the Tre Cwm housing estate, between Maesdu Road, Maesdu Avenue, https://www.conwy.gov.uk/en/Council/Statistics‐and‐research/Census/Census‐2011/Area‐profiles English): Bodnant Road, and Ty Llywelyn Community Centre, Llandudno, LL30 1LA. /Assets/documents‐CC/2011‐Census‐area‐profile‐Llandudno.pdf https://www.conwy.) Latitude of the public space(s): 53.31201767999364 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Longitude of the public space(s): ‐3.8259795548091806 Ground plan showing the land use Square/s, Plaza/s  of the public space(s): Park/s, Garden/s  Caption's map of the public space: Map Market space/s  Legend's map of the public space: Light grey: public amenities or residences not considered part of the estate Dark grey: residences Playground/s  on the estate Light green: private green areas Dark green: public green areas Recreational space/s, Sport‐field/s  Main location  Community open‐air space/s  B‐2 Describe the physical environment Institution‐related open‐air space/s  Physical environment description of Tre Cwm housing estate is a mix of apartment buildings and rows of individual houses originally (e.g.University grounds) the public space(s) with creative built in the 60s which were renovated in the early 2000s. They are mainly comprised of stucco, works: concrete and brick. The individual houses often have small private gardens. The wall surrounding Watersides  the estate, where the resulting artwork is installed, is roughly 2 metres high, pebbledash, and capped with square stones. The estate is located on the south end of the seaside town of Meadows  Llandudno, a Victorian spa town with seafront buildings with ornately moulded facades, a pier, Parking area  shopping centres, and surrounded by natural features such as the Great Orme with ancient copper mines, two beaches, and Cwm Mountain. Service yard  Physical environment elements The creative works took place at multiple sites across the estate, and sometimes included going Other types:  were important and/or actually to every door step on the estate. Main activities took place along Ffordd Elizabeth, one of the "used" by creative people for their main streets in the estate, with a bigger public green area, at Ty Llywelyn community centre, on Specify other types: activities: the basketball court, on Cwm Mountain, and along Bodnant Road. The final creative work, the Type of indoor public spaces that artwork for the wall, is located on the boundary wall along Maesdu Rd. can be found in this remote place: B‐3 Describe the general functions A‐8 General description of.. Functions and land uses description The general functions of the space are residential (houses and neighbourhood green areas), The network of roads, streets, paths Roads are generally in good repair. Maesdu Road is the main road that skirts the edge of the in the area of the public space: recreational (basketball court), services (Community Centre), and transport (where the wall is and alike elements that tie this estate and connects it to the rest of Llandudno, and to highways that link Llandudno to other located along the Maesdu Road). remote place together: major towns and cities. The streets within the estate itself are winding and can be confusing to Functionalities of space were They were all important ‐ the nature of the project was to try and incorporate a programme of navigate, as some have been blocked off and turned into unexpected cul de sacs due to new important and/or actually "used" by community activities into the pre‐existing functions of the estate. Activities were led on the public housing being constructed. The estate also has a series of narrow walkways and parking areas creative people for their activities: green because that is where residents frequented. Activities were led in the community centre as which are often the site of fly tipping, and some residents have complained of the lack of safety in part of their pre‐existing set of services they offered. these narrow passageways. The estate has good sidewalks for pedestrians and has recently had a new bicycle lane installed. B‐4 General demographic characteristics of the area around the public space: 278 Describe the general demographic The population on the estate is roughly 800 people. In the ward where the estate is located, 53% Website's link: https://cartreficonwy.org/get‐involved‐2/environmental‐projects/ https://www.wales247.co.uk characteristics are female and 47% are male. Percentage of age groups are generally in line with national figures, /estates‐green‐makeover‐secures‐unique‐double‐honour‐for‐housing‐association but there are more people aged 65+, and more people between 44‐65, than the national average. http://www.welshnewsextra.com/2‐75m‐scheme‐to‐transform‐llandudno‐housing‐estate/ 93.8% of the population is white British. 87% of people are in socially rented housing, which is far (https://cartreficonwy.org/get‐involved‐2/environmental‐projects/ https://www.wales247.co.uk greater than the national average. /estates‐green‐makeover‐secures‐unique‐double‐honour‐for‐housing‐association http://www.welshnewsextra.com/2‐75m‐scheme‐to‐transform‐llandudno‐housing‐estate/ ) B‐5 Type of the public space(s) with creative work B‐11 Provide photos of the public space(s) with creative works Form and function: Parking lot next to public green area with natural play landscape including miniature bridge, stones and sand pit; basketball court, community centre workshop rooms, kitchen, cafe, and Caption: London_The Wall Is__ final wall artwork installed office space, boundary wall alongside public walkway and two lane main road, corner shop, residents’ houses and back gardens. Ownership: All of these areas were public except for people’s homes. Access regarding entry‐control: All of these areas were completely open access except for the community centre which was open for walk‐ins during opening hours, and the shop with its own opening hours. Access regarding time of day/week All of the areas that were open access were accessible 24‐7; the areas that had opening hours /year: were open on a daily basis, and the hours changed depending on the time of year B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The variety of sites had a variety of original functions ‐ the basketball court was for recreation, the public space designed for initially community centre was for services, recreation and socialisation, the parking lot was for transit, the playground was for recreation, the area along the boundary wall was mostly for transit on foot and car, Cwm Mountain trails were for recreation. B‐8_a Which are the activities in this public space(s)? Activity: A. Participating in making film Activity: B. Participating in wall artwork brainstorming activities Activity: C. Participating in designing final wall artwork Photo's author: Kristin Luke Caption: London_The Wall Is__ augmented reality brainstorming B‐8_b Who are the main users of this public space(s)? User: 1. Adult residents of housing estate User: 2. Young residents of housing estate User: 3. Staff of community centre and housing associations B‐8_c What are the users activities of this public space(s)? Users Activity Before After 2. Young residents of housing estate C. Participating in designing final   wall artwork 1. Adult residents of housing estate A. Participating in making film   2. Young residents of housing estate A. Participating in making film   3. Staff of community centre and C. Participating in designing final   housing associations wall artwork Photo's author: Kristin Luke B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Caption: London_The Wall Is___ getting to know you van stops Describe what parts seem to be the A number of different getting‐to‐know‐you and brainstorming activities took place across the two most attractive to people year project, many of which encouraged residents to explore new areas of the estate. Residents were attracted to Cwm Mountain and its nature trails, some of them experienced these for the first time. There was a treasure hunt across the estate which encouraged residents to explore areas they had never visited before. Many residents who did not normally spend time at the basketball court attended the outdoor cinema night. Now more people walk along the boundary wall of the estate to look at the final artwork installed there. B‐10 Provide the links to public data on the public space(s) Website: 279 End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Kristin Luke Motivations: Designing and leading programme of community activities and final wall artwork design Roles: Artist in residence Actor(s): Iwan Williams Motivations: Supporting project development and implementation Roles: Creative Producer Actor(s): Lisa Carter Motivations: Supporting project development and implementation Roles: Creative Producer 2 Actor(s): Kevin Stonehouse Motivations: Participating in community activities and significantly contributing to the creation the final wall Photo's author: Kristin Luke artwrok C‐1 Official name of the activity/project Roles: Estate resident and painter Name in local language: Mae'r Wal Yn___ Actor(s): Core group of estate residents Name in English: The Wall Is___ Motivations: Participating in community activities and having input into the direction of the project Nickname: The Wall Is ___ Roles: Key participants in project Overall name:  Actor(s): Wider group of estate residents C‐2 Description of the project (activities) that took place in the analysed public space(s): Motivations: Participating in community activities Roles: Beneficiaries Describe the project (activities) that The Wall Is __ was a two year programme of activities on Tre Cwm housing estate in Llandudno, took place in the analysed public North Wales, resulting in an artwork for the main boundary wall of the estate. Approaching this as Actor(s): Steering Group space(s) a non‐hierarchical learning experience, the residents decided together how the project would contribute to and reflect their community.The activities programme encouraged the sharing of Motivations: Oversee budget, reporting, and general direction of project stories, histories, residents’ expertise, identity, and collective agency. The project addressed these questions: Can the wall be something to be proud of? What message should it tell the rest Roles: Steering Group of the world? What are the stories, objects, and images that will bring this wall to life? Can Actor(s): residents learn about and connect with each other from participating in the project? We chose this project as an example of social and economic remoteness ‐ although the housing estate is in Motivations: proximity to a small town, the project came about because of the estate residents’ experience of remoteness. It addresses community empowerment through long term engagement and a Roles: commitment to genuine co‐creation throughout. C‐7 Description of the supporting background that existed to make the activities happen: C‐3 Challenge that the project (activities) tried/is trying to tackle: What kind of supporting In addition to general support, advice and guidance from community organisations such as Ty What challenge was the project The overall hypothesis was ‘Does transforming an existing physical barrier through art and background existed to make the Llywelyn community centre staff, the mayor of Llandudno, North Wales Police, and Llandudno (activities) trying to tackle – what design‐led engagement processes affect societal barriers to access/participation?’ activities happen (financial, Museum, the project was also funded by the Paul Hamlyn Foundation was the aim institutional etc.) C‐4 Time frequency: C‐8 Sectors involved in the development of the creative works with public spaces: Time Frequency A constant process Culture  Other information: Education  C‐5 Time period Health  Sustainability  Start: 4/1/2019 12:00:00 AM Science  End: 4/1/2021 12:00:00 AM Tourism  Comment: Sport  Start: 280 Industry  Other:  Were any additional impacts The content above, gathered from the evaluation report, covers all of them. achieved? Specify other: housing C‐15 The main beneficiaries of the creative work in public space(s): C‐9 Sector which was.. Who were the main beneficiaries of The main beneficiaries were residents of the estate, secondary ones were staff at Ty Llywelyn ..the initiator of the activities: Culture the creative works in public community centre, the general public spaces(s)? ..the most crucial for the whole case Culture study: C‐16 Presence (or not) of economic benefits for the local community as a whole or any Comment: specific actors in particular, resulting from the creative works with/in public spaces: C‐10 How was the local community involved in the project/activities: Were there any, no matter how big Kevin Stonehouse, the resident who came up with the final wall artwork, was paid an artists’ fee or small, economic benefits for the for his participation in the project. How was the local community The community participating in roughly 50 different activities to collectively brainstorm ideas for local community as a whole or any involved in the project/activities? the wall artwork address the questions above. These included getting to know you van days, with specific actors in particular, activities taking place in a mobile workshop space, parked around the estate. There was a nature resulting from the creative works walk exploring the local wildlife, youth club design workshops, 3D scanning and augmented with/in public spaces? reality workshops, participating in a Bingo questionnaire, broadcasting on a local radio station, going on a treasure around the estate, dirt collection from residents to create bricks, one to one C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that interviews and consultations, and outdoor cinema screening a film made about the project, and potentially empowered the actors to prosper in their future development: the creation of the final artwork. The number of participants in each project varied. Other artworks The Wall Is_ produced other artworks alongside the residents, including: • Tre Cwm: Were there any exchanges of One resident used his participation in the project in his college applications, and one resident Distant Tomorrow by Ryan Parry. A short science fiction novel by a Tre Cwm resident about the knowledge or other activities benefited by having his artwork on display in the most large‐scale and public facing context to estate. • Artefacts produced through the project such as bricks made from local earth and performed that potentially date in his career. stamped with TRE CWM, found items reflecting the colours of the original designs for Tre Cwm, empowered the actors to prosper in printed T‐shirts and tote bags produced with the youth club. • Film documentary of the project. • their future development? Screening of the documentary. • An archive of film footage, photographs, residents’ artwork, C‐18 Monitoring (or not) of the impact of the project: social media interactions that convey Tre Cwm during 2019 – 2020. How was the impact of the project / Documentation, participation tallies, and feedback exercises were undertaken throughout the C‐11 The role of natural/cultural heritage in the project/activities: activities monitored? If it wasn’t – project by the creative producer and artist. These were compiled by an external evaluator for the Did cultural and/or natural heritage Yes, the nature walk and exploration of the history of the geographic site of the estate played a how do you think it could be final evaluation report. play any specific role in the major role in the project, and directly led to final designs for the wall artwork. Exploring the flora monitored? project/activities? and fauna on Cwm Mountain and ancient ruins on Cwm Mountain was a catalyst for bringing the C‐19 Way in order to communicate the impact of the project: community together and creating designs for the future of the estate, and the history of brick manufacture influenced nature of programmed activities, such as going from t door to door How was the impact of the project / Through social media accounts of the project and of the housing associations, via the project collecting dirt to filter and turn into clay to form Tre Cwm bricks. The heritage of Llandudno was a activities disseminated or website, Culture Action Llandudno’s website, and local press. The final evaluation report written key feature in the final artwork on the wall too, as visualised by the resident painter. communicated? for Paul Hamlyn Foundation will also be available via PHF. C‐12 The targeted impact of the project/activity: C‐20 Perception of the creative works in public space(s) by the final users and the reactions What was the targeted impact of The main impacts the project tested were: Residents 1. Explore whether the project will help of the general public: the project / activities? residents feel less exclusion, division, and social isolation (support increased sense of How were the creative works in The following feedback was collected from interviews with the external evaluator: the connectedness) 2. Explore whether residents have gained real tangible skills through being public space(s) perceived, participants in the project itself perceived it to have engaged the ‘hard to reach’ who might be involved in the project, which contribute to wellbeing, agency, self‐organisation, employability, evaluated, judged by the final users less confident in speaking out. The project helped residents develop the confidence to express confidence, self‐belief and motivation 3. Explore whether the project will have lasting positive – what were the reactions of the their opinions and helped them to feel proud of their estate. The housing associations perceived effect on the community, beyond the completion of the wall, i.e. local pride, positive behaviours, general public? that it was too soon to judge whether there had been a change in relationships between the and further participation Organisation 4. Explore whether having a long term, community‐specific housing association and the residents. There has not been a formal evaluation of responses to the project with a planned artistic legacy at the start, influences the engagement process. The “who” completed wall artwork, but most informal responses to the final artwork were very positive as well as “how” we engage. 5. Explore what conditions are needed to foster effective cross sector partnerships between arts and social housing providers and how this can be replicated. C‐21 The (one) main success and the (one) main failure of the project/activities External 6. Explore whether preconceived ideas and the negative perceptions the wider community has about the Estate’s residents change 7. Explore how learning from this work can Main sucess: The wall artwork was successfully designed and installed and many residents are happy with it inform future arts and regeneration programmes in Llandudno and North Wales and feed into the and feel it improves the estate, and a core group of residents benefitted tangibly and intangibly CCBC cultural strategy. from participating in the design process. C‐13 Achievement of the targeted impact: Main failure: Covid prevented the project from having a wider reach across the estate. Yes/no/partly: Partly C‐22 Importance of broader conditions for the main sucess and main failure factor: Comment: The final evaluation of the project surmised that the targets were partially achieved: • Ideas How important were the broader It was crucial that the project received support from pre‐existing community organisations, in around artist‐led regeneration were tested and explored • Ideas around community‐led place conditions (e.g. the supporting particular Ty Llywleyn community centre, to provide ‘a way in’ to the community through planning were tested and explored • There is evidence of active citizenship being promoted • It state of the art in the community, introductions and recommendations. The project would not have been possible without PHF is not possible to assess if social pride was promoted • There was some increased participation in infrastructure, institutional support, funding and was greatly benefitted by additional smaller grants from the housing associations. the arts but not a large amount • The hypothesis of ‘Does transforming an existing physical financial sources, local or The community centre closing down during the pandemic impacted on the project’s main failure barrier through art and design‐led engagement processes affect societal barriers to "imported" know‐how etc.) for the because it meant the project no longer had a physical base on the estate, and it was therefore access/participation?’ was tested but conclusions are unclear main success and main failure factor more challenging to meet and reach people. C‐14 Additional achieved impacts: C‐23 Provide the links to public data on the creative works 281 Link to public data to better Picture's source: Artist understand the activities and actors, as well as impacts: Picture's caption: London_The Wall Is__ augmented reality brainstorming The link: https://drive.google.com/file/d/1nayF34QEKHFgH7hku‐I38dZB0iFvcDj2/view?usp=sharing https://www.thewallis.cymru/ https://www.cultureactionllandudno.co.uk/tre‐cwm‐celf/ https://www.northwalespioneer.co.uk/news/18996567.community‐mural‐deemed‐vandal‐res D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Mrs Kristin J Luke Organization: Clear Village Email: kristin@clear‐village.org Role: editor and author D‐2 Representative pictures Picture's caption: London_The Wall Is__ final wall artwork installed Picture's author: Kristin Luke Picture's date: 8/15/2019 12:00:00 AM Picture's source: Artist Picture's caption: London_The Wall Is___ getting to know you van stops Picture's author: Kristin Luke Picture's date: 6/19/2019 12:00:00 AM Picture's source: Artist Picture's caption: London_TheWallIs_London_The Wall Is__ dirt collection day Picture's author: Iwan Williams Picture's date: 8/14/2019 12:00:00 AM Picture's source: Artist Picture's caption: London_The Wall Is__ interactive walking tour around estate Picture's author: Iwan Williams 282 Picture's date: 8/2/2020 12:00:00 AM Picture's author: Kristin Luke Picture's date: 11/15/2019 12:00:00 AM Picture's source: Artist D‐3 Additional information Additional information: Link: Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 283 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement +5 Cosmic Colliery +4 Glofa’r Gofod +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Cymru ‐1  Region name (in local language): Caerffili ‐2 Place name (in local language): Ystrad Mynach ‐3 Country name (in english): United Kingdom ‐ Wales ‐4 Region name (in english): Borough of Caerphilly ‐5 Place name (in english): Ystrad Mynach Open landscape Map of the network of public Sitting in the valley the town has characteristics of a dense urban settlement in the small areas of flat land, surrounded by open spaces in the remote place Comment: landscape with a difficult terrain. Caption of the map: map of ystrad mynach, including the site of the old colliery and surrounding park Difficult terrain Legend of the map: +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3  +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Sitting in the Rhymney valley Ystrad Mnach has both difficult and effortless terrain, the town itself is on the base of the valley where many of the built terrain is located, green open space towers either side of the valley with the roads and train lines following the path Comment: of the river. There is good rail access with the trains twice an hour on average to cardiff taking roughly 40minutes and by car it is simply 30 minutes, thus making it a commuting town with good infrastructure. 284 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity There isn't a creative sector to speak of that is involved in economic activities. the creative communities that exist in the area are Low‐income households prevail more using creativity to facilitate socialising or are a part of tradition such as the Ystrad Mynach Mens choir. Otherwise the economic The average house price in Ystrad Mynach sits around £150,000, compared to the average in wales as a whole being £200,000. Comment: activities are fairly varied with 50% of employment being split between manufacturing, automotive repair and retail, education and This could be affected by the fact that Ystrad Mynach is a commuter town, with many of its residents working in either Cardiff or health and social work. Comment: Newport, it is not necessarily a tourism hot spot as other areas of wales are, contributing to the high average house price tag. Participatory Practices were not defined clearly in the framework so it is unclear which practices can be defined as this or how to Daily‐life‐support facilities well developed assess their development. +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +4 at all) to 5 (extremely remote) +3 Estimation: 3 +2 Explanation: Whilst many outsiders may define this place as more remote than this, it’s locality to Cardiff, the capital of Wales, means the residents of the place may deem it as much less remote because of its +1 access to the urban capital. Aged ‐5 ‐4 ‐3  ‐1 0 +1 +2 +3 +4 +5 Sound A‐4 Elements that characterise the remoteness of the place: demographic demographic structure structure Low population density  ‐1 Geographical barrier/allocation  ‐2 No good transportation links  ‐3 Difficulties in accessing daily‐life‐  ‐4 support facilities ‐5 Social specifics and/or divisions  Daily‐life‐support facilities none‐existing Economic inferiority  Over 40% of the population aged between 30 and 59 Mean Age: 39.1 Median Age: 39 (Figures are sourced from the 2011 Census Subjective criteria  key statistics.) However as of 2019 Wales has the highest median age in the UK at 42.5, signaling a rapidly aging population, this Comment: shows these figures are not unusual for the area. It is hard to determine the development of the daily life support facilities without Specify subjective criteria (e.g. visiting a place but I can see that places such as shops, schools, pubs, and GP's exist. community’s self‐perception of being remote etc): Other  Specify other: ageing population 285 Summary of the elements that In order to characterise the place without the ability to visit the place I will be relying on the 2011 Parking area  characterise this case as a remote census data, I acknowledge that this is problematic and is not necessarily an accurate portrayal of  place: the place in question. This is particularly true in relation to the questions regarding social aspects Service yard of a place, as the quantitative aspect of the census does not account for this. According to the Other types:  2011 census data for the Ystrad Mynach ward, the economic landscape has 30% unemployment for those between the ages of 16 and 74. Of the 70% in employment, only 45% of those are in full‐time Specify other types: industrial estates employment. Whilst this seems high, it doesn't account for those who live in Ystrad Mynach and commute out to Cardiff or Newport for work. Ystrad Mynach Ware has a population density of 8.1 Type of indoor public spaces that ▪ Ysgol Gymraeg Penalltau school people per hectare, whereas Cardiff, the local city, has a much greater population density of 43.7 can be found in this remote place: people per hectare. This gives us some idea of its remoteness, hearing the stories of those from ▪ Ystrad Mynach Primary School the place both from the designer and the individuals giving testimony in the film it is perhaps its ▪ population demographic that holds the key to its remoteness. 18 to 29‐year‐olds only account for Trinity Fields School & Resource Centre 14.4% of Ystrad Mynach’s population whereas Cardiff in comparison this is 22.3%. The population of ▪ The Coopers Arms pub young people in a place can reflect the number of opportunities available. ▪ Low population density rank: 1 Bethania Chapel Seventh‐Day Adventist Church Geographical barrier/allocation rank: 2 ▪ Penallta RFC rugby club house No good transportation links rank: ▪ Penybryn Community Centre Difficulties in accessing daily‐life‐ ▪ Ystrad Mynach Non‐Political Club Ltd support facilities rank: ▪ Ystrad Mynach Boys & Girls Club Social specifics and/or divisions rank: ▪ Ystrad Mynach Scout and Guide Hall Economic inferiority rank: 3 ▪ Ystrad Mynach Day Centre Subjective criteria (e.g. community’s self‐perception of being remote etc) rank: A‐8 General description of.. Other rank: 4 The network of roads, streets, paths There are a series of A roads that connect the towns and villages along and between the valleys. and alike elements that tie this A roads are smaller than motorways but are considered the major through routes that connect A‐5 Provide the links to public data remote place together: places on a rural scale. You can see these on the map in black. All other roads seem to be Links to public data on the remote the borough's website defining the town sprawling connected cul de sacs that form quiet residential areas. This is interplaced with large place industrial estates where a lot of the manufacturing and automotive businesses are located as well as the schools and hospitals, these sit on the major A roads making them easy to access. The link: https://www.caerphilly.gov.uk/loopsandlinks/english/villages/ystrad.html (https://www.caerphilly.gov.uk/loopsandlinks/english/villages/ystrad.html) The quantity and structure of public There is a very large park that was created when the colliery was closed down, the ‘slag’ , a by space network (besides product from the coal mining process, ws used to landscape the park. The park received Links to public data on the remote nearby settlement website roads/streets/paths network) in this investment to transfer this from an industrial part of the local area to a park for all the residents. place remote place: It features a fishing pond, an open structure that is called the observatory but it is just a simple frame, there is also a large sculpture of a horse made from the slag that can only be seen from the The link: https://hengoed.net/index.php?x=penallta (https://hengoed.net/index.php?x=penallta) air and forms small hills for people to walk on. However in Wales it rains a lot and it is important to have indoor spaces that do not require a car to access. For many pubs form these spaces but Links to public data on the remote 2011 Census data for Ystrad Mynach Ward are centered around drinking which is not ideal as it doesn't cater to young people leaving them place with nowhere to go. There is the Boys and Girls club who participated in this project but doesn't The link: https://www.nomisweb.co.uk/reports/localarea?compare=W05000750 have enough capacity to service all the young people in the area. The men's choir meets in the (https://www.nomisweb.co.uk/reports/localarea?compare=W05000750 ) church as an alternative public place to the pub. A‐7 The type of public spaces that can be found in this remote place (besides the A‐9 General description of the quality of public spaces in this remote place roads/streets/path network) Answer: As mentioned above, although this question is incredibly difficult to answer without spending Square/s, Plaza/s  time in this place, I would speculate that one of the needs for the community is free public space to support the young people in the community. The ystrad Boys and Girls Club is one of the only Park/s, Garden/s  provisions for this. Located just 2 minutes from the Primary School (ages 5 to 11) it mainly caters to this age group. This leaves little space for those in the community enrolled at the secondary Market space/s  school. Similarly there is the Ystrad Mynach Scout and guides club and hut (see image below ‐ Playground/s  https://www.geograph.org.uk/photo/5993401) This is a small space unable to provide for all the young people in the area, with little funding. It also does not address the needs of those over the Recreational space/s, Sport‐field/s  age of 12. It has ‘tots play’ events for very young children (https://tots‐play‐ caerphilly.class4kids.co.uk/venue/6/ystrad‐mynach‐scout‐and‐guide‐hall) but I have been unable Community open‐air space/s  to find any provision for those over the age of 12. For those of secondary school age there is only the Lewis Girls’ School providing only for female young people between 11 and 18 Institution‐related open‐air space/s  (https://www.lgs.wales/) and the Trinity field school and resource center, providing for those (e.g.University grounds) aged 4 to 19 with special educational needs, specialising in autism. Watersides  B‐1 Name(s) of the public space(s) Meadows  286 Name(s) of the public space(s) (in Penallta Colliery Describe the general demographic There were 5,043 usual residents as at Census day 2011. Of these, 99.9% lived in households and local language): characteristics 0.1% lived in communal establishments. The average (mean) age of residents was 39.1 years. In total there were 2,278 household spaces. Of these, 2,136 (93.8%) had at least one usual resident Name(s) of the public space(s) (in Penallta Colliery and 142 (6.2%) had no usual residents. Density (number of persons per hectare) 8.1 Over 40% of English): population aged between 30 and 59 Mean Age: 39.1 Median Age: 39 97.6% white 75% identified as having no British identity https://www.nomisweb.co.uk/reports/localarea?compare=W05000750 Latitude of the public space(s): 51°39'16.9"N Longitude of the public space(s): 3°14'41.7"W B‐5 Type of the public space(s) with creative work Ground plan showing the land use Form and function: abandoned coal mine ‐ grade 2 listed building of the public space(s): Ownership: Private Caption's map of the public space: Access regarding entry‐control: No Access to public Legend's map of the public space: Access regarding time of day/week No Access to public Main location  /year: B‐2 Describe the physical environment B‐7 Kind of activity initially designed for this public space: Physical environment description of ‘The location of the Penallta colliery played an important part in the history of Hengoed being the What kind of activity has been this Initially this space was used as a coal mine. It opened in 1905 and operated until 1991. ‘at peak the public space(s) with creative major employer in the area with over 3,200 men at its peak. Penallta colliery (originally from public space designed for initially production during the 1930s, there were in excess of 3,200 men employed. In 1930 it produced works: pen+yr+alltau) means 'head or top of the incline' which like many other place names relates to 975,603 tons, and in 1935 it held the European record for coal winding’ the physical description of the land. Penallta colliery was scheduled for closure by the British Coal http://www.welshcoalmines.co.uk/GlamEast/Penallta.htm Corporation (the statutory successor to the NCB) in November 1990. Penallta Colliery was decommissioned and finally closed in 1992. As the buildings had been listed, the site was not B‐8_a Which are the activities in this public space(s)? cleared after it closed, unlike almost all other closed collieries of South Wales. Its shafts were Activity: mining (before) backfilled with hardcore but a number of buildings were retained, including the headgear of the two shafts, the bath‐house, the winding house as well as number of small workshops, the lamp B‐8_b Who are the main users of this public space(s)? room and offices, the oil and general stores, and locomotive shed also survive although the boiler house and chimney have been demolished. 1996 saw the regeneration of the Penallta colliery site. User: miners 180 hectares of derelict land was transformed into a community park and subsequent enhancement programmes built on the previous activity carried out within Parc Penallta and B‐8_c What are the users activities of this public space(s)? increased the profile of the park. Much of the Penallta colliery site has now been landscaped into the Penallta Community Park, a business park, and the Cwm Calon housing estate. Traces of its Users Activity Before After coal tips can still be seen along with the headgear of the two shafts which still stand proudly over   the site as a constant reminder of its former life and the industry that once dominated and miners mining (before) defined South Wales.’ ‐ https://hengoed.net/index.php?x=penallta Last modified: Saturday 16th August 2014 09:28am B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Physical environment elements As a listed derelict site, very little of the activities involved took place inside the colliery with the were important and/or actually exception of a guided tour from Paul Langford the property developer of the site and a Describe what parts seem to be the This question is difficult to answer as the site of the colliery is not a public space, but a private one "used" by creative people for their subsequent DJ performance although no one else was permitted to enter the colliery. The main most attractive to people bought by Paul Langford the property developer. Although private operating for almost 90 years activities: activities took place outside the colliery with the workshops being held in an area outside the it is of great historic importance to the town and many there had worked there for most of their colliery that Paul had cleared and prepared. This is not a public space and working physically in lives. As this is a private space and not necessarily the site for specific community activities but that space was only made possible with the full co‐operation of the property developer. Paul the rather the vehicle for speculation this question is rather difficult. In regards to how the creative developer, had submitted plans to the council to make the building into luxury accommodation works may have changed the situation, I think it changed the perspective of Paul the landowner and provided these speculative plans to be used in a workshop that he participated in alongside and the community to be more open to different possibilities for the building that were not just other experts such as Hydrogeologist Gareth Farr. These plans were then manipulated to explore housing and how it could be developed to serve the community or raise the profile of the place in how the site could be used as an astronaut's training site. order to stimulate more tourism in the area, and for this historic landmark to become more than a landmark to the past. At the start of the project Paul had already submitted residential conversion B‐3 Describe the general functions plans to the council however was very accommodating and excited to welcome other ideas for the place ‐ this may not end up as an astronaut training center, but reaching for something so big Functions and land uses description The land around the colliery was developed into a public park in 1996 and is called Parc Penallta, it has changed boundaries for what the space could be converted into in the future in the area of the public space: consists of a large varied open green space with a fishing pond, a high point 360view point sculpture, and a large landscape sculpture in ode to the pit pony. It has public toilets and walking B‐10 Provide the links to public data on the public space(s) and audio trails to be accessible for the local community. Nearby there is also the Penybryn Community Centre however they do not have any online presence so I cannot ascertain if this is Website: Archive image of old colliery open and how exactly it serves the community. There is a local school in the shadow of the Website's link: http://www.hfinster.de/StahlArt2/archive‐SouthWales‐BW‐4520‐3‐27.03.1990‐en.html colliery, Ysgol Gymraeg Penalltau, serving primary‐aged children. Next to this school, there is a (http://www.hfinster.de/StahlArt2/archive‐SouthWales‐BW‐4520‐3‐27.03.1990‐en.html) residential area. North of the Colliery there is an industrial center, this houses businesses such as a Vehicle repair shop, MOT services, concrete services, a coach business, a soy sauce factory, and Website: information on the history of the coal mine polystyrene producer as well as many other automotive and manufacturing businesses. To the east are fields and farmland with what looks like a local farm between the colliery and Parc Website's link: http://www.welshcoalmines.co.uk/GlamEast/Penallta.htm (http://www.welshcoalmines.co.uk Penallta. /GlamEast/Penallta.htm) Functionalities of space were None of the above were used for the activities undertaken in this project, they took place at other B‐11 Provide photos of the public space(s) with creative works important and/or actually "used" by spaces around the area, and the colliery itself was used as an idea or rather a vehicle for imagining creative people for their activities: new futures rather than a specific site for activity. Caption: B‐4 General demographic characteristics of the area around the public space: *** 287 Photo's author: Roles: Brought the speakers for Pauls dj set ‐ they do local raves and parties C‐1 Official name of the activity/project Actor(s): Dragon Divers Name in local language: Glofa'r Gofod Motivations: Ian ‐ lives close by, and runs Dragon Divers. He was interested in the project because he was advocating for the voice of young people to think bigger for themselves and their community. Name in English: Cosmic Colliery Roles: Ian volunteered time + equipment to run the astronaut scuba diving classes for the youth club. He Nickname: also took an active role in the final design meeting to create the speculative plans. Overall name:  Actor(s): Goldsmiths, University of London C‐2 Description of the project (activities) that took place in the analysed public space(s): Motivations: Hefin was an ex student of the design course here, they were keen for him to show this connection in the publicity of this project. Describe the project (activities) that Cosmic Colliery involved working with communities in the Rhymney Valley, South Wales, to took place in the analysed public speculate on the possibility of the local abandoned coal mine becoming an underwater astronaut Roles: Provided technical printing etc for the exhibition. space(s) training centre. Acknowledging that this may never happen, designer Hefin Jones collectively Actor(s): Ystrad Mynach Boys & Girls Club explored with the Rhymney Valley community how close they could get to something like that._ “This project isn’t about actually building an astronaut training centre,” designer Hefin Jones Motivations: Similar to school‐ met with Ken and he was enthusiastic for something for the kids to do. Initially explains in an interview. “I’m designing objects and scenarios as a way to make people consider representing the young people interests, but they were aware and had choice to take part new possibilities. I’ve been experimenting with designing situations which are in many ways ephemeral, and despite that, are successful at creating the necessary conditions to think big.” Roles: Connection to the choir and ellin jones Bringing together the local youth club, mens choir, barber, school, scuba diving club and those who used to work in the mines, this project was a catalyst for imagining an alternative future for Actor(s): Welsh Historian Dr. Elin Jones the young people of this community. Motivations: Has a background in charterism, actively engaging in heritage ideas ‐ fascinated by this aspect of C‐3 Challenge that the project (activities) tried/is trying to tackle: the project Roles: Ellin got involved as the project progressed and ended up leading the final town hall meeting What challenge was the project The aim of the creative work over the duration of the residency was to alter the perception that (activities) trying to tackle – what young people held of both themselves and their own futures. To reiterate how important their Actor(s): La Bamba Barbershop at the Beach was the aim role is in imagining a different possibility for the area they live in. Motivations: Enthusiastic about doing something different, element of it being filmed and him starting a new C‐4 Time frequency: business, other barbers turned down. Was paid for haircut and hoped to receive publicity in the village for it Time Frequency ‐1 Roles: ‘Zero g haircut’ performed and filmed at La Bamba in direct collaboration between Hefin and the Other information: Constant Process of which additional activities and interventions arise organically as a result of owner of La Bamba, closing the shop and creating the zero g system this participant led meandering process. Actor(s): Sony UK Technology Centre C‐5 Time period Motivations: Rhymney Valley is where Sony makes a specific camera. Sony were interested in the locality of this Start: 1/1/2015 12:00:00 AM project focused on the community and for this to be able to go on their blog. End: 9/1/2015 12:00:00 AM Roles: Provided camera for proj however this collaboration took so long to facilitate it was only able to be used in the final design meeting. Comment: Actor(s): Ysgol Gymraeg Penalltau ‐ school behind the colliery C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Motivations: In the shadow of the colliery, headteacher + others happy to have something provided for the Actor(s): Big Pit National Coal Museum kids to do, end of term etc talked a bit about local history but supporting kids to think different Motivations: Interested in the project and the opportunity to connect one of the volunteers (lee) with Hefin. Roles: Facilitated a workshop to be ran and filmed by the lead designer with one of the classes at the school. Roles: Ceri ‐ manager at the big pit, initial contact‐ during the meeting met Lee (maps)who was enthusiastic ‐ Ceri not involved beyond that. Actor(s): Ystrad Mynach Male Voice Choir Actor(s): British Geological Survey Motivations: Young choir leader, he was interested in doing something new/different to the traditional choir songs and the technical challenge of that. Motivations: Gareth Farr’s background as an artist meant he wasn't phased by the unusualness of this project. Gareth is keen to involve more artists, architects and the general community in the work of the Roles: Performance and singing in the film, requiem from 2001 a space odessey, framing the colierry British Geological Society. against the ideas in the song + film Roles: Gareth Farr ‐ BGS Hydrogeologist, met the designer during previous Welsh space Campaign work. Actor(s): Liboni Munnings‐ Filmmaker He provided maps and introductions to other organistations and took an active role in the final design meeting to create the speculative plans. Motivations: Liboni was already a close collaborator and filmmaker. They were interested in the use of film as a tool to produce fiction. Actor(s): CISWO (Coal Industry Social Welfare Organisation) Roles: Was responsible for filming and producing the film of the project which was the primary means Motivations: Potential connection to bingo club? Support for retired coal miners the project was communicated. Roles: Facilitated connections to others involved. Actor(s): Paul Langford ‐ Property Developer Actor(s): Gorilla Audio Motivations: Paul was interested in space and at the prospect of using the building for something other than flats, as an outsider, not from Wales who has bought the colliery, he benefited from being able to Motivations: Paid to provide services 288 make connections with the community. Roles: Without Paul, owner of the colliery, the project wouldn't be possible. He facilitated access to the Did cultural and/or natural heritage Cultural heritage did have a role to play in this project. Specifically the industrial heritage of the grounds, shared plans that had been drawn up with architects to use the colliery as flats, to be play any specific role in the coal mine. It started in the town of Ystrad Mynach in 1909 and continued until 1991 when it was reconfigured as astronaut center. performed as DJ/MC project/activities? decommissioned and since then has stood as a huge landmark in the town, a reminder of this history. As the single main employer over the last century in the town, it has formed the identity C‐7 Description of the supporting background that existed to make the activities happen: of the town and a large proportion of men over a certain age worked in those mines and believed they had a job for life. Mining as a whole is hugely important to wales since the industrial What kind of supporting This project was produced by Hefin Jones whilst partaking in the London Design Museum's revolution, it was the world’s largest producers of coal. As the mines slowly shut it lead to the background existed to make the Designer in Residence program. Each resident is provided with a commissioning budget of miners strike of 84/85 when Thatcher was in power, this was a huge political event, with the activities happen (financial, £6,000, which goes directly towards producing the work that will be presented at the end of the strikes lasting months as thousands faced losing their jobs. The national museum of Wales institutional etc.) residency. This is supported using public funding as commissioned by Arts Council England. https://museum.wales/bigpit/ is dedicated to this industrial history. C‐8 Sectors involved in the development of the creative works with public spaces: C‐12 The targeted impact of the project/activity: Culture  What was the targeted impact of As a self led project for a designer in residence program there weren't specific predefined impact the project / activities? goals as this was also a short term project undertaken by a single individual in under a year. The Education  main goal of the work was to alter the perceptions of young people of themselves and what they Health  could achieve for themselves, encouraging them to ‘Think Big’ by imagining different possibilities for the area, and how they are perceived. This was inspired by the designer growing up in a similar Sustainability  rural welsh ex‐mining town where the identity was defining by the coal mine and this having an oppressive affect on the young people in the town, as so much focus was on the past, what had Science  been and gone, not possibilities for the future. Tourism  C‐13 Achievement of the targeted impact: Sport  Yes/no/partly: Partly Industry  Comment: The project lead though that the targeted impact was only partly achieved. The project as a whole Other:  succeeded in becoming led by the community into something self organised and sustaining. However this did not end up creating long term opportunities for young people to interact with Specify other: others in the locality. It was undeniable that it did inspire people in the community as a whole, not just young people, to ‘think big’ after living in the shadow of the past, we all need to be reminded C‐9 Sector which was.. to shoot for the moon. Although one of the clear goals was to create a concrete network to ..the initiator of the activities: Culture generate opportunities for young people to connect with organisiations and individuals. This was not created in the time limit for the residency, these ‘soft’ network may exist but not something ..the most crucial for the whole case Culture concrete that young people can actively utilise. study: C‐14 Additional achieved impacts: Comment: Were any additional impacts The additional impacts that were achieved were opportunities for people in addition to the young C‐10 How was the local community involved in the project/activities: achieved? people targeted for this project. These opportunities include but arent limited to the opportunity to connect with others in the village, the opportunity to be creative and playful and the How was the local community This was a co‐created project made in collaboration with the actors involved in the project as opportunity to become involved in a project, leaving feeling excited and inspired to think bigger. involved in the project/activities? detailed in table C‐VI. The community was not only involved at every stage but shaped the project. For example Paul the property developer making much better links with the community and is Instead of following a predefined path it grew and changed in response to the people who now open for an alternative idea for the old building other than housing. contributed. This is demonstrated in the final town hall meeting which is not lead by the designer, they become merely an observer as the project is taken on by the members of the community, C‐15 The main beneficiaries of the creative work in public space(s): leading discussions with each other from the men’s choir to the boys and girls club, this also occurred in the final design meeting to make the speculative design plans for the astronaut Who were the main beneficiaries of The main beneficiary of the creative work was the targeted audience of young people from the training center. An example of one of the many ways this project was shaped by the people who the creative works in public local area, namely the individuals from the Ystrad Mynach Girls and Boys club who partook in the became involved was as the property manager who owned the colliery and who was pushing spaces(s)? project. forward plans for it to be developed. He used to live in South London where he would DJ and MC house music and acid nights in the 90’s, he also had a huge interest in extraterrestrials believing C‐16 Presence (or not) of economic benefits for the local community as a whole or any we are not alone in the universe. This lead to the project developing to involve the Property specific actors in particular, resulting from the creative works with/in public spaces: developer performing an acid house set inside the abandoned colliery whilst reading aloud Were there any, no matter how big Due to the short term nature of this project driven by an individual without adequate impact Stephen Hawking. This was not something that could be predicted or planned and is the sort of or small, economic benefits for the measurement when asked the designer could not remark on the economic benefits. richness that only occurs by letting the work have its course defined by the community. This leads local community as a whole or any to an increased collaboration, as a result of taking an interest in the property developer’s past and specific actors in particular, interests, it lead to an incredible level of generous support and openness that I don't think would resulting from the creative works have otherwise happened. He allowed the original planning permission plans from the architects with/in public spaces? be scribbled over and turned in to the astronauts center, he gave up hours and hours of time, he allowed access onto this private land of the colliery and cleared a site outside the building C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that ensuring it was safe for the workshops to be held. This is just one example of the many involved in this project showing how allowing the community to have autonomy over the work can potentially empowered the actors to prosper in their future development: facilitate the better collaborations and stronger community relationships essential to participatory design work. C‐11 The role of natural/cultural heritage in the project/activities: 289 Were there any exchanges of The main exchanges of knowledge that occurred during the creative works involved the learning Link to public data to better https://www.artrabbit.com/events/the‐floating‐cinema‐extraterrestrial‐home‐grown‐space‐travel‐ knowledge or other activities by the individuals from the Ystrad Mynach Boys and Girls Club as they learnt to scuba dive, sign understand the activities and actors, talk‐screening‐with‐hefin‐jones (https://www.artrabbit.com/events/the‐floating‐cinema‐ performed that potentially language, parts of the russian language used by astronauts, to learn about NASA and space but as well as impacts: extraterrestrial‐home‐grown‐space‐travel‐talk‐screening‐with‐hefin‐jones) empowered the actors to prosper in most importantly to speculate and think big for themselves and their futures. There was also a their future development? significant exchange in knowledge during the final design meeting where Paul Langford the The link: screening + talk listing property developer, Hydrogeologist Gareth Farr, Ian from Dragon Divers, and others gathered to Link to public data to better https://www.dezeen.com/2015/09/11/designers‐in‐residence‐design‐museum‐london‐migration‐ exchange expertise to contribute to a plan to turn the old Penallta Colliery to astronaut’s training understand the activities and actors, hefin‐jones‐stephanie‐hornig‐chris‐green‐alexa‐pollmann/ (https://www.dezeen.com/2015/09 center. as well as impacts: /11/designers‐in‐residence‐design‐museum‐london‐migration‐hefin‐jones‐stephanie‐hornig‐chris‐ C‐18 Monitoring (or not) of the impact of the project: green‐alexa‐pollmann/) The link: design museum show review How was the impact of the project / Unfortunately, as a project undertaken by an individual as part of a design residency from the activities monitored? If it wasn’t – Design Museum, no impact measurement was carried out in direct relation to the project, or Link to public data to better https://www.itsnicethat.com/articles/see‐hefin‐jones‐talk‐from‐our‐space‐themed‐nicer‐tuesdays how do you think it could be investigating the impacts created in the community. There was a limited amount of impact understand the activities and actors, (https://www.itsnicethat.com/articles/see‐hefin‐jones‐talk‐from‐our‐space‐themed‐nicer‐tuesdays) monitored? measurement carried out by the Design Museum themselves, however this seemed to be as well as impacts: restricted to the impact of the experience of the residency on the individual taking part. The link: video of talk from the designer at an event C‐19 Way in order to communicate the impact of the project: Link to public data to better https://www.designindaba.com/videos/interviews/hefin‐jones‐socially‐engaged‐design How was the impact of the project / The primary way the project was both communicated and disseminated was through the medium understand the activities and actors, (https://www.designindaba.com/videos/interviews/hefin‐jones‐socially‐engaged‐design) activities disseminated or of film. This was not an afterthought but a huge aspect to the work, every moment spent working as well as impacts: communicated? with the community was captured on film, even the moment that the designer was asked to cease the work by a local MP was recorded. This suited the improvisatory, meandering nature of The link: socially engaged design interview with design indaba the work, inform and driven by often unexpected interactions with the community. Requiring Link to public data to better https://www.designweek.co.uk/issues/7‐13‐september‐2015/designers‐in‐residence‐tackle‐topic‐of‐ both the designer and the method of which it was recorded to be able to adapt to changing understand the activities and actors, migration/ (https://www.designweek.co.uk/issues/7‐13‐september‐2015/designers‐in‐residence‐ scenarios. If a different method of recording and communicating the project was used it would as well as impacts: tackle‐topic‐of‐migration/ ) not have had the same power to record the journey of the work. Or if a film was created in retrospect it would tell a different story than the one created ad‐hoc. The medium of film was also The link: design week review of the exhibition vital to integrate the speculative nature of the work into the narrative ‐ as the context was imagined, by including archival footage, and excerpts from science fiction it helped the audience D‐1 Main editor in charge of this entry and potential other authors of this case study connect with the idea. The film was shown as a part of an exhibition at the design museum along description with other artifacts such as a home‐made flag, stills from the film and other material created such as the speculative colliery rave poster inspired by Paul Langford’s performance. The film was also Name and surname: Josie King shown at a community screening in Ystrad Mynach for all those who took part. Shown in a Organization: Clear Village Charitable Trust different way to the exhibition for local audiences ‐ celebrating the achievements of the community rather than analysing and critiquing the work. Email: josie@clear‐village.org C‐20 Perception of the creative works in public space(s) by the final users and the reactions Role: author of the general public: D‐2 Representative pictures How were the creative works in In order to answer this question I will refer to the 2 key audiences rather than ‘the general public’ public space(s) perceived, as it is more representative of the final users. The exhibition at the Design Musuem ,which Picture's caption: still from film depicting kids workshop outside colliery evaluated, judged by the final users represents a professional peer audience, was well received. Some were skeptical about the – what were the reactions of the nature of the work, as a participatory speculative design project of this nature was not traditional general public? to the designs represented at the design museum, however this meant that it was a stand out piece that served to provoke discussion about the Design and art world taking on a new way of working with communities. C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: Participatory nature of the work, not defined by the designer but by the participants, at the end it started to become autonomous and the designer could sit back and become merely an observer as the individuals from the community lead the project. This can only be achieved if from the start the designer surrenders their agency and direction to be controlled by the community and the opportunities that naturally arise. Main failure: Inadequate impact measurement due to brevity of the project. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader More support could have been provided by the initiator of the activities ‐ the Design Museum, to conditions (e.g. the supporting hep the individual carrying out the creative works understand the process of evaluating and to state of the art in the community, consider the effect of the work on the wider community as the output. However as this type of infrastructure, institutional support, work was unprecedented for the residency, they were met with questions like ‘what are you financial sources, local or going to exhibit’ rather than ‘what do you need to do to ensure support is provided for all those "imported" know‐how etc.) for the involved?’ or ‘how might you record the effect on the community’. Picture's author: Liboni Mullins main success and main failure factor Picture's date: C‐23 Provide the links to public data on the creative works Picture's source: http://hefinjones.co.uk/ 290 Picture's caption: still from film depicting diving lesson with russian space hand signals Picture's author: Liboni Munnings Picture's date: Picture's source: http://hefinjones.co.uk/ Picture's caption: still from film depicting zero gravity haircut Picture's author: Liboni Munnings Picture's author: Liboni Munnings Picture's date: Picture's date: Picture's source: http://hefinjones.co.uk/ Picture's source: http://hefinjones.co.uk/ Picture's caption: poster for speculative cosmic rave at the old colliery D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any I have additional material to upload but it is not supported by this portal, please email to arrange additional information that was not this. communicated through the template 291 Y Wandering oven; We knead desirable futures Forno Vagabondo; Impastiamo futuri desiderabili AL Open Air A Cielo Aperto Art to Art IT Arte All’Arte Fireplaces, meetings and experimentation in the rural area Foghíles, Incontri e sperimentazione nello spazio rurale Big Benches Community Project (or BBCP) BBCP 292 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement +5 Wandering oven; We knead desirable futures +4 Forno Vagabondo; Impastiamo futuri desiderabili +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0  +2 +3 +4 +5 Urban character Country name (in local language): Italia ‐1 Region name (in local language): Trentino‐Alto Adige ‐2 Place name (in local language): Alta Vallagarina / Rovereto ‐3 Country name (in english): Italy ‐4 Region name (in english): Trentino‐Alto Adige ‐5 Place name (in english): Alta Vallagarina / Rovereto Open landscape Trentino-Alto Adige is a special administrative region located in north-eastern Italy, with a population of 1.074.819 inhabitants (1). It is one of the least populated regions in Italy, with 79 inhabitants per km2. The region is bordered by East and North Tyrol (Austria) to the north-east and north respectively, by Graubünden (Switzerland) to the north-west, and by the Italian regions of Lombardy to the Comment: west and Veneto to the south and south-east. It covers 13,607 km2 (5,254 sq mi). It is extremely mountainous, covering a large part of the Dolomites and the southern Alps, and it is covered by vast forests and many lakes (the largest being Lake Garda). The region is composed of two provinces, Trentino in the south and South Tyrol in the north. Vallagarina is one of the sixteen districts of Trentino. Its administrative seat and the major town is Rovereto, in the province of Trento city, with 39.915 inhabitants (2). Difficult terrain +5 +4 Map of the network of public +3 spaces in the remote place +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 Caption of the map: The Wandering Oven stops in Alta Vallagarina ‐5 Legend of the map: The six spots where Wandering Oven planned to stop in 2020 (Rovereto center, Rovereto train Effortless terrain station “Associazione La Foresta”, “Comun’orto” in Brione‐Rovereto, Villa Lagarina, Nomi, Calliano) in Trentino Region. The reference point to access the city of Rovereto, the major town in Vallagarina, is the Rovereto railway station, which connects the city with the other districts. Inside Rovereto, there is urban and interurban transport managed by the Trentino Trasporti company, but Comment: it doesn’t travel often to the small towns around, plus it’s not so cheap. However, there’s a network of highways to keep all towns connected, also because there is a good number of inhabitants who work in Rovereto but do not reside in the city and who mostly move by car. 293 Diversified economic activities High‐income households prevail +5 +5 +4  +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1  +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The Vallagarina district, more specifically the city of Rovereto, has a quite developed creative sector. The creative group "La Foresta" Low‐income households prevail stands out among the initiatives of the district, being an open network of associations, informal groups, and citizens. Since 2017 it We don’t have exact information about income data. The Forno Vagabondo project was a self-organized research project with little Comment: has been co-designing, together with the Social Policy Service of the Municipality of Rovereto and local communities, to develop funding, which meant that they did not focus on these aspects. In general, the household’s income can vary from town to town. projects of social, economic and cultural nature to create participatory learning occasions, involving groups of different origins, Comment: Some suburban areas (Brione) where the stove traveled, tend to be inhabited by lower-income families. The small villages (Calliano, generations, and social backgrounds (4). Nomi and Villa Lagarina) tend to be inhabited by people with middle incomes, but it is hard to find any local with higher incomes except for some wine farmers who live there. Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 1  +3 Explanation: Based on the interview that was carried out with Flora Mammana, the main designer of the +2 project and our contact person, it was possible to notice that the population of Rovereto and its surroundings do not consider their towns as remote, even if they are mostly vacant or do not +1 have many facilities within the same area. This is due to the number of roads and highways that Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound connect Vallagarina cities and towns, facilitating the movement of the inhabitants. We also have demographic demographic to make a difference among Rovereto and the rest of the towns of Vallagarina. Rovereto, in fact, structure structure cannot properly be considered as a remote place, but a medium/small town that works as the main connection with the rest of the Vallagarina towns which are small and remote. Somehow, ‐1 we could consider Rovereto as the small node of creativity linked to the rest of the towns. ‐2 A‐4 Elements that characterise the remoteness of the place: ‐3 Low population density  ‐4 Geographical barrier/allocation  ‐5 No good transportation links  Daily‐life‐support facilities none‐existing Difficulties in accessing daily‐life‐  Most of the Rovereto population is, on average, 45/50 years old (5) As regard daily-life-support facilities, Rovereto has most of the support facilities public and private first necessity facilities needed (6). The villages in the surroundings all have some small supermarkets, bakeries or Social specifics and/or divisions  Comment: a bank. But most of the locals go to the closest cities as they work there to do their daily shopping. Moreover, the small supermarkets often have higher prices and only a small range of products. As regards schools, most of the villages have kindergartens and some Economic inferiority  also have primary schools. However, the higher-level education schools are mostly in Rovereto or in the other closest cities. Subjective criteria  Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: 294 Summary of the elements that Rovereto didn’t have a large population increase in recent years. Its population of advanced age is Market space/s  characterise this case as a remote increasing more than the number of newborns, being 44 years the average age. The perception of  place: isolation and difficult access may vary among the population of Rovereto. Alt‐ hough this being Playground/s the main city and having all the basic needs in terms of facilities and connections, many other Recreational space/s, Sport‐field/s  places in Vallagarina are mostly rural, with few public initiatives and services. Community open‐air space/s  Low population density rank: 1 Institution‐related open‐air space/s  Geographical barrier/allocation rank: (e.g.University grounds) No good transportation links rank: 3 Watersides  Difficulties in accessing daily‐life‐ 2 Meadows  support facilities rank: Parking area  Social specifics and/or divisions rank: Service yard  Economic inferiority rank: Other types:  Subjective criteria (e.g. community’s Specify other types: Outdoor Museums self‐perception of being remote etc) rank: Type of indoor public spaces that Antique palaces can be found in this remote place: Other rank: Churches A‐5 Provide the links to public data Museums Links to public data on the remote 1 ‐ Trentino‐Alto Adige inhabitants 2020 place A‐8 General description of.. The link: http://www.regione.taa.it/ (http://www.regione.taa.it/) The network of roads, streets, paths N.B. In this section, we are focusing on the general description of the network of places where Links to public data on the remote 3 ‐ Trentino Trasporti company and alike elements that tie this the creative work took place (Rovereto, Nomi, Calliano and Villa Lagarina, all in Alta Vallagarina place remote place together: area in Trentino‐Alto Adige region). In section A we are talking more about Rovereto town which is the biggest of the four and can be considered the headquarter of the creative works. For this The link: https://www.trentinotrasporti.it/ (https://www.trentinotrasporti.it/) reason, is not easy for us to provide information in detail. We will provide a more specific description in section B, where we have focused in particular on one of the remote towns where Links to public data on the remote 4 – La Foresta Project the creative works took place. place The quantity and structure of public See previous answer The link: https://laforesta.net/ (https://laforesta.net/) space network (besides roads/streets/paths network) in this Links to public data on the remote 5 – Rovereto Demographic change remote place: place The link: https://www.tuttitalia.it/trentino‐alto‐adige/67‐ rovereto/statistiche/popolazione‐eta‐sesso‐stato‐ A‐9 General description of the quality of public spaces in this remote place civile‐2020/ (https://www.tuttitalia.it/trentino‐alto‐adige/67‐ rovereto/statistiche/popolazione‐eta‐ Answer: In Flora's opinion, most of the public spaces they worked in, are almost over‐equipped in some sesso‐stato‐civile‐2020/) cases, so that there are hardly any free spaces that can still be transformed. The only things they Links to public data on the remote 6 – Rovereto general information needed in most cases for their activities were the public fountains and tables or benches. Other place infrastructures were not necessary. Most people who were in the public space during the activity time just wanted to talk or hang out with each other. You hardly need any equipment for that. The link: https://it.wikipedia.org/wiki/Rovereto (https://it.wikipedia.org/wiki/Rovereto) B‐1 Name(s) of the public space(s) Links to public data on the remote 6 – Rovereto general information place Name(s) of the public space(s) (in Rovereto‐Brione, Comun’orto local language): The link: https://www.comune.rovereto.tn.it/ (https://www.comune.rovereto.tn.it/) Name(s) of the public space(s) (in Rovereto‐Brione, Common garden Links to public data on the remote 6 – Rovereto general information English): place Latitude of the public space(s): 45.90622151145013 The link: https://www.visitrovereto.it/vivi/eventi/ (https://www.visitrovereto.it/vivi/eventi/) Longitude of the public space(s): 11.04433503744085 Links to public data on the remote 2 – Rovereto inhabitants 2018 place Ground plan showing the land use of the public space(s): The link: http://demo.istat.it/pop2018/index3.html (http://demo.istat.it/pop2018/index3.html) Caption's map of the public space: A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Legend's map of the public space: Square/s, Plaza/s  Main location  Park/s, Garden/s  295 Name(s) of the public space(s) (in Villa Lagarina, Piazzetta Scrinzi “Associazione Multiverso” (our chosen spot) Name(s) of the public space(s) (in Nomi, Nomi playground local language): English): Name(s) of the public space(s) (in Villa Lagarina, Scrinzi small square “Multiverso Association” (our chosen spot) Latitude of the public space(s): 45.9287140113424 English): Longitude of the public space(s): 11.073583432371882 Latitude of the public space(s): 45.916019362847805 Ground plan showing the land use Longitude of the public space(s): 11.031756894001248 of the public space(s): Caption's map of the public space: Legend's map of the public space: Main location  Name(s) of the public space(s) (in Rovereto Centro, Piazzetta Sichardt local language): Name(s) of the public space(s) (in Rovereto town center, Sichardt small square English): Latitude of the public space(s): 45.88700620491099 Longitude of the public space(s): 11.044448107118594 Ground plan showing the land use Ground plan showing the land use of the public space(s): of the public space(s): Caption's map of the public space: Legend's map of the public space: Main location  Name(s) of the public space(s) (in Rovereto‐Brione, Giardini Ida Giovannini local language): Name(s) of the public space(s) (in Rovereto‐Brione, Ida Giovannini Gardens English): Latitude of the public space(s): 45.907124080094164 Longitude of the public space(s): 11.044109462833283 Caption's map of the public space: Forno Vagabondo_Villa Lagarina_Scrinzi Small Square "Multiverso Association"_MAP Ground plan showing the land use of the public space(s): Legend's map of the public space: Ground Plan of Associazione Multiverso, inside Palazzo Camelli, in Piazzetta Dott E Scrinzi, 3/1, one of the four Stops made by Il Forno Vagabondo in 2020 (Villa Lagarina) in Trentino Region showing Caption's map of the public space: building area delimitations. Key to Figure: Yellow: Associazione Multiverso ‐ our public space for Legend's map of the public space: creative work Black‐built structure White‐streets Light grey‐paved open public space Dark grey‐ private building plots Main location  Main location  Name(s) of the public space(s) (in Rovereto‐Brione, Parco Amico local language): Name(s) of the public space(s) (in Calliano, Parco Europa local language): Name(s) of the public space(s) (in Rovereto‐Brione, Friend Park English): Name(s) of the public space(s) (in Calliano, Europe Park English): Latitude of the public space(s): 45.905029801316275 Latitude of the public space(s): 45.93211423675554 Longitude of the public space(s): 11.041584352269057 Longitude of the public space(s): 11.092560734062216 Ground plan showing the land use of the public space(s): Ground plan showing the land use of the public space(s): Caption's map of the public space: Caption's map of the public space: Legend's map of the public space: Legend's map of the public space: Main location  Main location  B‐2 Describe the physical environment Name(s) of the public space(s) (in Nomi, Parco Giochi di Nomi local language): 296 Physical environment description of Villa Lagarina is an Italian town in the autonomous province of Trento. It is located in the middle What kind of activity has been this As already explained in point B‐III a, the building itself Palazzo Camelli is a municipal edifice. Its the public space(s) with creative of Vallagarina, on the right bank of the Adige river. It is located 4 km north of Rovereto and about public space designed for initially courtyard, called “La Saletta” is used as the “Headquarter” of associations as Associazione works: 22 km south of Trento (1). The town is characterized by the presence of sumptuous noble palaces, Multiverso, to develop projects and activities related to youth policies. “La Saletta” beside vast parks, squares and rich churches, which make its historic center one of the most distinctive activities connected to Forno Vagabondo, hosted other events and festivals, most of the time of Trentino. Villa Lagarina also hosts different hotels, markets, libraries, and seasonal markets for addressed to a young audience. One example is “The Right Side Festival”, an artistic‐cultural small produc‐ ers (2). Villa Lagarina, as the rest of Vallagarina towns, is located close to two great festival at Villa Lagarina with many activities and live shows, promoted by the Associazione geographic and touris‐ tic landmarks of Northern Italy: Garda Lake and Dolomite mountains. Multiverso and other realities of the valley. Despite being a mountainous area, Villa Lagarina, as well as the other towns chosen to carry out the creative works, are quite flat. The decision of the spots was also based on this geographic B‐8_a Which are the activities in this public space(s)? feature to facilitate the carriage of the cargo bike, needed for the activities, around the Alta Activity: activities related to youth policies Vallagarina tows. Physical environment elements None in particular. The town of Villa Lagarina has different public spaces to be exploited by the B‐8_b Who are the main users of this public space(s)? were important and/or actually community and some common areas in public or private buildings which are sometimes shared User: "used" by creative people for their among local associations. One example is Associazione Multiverso in Piazzetta Dott E Scrinzi, 3/1, activities: which is the place that hosted the Forno Vagabondo activities in Villa Lagarina. User: Young people B‐3 Describe the general functions B‐8_c What are the users activities of this public space(s)? Functions and land uses description Associazione Multiverso is a youth volunteer association that was born on November 2015 from Users Activity Before After in the area of the public space: the collaboration between three different youth realities of Vallagarina. The goal of the association is to be present and active in the territory, offering to Vallagarina inhabitants the Young people activities related to youth policies   opportunity to express themselves and meet through cultural events and activities for all ages. They pay particular attention to the quality of their offer and focus on the enhancement and care B‐9 Parts/sections/spots seem most attractive within the public space (location and of their surroundings and of the spaces, especially in their town. Multiverso Association duration) ‐ Parts/sections/spots at people seem to avoid: “headquarter” is located in a space, called "La Saletta", in the center of Villa Lagarina, inside Camelli Palace. This space “La Saletta” is a meeting point for socialization and aggregation, Describe what parts seem to be the The function has not changed after the activities. In Flora’s opinion, their stay was too short to mostly outdoor and located in the courtyard of the Palace, open to young people and to youth most attractive to people generate that kind of effect. Moreover, it was not their goal. It is difficult to explain in the associations from the whole community and beyond. It was assigned on free loan by the previous question the activities and users in the space since The Forno Vagabondo activities were municipality of Villa Lagarina to the Multiverso Association to carry out activities related to youth all temporary ones, each usually lasting one day and most of the time in different spots. The policies. The space is shared with other voluntary organizations. The space is easily reachable by activities carried out by Il Forno in the different towns of Trentino are transitory activities, of short public transport from the major towns and by car. duration and it is difficult to specify the previous activities in each spot before the arrival of Il Forno Vagabondo. As regards the users of the activities carried by Forno Vagabondo, mostly Functionalities of space were The main aspect of the location that was “useful” for the activities of the Forno Vagabondo was families took part. Usually children with their parents or grandparents or young people aged 25‐32 important and/or actually "used" by that it was a wide and flat outdoor area inside a space already well known by locals. The support who were interested in socio‐cultural activities, but also 40‐50 years old people who were curious creative people for their activities: of the association, both from the staff and in terms of publicity, was able to give the activity about healthy eating or happened to be passing by. As regards the space we are focusing on in carried out by Il Forno a wide reception by the inhabitants, managing to carry out two activities in this section, “Associazione Multiverso” in Villa Lagarina, there was no connection between the this space. users of the space before the creative works and the ones after. B‐4 General demographic characteristics of the area around the public space: B‐10 Provide the links to public data on the public space(s) Describe the general demographic Villa Lagarina has 3,787 inhabitants and specifically had a population increase in 2001 (4). The Website: Forno Vagabondo Facebook Page characteristics town has an almost equal percentage of men and women, with men accounting for 50.1% of the total population by 2020. The average age of the population is 50 years. Website's link: https://www.facebook.com/fornovagabondo (https://www.facebook.com/fornovagabondo) B‐5 Type of the public space(s) with creative work Website: Palazzo Camelli Form and function: Palazzo Camelli, where the Multiverso association has its headquarter, is an institution‐related Website's link: https://www.comune.villalagarina.tn.it/conoscere_Villa_Lagarina/cultura/palazzi building, with both indoor and open‐air facilities. The building, in the indoor part, hosts the (https://www.comune.villalagarina.tn.it/conoscere_Villa_Lagarina/cultura/palazzi) municipal library, the music school Jan Novak, as well as probably more facilities that we could Website: Villa Lagarina general information. not find. The public open‐air part is shared among VillaInVita association, Social Catena and The Right‐Side Youth Group of Villa Lagarina. Website's link: https://it.wikipedia.org/wiki/Villa_Lagarina (https://it.wikipedia.org/wiki/Villa_Lagarina) Ownership: The building is property of the Municipality of Villa Lagarina but the area “La Saletta” was Website: List of Il Forno Stops assigned on free loan by the municipality of Villa Lagarina to the Multiverso Association and it is used by the four associations mentioned in the previous point. Website's link: https://www.facebook.com/fornovagabondo/events/?ref=page_internal (https://www.facebook.com/fornovagabondo/events/?ref=page_internal ) Access regarding entry‐control: The entrance to the outdoor facilities is free and open since it is a municipal building. The activities developed by third parties in the space require a prior reservation, as well as confirmation of Website: Multiverso Association Facebook page attendees. This is the case of the activities carried out by Il Forno, which were listed by the Website's link: https://www.facebook.com/Asso.Multiverso/?ref=page_internal (https://www.facebook.com attendees through the social network Facebook. /Asso.Multiverso/?ref=page_internal) Access regarding time of day/week Access to the building and services follows the common office hours in Italy: Monday to Friday Website: Forno Vagabondo second activity in Villa Lagarina /year: from 9 to 6 pm. It may change depending on activities carried out by third parties who have reserved the space or according to the time of the schools and associations working there. Website's link: https://www.facebook.com/events/330777325020552/ (https://www.facebook.com/events /330777325020552/) B‐7 Kind of activity initially designed for this public space: Website: Forno Vagabondo first activity in Villa Lagarina Website's link: https://www.facebook.com/events/663484144528681/ (https://www.facebook.com/events /663484144528681/) 297 B‐11 Provide photos of the public space(s) with creative works Caption: Villa Lagarina_"Forno Vagabondo"_Palazzo Camelli in Piazzetta Scrinzi_The space outside the Palace before the creative works_Google map Photo's author: Fb page Forno Vagabondo_Credit: Julia Wagner Caption: Villa Lagarina_"La Saletta" in Palazzo Camelli _The Wandering oven in the palace courtyard during one of the creative works Photo's author: Google map Caption: Villa Lagarina_"La Saletta" in Palazzo Camelli _The palace courtyard during one of the creative works Photo's author: Associazione Multiverso Caption: MILANO_Villa Lagarina_"Forno Vagabondo"_Palazzo Camelli in Piazzetta Scrinzi_The entrance to the Palace before the creative works_Google map Photo's author: Fb page Forno Vagabondo_Credit: Julia Wagner Caption: Villa Lagarina_"La Saletta" in Palazzo Camelli _The palace courtyard during one of the creative works 298 Other information: April‐June 2020 started building an online community. July‐November 2020 started in presence. After November 2020 stopped in presence and continued online. Spring 2021 restarted in presence. C‐5 Time period Start: 4/15/2020 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Flora Mammana Motivations: Use design methods, to activate skills to do sustainable transformations in the community. Roles: Association la Foresta member. Leader and Organizer of the activities Actor(s): Association sVOLTA Motivations: Collaborate and activate the community. Roles: Partial funder Photo's author: Google map Actor(s): Matteo Pra Mio C‐1 Official name of the activity/project Motivations: Collaborate and activate the community. Plan making for activities. Name in local language: Forno Vagabondo; Impastiamo futuri desiderabili Roles: Association la Foresta member. Leader and Organizer of the activities Name in English: Wandering oven; We knead desirable futures Actor(s): Association La Foresta Nickname: Motivations: Collaborate and activate the community. Plan making for activities. Overall name:  Roles: Organizer of the activities Actor(s): Bianca Elzenbaumer C‐2 Description of the project (activities) that took place in the analysed public space(s): Motivations: Collaborate and activate the community. Plan making for activities. Describe the project (activities) that Il Forno Vagabondo is an itinerant social oven that travels through Alta Vallagarina (Trentino‐Alto took place in the analysed public Adige)on an electric cargo bike. At each stop in a public space located in a small village of Roles: Support the activities space(s) Vallagarina, the oven becomes a meeting and experimentation point for the local community, thanks to various activities related to the bread system. The scope of the project is to create Actor(s): Local associations (one different per each town) opportunities for meeting and experimentation with the aim of bringing people closer to issues Motivations: Collaborate and activate the local community in each different town such as sustainability, biodiversity, and care for the territory, through the practice of convivial baking. From July, till November 2020, the oven it stopped in four different towns of Vallagarina, Roles: Support the activities spending some time in each spot. There, it became a meeting and experimentation point for the community, thanks to various activities related to bread‐making. They stopped the face‐to‐face C‐7 Description of the supporting background that existed to make the activities happen: activities during Covid lockdowns, but they restarted the activities in the spring of 2021. The project was born thanks to the Designer Flora Mammana from La Foresta Association, and it was What kind of supporting Il Forno Vagabondo was developed by Associazione La Foresta with the support of other developed with the contribution of other associations active on the territory. The idea of Il Forno background existed to make the organizations active on the territory, which were fundamental to carry out all the activities since came from the metaphor of fermentation, observing, during various previous workshops with activities happen (financial, they already had a well‐developed network in Vallagarina and they could benefit from the trust of people and local institutions, that something was "fermenting" in the territory. Hence the idea of institutional etc.) the local community. Moreover, the project is strictly linked and supported by the Research working with the concept of bread‐making and sourdough, in a participatory and inclusive way. Project “Alpine Community Economies Laboratory” that uses participatory design methods (co‐ The project included various activity formats, flexible and interchangeable according to the design) to support Alpine communities in addressing issues of sustainable local socio‐economic networks of each specific village and the people who would show up for the appointments. The development. The associations are: ‐ Ass. Italia Nicaragua ‐ Ass. Goever ‐ Cereali e prodotti del Forno workshops varied from making sourdough together and baking bread, to exploring the Trentino ‐ Portobeseno/ Comitato genitori Calliano ‐ Ass. Brave New Alps ‐ Ass. Multiverso ‐ valley through excursions to discover new tips related to the labs. The passion for bread, sVOLTA ‐ Fondazione Trentina per il Volontariato Sociale The lead designer of the project was curiosity, and the desire for discovery and sharing animate the path and guide in kneading Flora Mammana. The project was funded by association sVOLTA from March to December 2020, desirable futures. with a sum of 15.000 euros. This amount of money was used to buy the bike and materials and ingredients for the workshops. The oven, which was the main tool for the activities, was C‐3 Challenge that the project (activities) tried/is trying to tackle: community financed. All materials were supplied from the community and Flora and Matteo used material leftovers from previous projects. What challenge was the project Forno Vagabondo’s challenge was to build an innovative and familiar space to guide people (activities) trying to tackle – what towards sustainable living, trying to connect the different stakeholders of Alta Vallagarina C‐8 Sectors involved in the development of the creative works with public spaces: was the aim through social and creative meeting opportunities. Culture  C‐4 Time frequency: Education  Time Frequency Periodical activity Health  Sustainability  299 Science  What was the targeted impact of To highlight how the public space plays an essential role in building and nourishing relationships the project / activities? among people. Using and recapturing public space to live in harmony with the land that is most Tourism  severely damaged, Forno Vagabondo project explores new ways to engage communities in other forms of knowledge, action, and togetherness. The Forno project aims to show, through co‐ Sport  creation processes, that individual well‐being and consequential community welfare, are based Industry  not only on other human beings but on the interdependence among everything surrounding us. Learning and reflecting on these principles is not easy, but the materiality of making bread is. Other:  Through the use of the hands and the senses, abstract concepts become material and can be experienced across the board by adults and children of all cultures and backgrounds. Bread unites Specify other: people. C‐9 Sector which was.. C‐13 Achievement of the targeted impact: ..the initiator of the activities: Education Yes/no/partly: Partly ..the most crucial for the whole case Culture Comment: The Project leaders of Forno Vagabondo didn’t set up a specific impact methodology. For this study: reason, it was not possible to measure a quantitative impact. However, Flora Mammana during Comment: the interview with us highlighted some kind of qualitative impact of the project on the community. She noticed how people, after a few days of attending the activities, and even after C‐10 How was the local community involved in the project/activities: the activities stopped, began to open up more to her and to others, to share stories and experiences. This result was, first of all, achieved thanks to the support of the local associations How was the local community The local community was involved since the beginning of the project, actually even before the which had previously worked with the local communities, making them feel comfortable and involved in the project/activities? project was conceived. La Foresta, in fact, which was already active in the Vallagarina area with building a sense of trust towards this kind of participatory activity in public space. Unfortunately, other previous projects, started facilitating workshops with locals and institutions because they due to the pandemic, there was also not enough time to develop and carry out the activities as perceived that something was “fermenting” in the territory. At the beginning of the process, the planned. scope was not very clear. They just wanted to activate and engage the community and to connect people from the different towns of Alta Vallagarina in a more inclusive way. That’s how the idea of C‐14 Additional achieved impacts: the Forno started, by the metaphor of fermentation. The project started in April 2020, during the first Covid Lockdown. Due to the pandemic situation, Flora Mammana and her team could not Were any additional impacts Yes. In fact, the oven has inspired other associations and groups in Vallagarina, so that this year start the activities with the communities in person, but they started engaging locals through achieved? (2021) there will be an itinerant library, traveling to suburban areas with a cargo bike or an social media activities. They firstly provided a digital booklet, that could be downloaded from La itinerant festival. The Forno Vagabondo designers have also started a local buying group to buy Foresta website and printed at home, with the instructions to make sourdough “Libretto pasta sustainable local flour. madre”. Secondly, they launched the hashtag #storielievitanti (rising stories) asking the community to send their personal stories connected to the bread/baking topic, to be shared on C‐15 The main beneficiaries of the creative work in public space(s): Forno Vagabondo social media. Moreover, they started online workshops always connected to Who were the main beneficiaries of There were three main beneficiaries: Local inhabitants, the associations involved in the activities, sourdough, baking, raw materials, microorganisms involved in the rising process, etc. At the end the creative works in public and small local businesses. The locals created stronger connections with other inhabitants, both of July 2020, once Covid restrictions eased, they could finally start the activities in person, moving spaces(s)? from their town or others coming to visit and participate in the activities. The involved around Alta Vallagarina with the oven carried by bike and stopping in different towns of the valley associations achieved greater visibility and connection with other associations which are to host the workshops. The project plan included different formats of activities, flexible and committed to social and cultural projects. Local farmers and small businesses, the ones that interchangeable according to the network of each town and to the people that would have provided the ingredients for the activities, also achieved better and stronger connections within shown up at each appointment. The activities included bakery workshops in which everyone the community and more visibility. brought their own sourdough, "collaborative theaters", in which everyone could tell about the fermentation process of their ingredients, excursions to the surrounding places and some other C‐16 Presence (or not) of economic benefits for the local community as a whole or any convivial practice. For each place they stopped, they had a local actor as a reference partner. The specific actors in particular, resulting from the creative works with/in public spaces: process was quite chaotic but very spontaneous and with positive feedback from the community. During each meeting, there have always been moments of sharing both resources and knowledge Were there any, no matter how big The Forno Vagabondo designers sourced the flour for all the activities from a group of local by all the actors. The workshop usually began with a brief introduction to the community about or small, economic benefits for the women grain farmers and from a small miller. They also set up the solidarity buying group, which the project Forno Vagabondo, then they used to explore together principles of care and mutual local community as a whole or any further supports the farmers. This means that, even to a small extent, the Forno Vagabodo nourishment through the preparation of a sourdough. They reflected the care process in a specific actors in particular, project enhanced small local businesses. collective, continuously grow‐ ing Care‐Diary, which also helped them to support each community resulting from the creative works during the first weeks of practicing. Anyone was able to participate in the workshop without prior with/in public spaces? fermentation experience or knowledge. For the workshop, it was only necessary to have the following things ready: 1 jam jar or preserving jar. 1 kitchen scale. 100g flour. 100g cold water. 1 C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that knife or spoon. They were looking for continuous interaction with the attendees, from the potentially empowered the actors to prosper in their future development: beginning of the activities, till the end of the exercise where a feedback box was left to allow participants to write suggestions or questions about what had been done. The community Were there any exchanges of Through Forno Vagabondo, multiple forms of knowledge found a stage. For each activity, local involvement continued also after the activities were carried out, thanks to direct contact (email, knowledge or other activities actors and their wisdom were involved. Grain farmers, millers, herb specialists, environmental phone messages, social network) with the local communities who were asked to share their performed that potentially educators, etc. Many people contributed with their knowledge. A local bakery also helped out pictures during the activities on‐site, but also of their private experimentations with baking at empowered the actors to prosper in with the implementation of the project and the baker came himself to test the oven. Moreover, home. their future development? the core of all activities was to share knowledge about bread making. There were different focuses, for example on cereals, healthy eating, herbs, etc. In addition, there was a share of C‐11 The role of natural/cultural heritage in the project/activities: knowledge about how to achieve a sustainable bread‐making system, on how to operate a wood stove, or who in the village already mastered the bread system. Did cultural and/or natural heritage Not so much, but in the workshops, they tried to focus more on raw materials and seeds that play any specific role in the were more adaptable to the climate conditions of the area of Vallagarina. C‐18 Monitoring (or not) of the impact of the project: project/activities? C‐12 The targeted impact of the project/activity: 300 How was the impact of the project / The impact of the project was roughly qualitatively monitored through feedback from the Link to public data to better https://www.facebook.com/fornovagabondo/ (https://www.facebook.com/fornovagabondo/ ) activities monitored? If it wasn’t – attendees on different media, written or online (stories about baking, pictures of home baking understand the activities and actors, how do you think it could be exercises...). At the beginning of the activities, participants were provided with a diary where to as well as impacts: monitored? note and measure their progress. The Forno team initially monitored the amount of material used in terms of ingredients and its result in baked goods. Unfortunately, they stopped keeping track The link: Forno Vagabondo Facebook page since it was not feasible and, in their opinion, was not a priority because they thought it was more Link to public data to better https://laforesta.net/forno‐vagabondo/ (https://laforesta.net/forno‐vagabondo/ ) important the “human side” of the project, meaning their active presence in the activities and understand the activities and actors, feedback listening. Flora said: “We put up feedback boxes during the activities and received lots as well as impacts: of little notes. In addition, we received a lot of feedback in personal conversations. At the same time, I wrote to some of the people who took part in the activities to get more detailed feedback. The link: La Foresta Association At the same time, we have carefully observed how the spaces around the stove have evolved, the atmospheres, which conversations have formed and how the people have reacted to our arrival Link to public data to better https://www.instagram.com/forno_vagabondo/ (https://www.instagram.com/forno_vagabondo/ ) and activity. These were the main indicators for us. At the same time, the activities were understand the activities and actors, accompanied by continuous self‐reflective meetings in which we tried to improve the set‐up and as well as impacts: to look critically at our own practice from a feminist community economy perspective”. They The link: Forno Vagabondo Instagram page think that there was not enough time to measure a real impact, since the actual project lasted just a few months (due to pandemic) but was supposed to last longer and to be carried out in a more Link to public data to better https://www.alpinecommunityeconomies.org/it/2020/05/12/un‐forno‐sociale‐mobile‐ecco‐il‐forno‐ organized way. Now that the activities have started again, they probably plan to implement an understand the activities and actors, vagabondo/ (https://www.alpinecommunityeconomies.org/it/2020/05/12/un‐forno‐sociale‐mobile‐ impact methodology. as well as impacts: ecco‐il‐forno‐vagabondo/) C‐19 Way in order to communicate the impact of the project: The link: Connection between Forno Vagabondo and Alpine Community Economies Laboratory How was the impact of the project / They didn’t measure it so there was not a specific plan about disseminating it beyond the Link to public data to better https://designdisaster.unibz.it/2020/fermenting‐caring‐more‐than‐human‐communities/ activities disseminated or Facebook page which is constantly updated with the past and upcoming events. understand the activities and actors, (https://designdisaster.unibz.it/2020/fermenting‐caring‐more‐than‐human‐communities/ ) communicated? as well as impacts: C‐20 Perception of the creative works in public space(s) by the final users and the reactions The link: Article about Forno Vagabondo of the general public: D‐1 Main editor in charge of this entry and potential other authors of this case study How were the creative works in The activities were well perceived both by the attendees and by the supporting associations (for description public space(s) perceived, each of the 6 stops there was a local association supporting the activity in the spot). Attendees evaluated, judged by the final users were always curious, open to communicate and share doubts about the process of each activity. Name and surname: Paola Russo – what were the reactions of the The project didn’t have a specific target, in order to be as open as possible to the whole local Organization: Politecnico di Milano general public? community. All the people involved were quite positive about the project. Email: paola.russo@polimi.it C‐21 The (one) main success and the (one) main failure of the project/activities Role: Editor Main sucess: They started from a strong and very active network on the territory, thanks to all the other local associations. For this reason, despite the complex historic moment, they were able to activate Name and surname: Flora Mammana various entities through this project, working in a space of possibilities that were still left. This Organization: Associazione La Foresta somehow was inspiring and encouraging for other partners and for the community to always do better. Email: mammanaflora@gmail.com Main failure: They felt sorry for not being able to make the project more inclusive in terms of cultural diversity. Role: Direct contact for the case study and person interviewed for the case. Due to Covid restrictions, they couldn’t stay in each spot for the number of weeks originally planned. For this reason, they didn’t have the right amount of time to build deeper and long‐term D‐2 Representative pictures connections especially with specific slices of the community. Picture's caption: C‐22 Importance of broader conditions for the main sucess and main failure factor: *** How important were the broader For the main success, the support of the other local associations that were already active on the conditions (e.g. the supporting territory was fundamental. For the main failure, Covid was the only main responsible. Picture's author: state of the art in the community, Picture's date: infrastructure, institutional support, financial sources, local or Picture's source: "imported" know‐how etc.) for the main success and main failure factor Picture's caption: Representative illustration of the project C‐23 Provide the links to public data on the creative works Link to public data to better https://makerfairerome.eu/it/forno‐vagabondo‐impastare‐futuri‐sostenibili/ understand the activities and actors, (https://makerfairerome.eu/it/forno‐vagabondo‐impastare‐futuri‐sostenibili/ ) as well as impacts: The link: Article about Forno Vagabondo Link to public data to better https://franzmagazine.com/2020/07/30/forno‐vagabondo‐impastiamo‐e‐inforniamo‐futuri‐ understand the activities and actors, desiderabili/ (https://franzmagazine.com/2020/07/30/forno‐vagabondo‐impastiamo‐e‐inforniamo‐ as well as impacts: futuri‐ desiderabili/ ) The link: Article about Forno Vagabondo 301 Picture's author: Fabio Franz Picture's date: Picture's source: Flora Mammana Picture's caption: Making bread during one of the workshops Picture's author: Flora Mammana Picture's date: 4/15/2020 12:00:00 AM Picture's source: Forno Vagabondo Facebook page Picture's caption: Making bread during one of the workshops Picture's author: Julia Wagner Picture's date: Picture's source: Flora Mammana Picture's caption: Cutting the fresh from the oven bread during a workshop with all partner associations to imagine the future of the project together Picture's author: Julia Wagner Picture's date: Picture's source: Flora Mammana Picture's caption: Flora baking bread during one of the workshops 302 Picture's author: Julia Wagner Picture's date: Picture's author: Unknown Picture's source: Forno Vagabondo Facebook page Picture's date: D‐3 Additional information Picture's source: Flora Mammana Additional information: Picture's caption: The wandering oven on the road Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Unknown Picture's date: Picture's source: Forno Vagabondo Facebook page Picture's caption: The Booklet with instructions to make sourdough 303 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Open Air +5 Foghíles, Incontri e sperimentazione +4 nello spazio rurale +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Italia  ‐1 Region name (in local language): Basilicata ‐2 Place name (in local language): Latronico ‐3 Country name (in english): Italy ‐4 Region name (in english): Basilicata ‐5 Place name (in english): Latronico Open landscape Latronico is a town in the province of Potenza, in the Southern Italian region of Basilicata, with a population of 4246 people (last census 31/10/2020) (1). During the sixties, Latronico saw its most significant demographic increase. This situation didn’t recur anymore since those years because of the social scourge that heavily affects southern development for many years: emigration. The average age is 50 years. The amount of people varies considerably from winter to summertime (it can vary almost twice as much), due to people that come back home for vacation time. It has an area of 76.66 km² and is mainly mountainous. The village rises at the foot of Mount Alpi, a massive mountain of the southern Apennines. The village was initially born around the upper part of the town Comment: and then developed in the underlying areas. This can be noticed by looking at the urban structure, which is substantially like wildfire. For this urban characteristic in Latronico, it is possible to distinguish two parts: Capadavutu, the area where the historical center rises, and Capabbasciu, which is the underlying area of the town. Capadavutu, the historical site, is mostly vacant and in abandonment due firstly to the intense emigration started in the ‘70s and then to the following earthquake of the ‘80s, when many citizens left their homes to build new ones at the foot of Mount Alps, in the lower part, Capabbasciu. Latronico is part of the Pollino National Park and the Lagonegrese Mountain Community. Therefore, it is rich in broad naturalistic zones with equipped areas and alpine routes. Difficult terrain Map of the network of public spaces in the remote place +5 +4 +3  +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Caption of the map: Latronico map ‐3 Legend of the map: Latronico town in Basilicata Region showing town area delimitations and the section where the ‐4 creative works took place. ‐5 Effortless terrain It is mainly a mountainous village 134 Km away from Potenza, the regional capital and closest major town. The primary road Comment: connection to reach Latronico is the state road 653 of the Sinni Valley. There is no train station in the town. For this reason, the most used means of transport to reach or move from Latronico are buses connected to the main surrounding cities. 304 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2  +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity It is a non concatenated territory. The inhabitants live with small businesses or work in the administrative services of the municipality. Low‐income households prevail Comment: Alternatively, the majority travel every day to work in neighboring villages. Despite being very remote, it has a large number of As regards participatory processes, at the beginning of the project “A Cielo Aperto”, in 2008, Latronico was not familiar with art associations and people passionate and talented in artistic fields (music, visual art, writing). Comment: initiatives or co-design activities. The locals started being familiar with these kinds of activities in the course of years (the project is still ongoing). Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 3 +3 Explanation: The Inhabitants of Latronico are mostly aware of their marginality status. However, in the course +2 of the project A Cielo Aperto, they have shown a desire to get out of this condition of isolation, and for participation and appropriation of the public space.  +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Low population density  structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  ‐3 support facilities ‐4 Social specifics and/or divisions  ‐5 Economic inferiority  Daily‐life‐support facilities none‐existing Subjective criteria  Before the 70’s Latronico used to have within the town all services necessary to the area (especially the electrical sector). From the ‘70s onwards there has been a reversal. There is one medium and one high school. There is no hospital and the nearest is 30 Specify subjective criteria (e.g. minutes by car. Latronico is 1.5 hours away from Potenza (Latronico’s province). The average age is about 50 years and most young community’s self‐perception of people leave the town right after high school because the town doesn’t offer much. The town is divided into two parts: the upper old being remote etc): Comment: part Capadavutu which was built on top of rock because the surrounding area was a landslide zone, and Capabasciu which is the  underlying area of the town that rose after the 70s and the disastrous earthquake in Irpinia (a close town) in the 80s. Indeed, people Other left the old town and started building new houses and support facilities (markets, shops, etc) at the bottom of the rock. For this Specify other: reason, the old town is now mostly vacant, also due to the fact that it is accessible just on foot because of its picturesque narrow streets called “Carrare”. Summary of the elements that Latronico is a mainly mountainous village that rises at the foot of Mount Alpi, a massive mountain characterise this case as a remote of the southern Apennines. It is quite isolated from the surroundings due to poor transport links. place: After the 70s and mostly after the terrible earthquake of the 80s, it saw a demographic decrease due to the social scourge that heavily affected southern development for many years: emigration. The population is 4246 people, with an average age of 50 years. The amount of people varies considerably from winter to summertime (it can vary almost twice as much), due to people that come back home for vacation time. Low population density rank: 2 Geographical barrier/allocation rank: 3 305 No good transportation links rank: 1 The network of roads, streets, paths As explained before, the town is mostly divided into two parts: the upper old part Capadavutu, and alike elements that tie this and Capabasciu which is the underlying area of the town that rose after the 70s and the Difficulties in accessing daily‐life‐ remote place together: disastrous earthquake in Irpinia (a close town) in the 80s. Indeed, people left the old town and support facilities rank: started building new houses and support facilities (markets, shops, etc) at the bottom of the rock. For this reason, the old town, which is the part we are focusing on since the creative works Social specifics and/or divisions took place there, is now mostly vacant, also due to the fact that it is accessible just on foot rank: because of its picturesque narrow streets called “Carrare”. Its structure, in fact, is made of little Economic inferiority rank: streets with a maximum width of 1 meter, where is not possible to access by car. There are some parking areas right around the surroundings of the old town. Subjective criteria (e.g. community’s self‐perception of being remote etc) The quantity and structure of public I don’t know how to answer this properly. As far as I understood, the old part of the town, rank: space network (besides Capadavutu, is mostly made of houses, churches and some associations. There is also an artist’s roads/streets/paths network) in this residence called Buck, where artists who participated in the creative works were hosted. Other rank: remote place: Moreover, it is possible to find Spazio Cantisani which is a space where many activities took place. Most of these spaces are actually private but made available by citizens. The rest of the services A‐5 Provide the links to public data and public areas are located in the lower and modern town, Capabasciu. Links to public data on the remote Details about the project A Cielo Aperto A‐9 General description of the quality of public spaces in this remote place place Answer: I don’t know. See previous answer. The link: http://www.associazionevincenzodeluca.com/A_Cielo_Aperto.htm (http://www.associazionevincenzodeluca.com/A_Cielo_Aperto.htm) B‐1 Name(s) of the public space(s) Links to public data on the remote General information about Latronico Name(s) of the public space(s) (in Largo Eleonora Pimentel/Castello place local language): The link: https://it.wikipedia.org/wiki/Latronico (https://it.wikipedia.org/wiki/Latronico) Name(s) of the public space(s) (in Eleonora Pimentel square/Castle Links to public data on the remote More information about Latronico town English): place Latitude of the public space(s): 40.08798297092223 The link: https://www.latronico.eu/ (https://www.latronico.eu/ ) Longitude of the public space(s): 16.014241350882934 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Ground plan showing the land use Watersides  of the public space(s): Meadows  Parking area  Service yard  Other types:  Specify other types: Type of indoor public spaces that Cultural association Vincenzo de Luca can be found in this remote place: Thermal museum Cultural association Pollino Art Churches Caption's map of the public space: A Cielo Aperto_Largo Eleonora Pimentel _vectorial map Thermal spa center Legend's map of the public space: Map of “A Cielo Aperto” permanent works with the focus on the place where Latronico Flag has been displayed. Main location  A‐8 General description of.. 306 B‐2 Describe the physical environment Website's link: http://www.associazionevincenzodeluca.com/progetti/EugenioTibaldi/Eugenio_Tibaldi.htm (http://www.associazionevincenzodeluca.com/progetti/EugenioTibaldi/Eugenio_Tibaldi.htm) Physical environment description of We are focusing on Largo Eleonora Pimentel/Castello that is the area where was performed the the public space(s) with creative final part of the activity we intend to talk about regarding the project “A Cielo Aperto”. It is simply B‐11 Provide photos of the public space(s) with creative works works: a lay‐by where cars can be left. It is located in a part of the street right at the north border of the old town of Latronico. It can be physically described as a viewpoint looking at the green Caption: The raising of the winning flag in Largo Eleonora Pimentel in Latronico landscape below. Physical environment elements The actual creative works took part in different phases and in different spots of the town. were important and/or actually However, this specific spot was chosen by the creative people, together with the locals, because "used" by creative people for their it is a representative place of the town and they thought it was perfect to hang the result of the activities: creative work (to be explained later in section C ‐ the name and the result of this creative work is “A Flag for Latronico”) B‐3 Describe the general functions Functions and land uses description Largo Eleonora Pimentel/Castello is simply a lay‐by where cars can be left. It is located in a part of in the area of the public space: the street right at the north border of the old town of Latronico. It can be physically described as a viewpoint looking at the green landscape below. It is called “The Castle” by locals because it is the highest part of the town, despite it doesn’t have any castle there. Functionalities of space were The functionality that was “used” by the creative works was the fact that it is the highest spot of important and/or actually "used" by the town, looking at a wonderful panorama. For this reason, it represents the perfect spot in creative people for their activities: Latronico to hang the flag of the town (the flag is the result of the creative work we are focusing on). B‐4 General demographic characteristics of the area around the public space: Describe the general demographic Since it is simply a viewpoint, the demographic characteristics correspond to the ones of the old Photo's author: Pasquale Campanella characteristics town in general: it is mostly vacant because of the events of the ‘70s and ‘80s described before. Caption: One of the polling stations where locals have been invited to vote for the flag for the town of B‐5 Type of the public space(s) with creative work Latronico Form and function: Lay‐by for cars and viewpoint Ownership: Public Access regarding entry‐control: 24/7 Access regarding time of day/week 24/7 /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this Largo Eleonora Pimentel, called by locals “Castle”, is simply a lay‐by where cars can be left. It is public space designed for initially also the highest part of Latronico. It is located in a part of the street right at the north border of the old town of Latronico. It can be physically described as a viewpoint looking at the green landscape below. B‐8_a Which are the activities in this public space(s)? Activity: Looking at the panorama and pulling over by car B‐8_b Who are the main users of this public space(s)? User: People pulling over by cars and enjoying the sightseeing Photo's author: Pasquale Campanella B‐8_c What are the users activities of this public space(s)? Caption: Locals voting their favorite flag for the town of Latronico Users Activity Before After People pulling over by cars and Looking at the panorama and   enjoying the sightseeing pulling over by car B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the It doesn’t apply to our space. most attractive to people B‐10 Provide the links to public data on the public space(s) Website: A Cielo Aperto project website within Association Vincenzo De Luca 307 What challenge was the project A Cielo Aperto at the very beginning started without any artistic or collaborative purpose. The (activities) trying to tackle – what association was founded simply out of a need for the De Luca family and close friends to was the aim remember Vincenzo De Luca, who died prematurely in 1995. Vincenzo was a worker in a mechanical workshop and at the same time, he painted and loved art. He was much loved in his town of Latronico, which wished to pay homage to him with an association in his name. The association was born with the precise desire not to use public money. Initially, the founders wanted to create an internal laboratory, putting in place educational situations around local culture and art, inviting old local artists to collaborate. The aim was not very clear and the dynamics were still not smooth since locals were absolutely not familiar with artistic practices. One day it was proposed to invite Bianco‐Valente, an artistic duo very active and knowledgeable about the territory since Giovanna Bianco is from Latronico. Giovanna and Pino started the activities in Latronico with a project of video installations scattered in the upper part of the town. People were surprised and curious and began to approach the themes of contemporary art. Thereafter, the scope of the project started to be clearer and clearer: working on the construction of a widespread open‐air museum, in which various permanent works dialogue with the mountain environment, and with the aim to intervene in the urban space with shared and participated projects. Open‐air museums were already widespread, but most of them were conceived as touristic or didactic places, while a push for a museum contaminated with reality, like the one realized thanks to A Cielo Aperto, was missing. C‐4 Time frequency: Photo's author: Association Vincenzo De Luca Time Frequency Periodical activity C‐1 Official name of the activity/project Other information: Name in local language: A Cielo Aperto C‐5 Time period Name in English: Open Air Start: 8/10/2008 12:00:00 AM Nickname: "Una Bandiera per Latronico" (A Flag for Latronico) it is the creative work we are focusing on End: Overall name:  Comment: ongoing C‐2 Description of the project (activities) that took place in the analysed public space(s): C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Describe the project (activities) that This public art project, curated by Bianco‐Valente (artistic duo) and Pasquale Campanella, was took place in the analysed public born in 2008 within the cultural association Vincenzo De Luca in Latronico, Basilicata, with the Actor(s): Elisabetta De Luca space(s) idea of working on the construction of a widespread open‐air museum, in which various Motivations: working on the construction of a widespread open‐air museum, in which various permanent permanent works dialogue with the mountain environment, and with the aim to intervene in the works dialogue with the mountain environment, and with the aim to intervene in the urban space urban space with shared and participated projects. Every year, one or two artists are invited to with shared and participated projects. reside for a period of time in Latronico, before proposing their intervention; When in Latronico they stay in the artist's residence Buck. Their intervention can be a workshop or a permanent Roles: President of the Association Vincenzo De Luca. work to be set up outdoors. In designing their interventions the artists always include the inhabitants of Latronico, even those who return only in the summertime. The activities over time Actor(s): Bianco‐Valente have been multiple and heterogeneous and most of them took place in the old part of the town, Capadavutu which used to be mostly vacant in the last decades, with the idea of bringing the Motivations: working on the construction of a widespread open‐air museum, in which various permanent people of Latronico to take back a part of their history. A Cielo Aperto is the first museum that works dialogue with the mountain environment, and with the aim to intervene in the urban space contaminates itself with reality. It aims at creating a path to be built with others and not only the with shared and participated projects. prerogative of artists One example is “Una bandiera per Latronico” (A flag for Latronico, the Roles: Artistic duo and project curators. Members of Association Vincenzo De Luca. Catalysts in project creative work we are focusing on) where the artist created a flag for the town, which didn’t exist development. before. The community was involved in the process from the beginning with questionnaires where they were asked to tell the elements that, in their opinion, were more representative Actor(s): Associazione Vincenzo de Luca about Latronico. After a process of selection, organized through a sort of political election, a final icon was selected together with the inhabitants and a flag was created. Art can be a significant Motivations: working on the construction of a widespread open‐air museum, in which various permanent means for the development of the territory but it can also be an empty ornament, inscribed in works dialogue with the mountain environment, and with the aim to intervene in the urban space generic tourist activity. In artistic practice, the relationship and the non‐instrumental involvement with shared and participated projects. of the people who animate the place are of great importance, creating moments of reflection on Roles: Project founder and logistic the history of the community and recovering vital, cultural, and communicative processes that go beyond disciplinary fences, towards a public sharing. A Cielo Aperto is the first museum that Actor(s): The artists contaminates itself with reality. Motivations: Intervene in the urban space with shared and participated art‐related projects. Activators of new C‐3 Challenge that the project (activities) tried/is trying to tackle: positive dynamics in the territory. Roles: To design the co‐activities and develop the art related projects Actor(s): The local community Motivations: To get out of a state of marginality getting involved in participatory practices Roles: Participants 308 Actor(s): Pasquale Campanella Motivations: working on the construction of a widespread open‐air museum, in which various permanent C‐11 The role of natural/cultural heritage in the project/activities: works dialogue with the mountain environment, and with the aim to intervene in the urban space with shared and participated projects. Did cultural and/or natural heritage Yes. The public art projects developed during the A Cielo Aperto project have had and continue to play any specific role in the have an important role, claiming the existence and resistance of Latronico to a condition of Roles: Project curator Members of Association Vincenzo De Luca. Catalysts in project development. project/activities? marginality, the desire for participation and appropriation of space. In the practices developed in Latronico, the projects have been conductors of local stories in which sociological, C‐7 Description of the supporting background that existed to make the activities happen: anthropological and political aspects, but also fairy‐tale and popular ones, have been given a wide scope, combined with the personal experiences of the inhabitants. What kind of supporting The association was born with the precise desire not to use public money. The little funds come background existed to make the from the Association Vincenzo De Luca. The members can pay a membership fee from 30 to 150 C‐12 The targeted impact of the project/activity: activities happen (financial, euros, depending on the possibilities. When they reach a sum of around 5000 euros each year, institutional etc.) they start organizing the logistics for the new art intervention. What was the targeted impact of A Cielo Aperto at the very beginning started without any artistic or collaborative purpose. The the project / activities? association was founded simply out of a need for the De Luca family and close friends to C‐8 Sectors involved in the development of the creative works with public spaces: remember Vincenzo De Luca, who died prematurely in 1995 and was an art lover. The aim was not very clear and the dynamics were still not smooth since locals were absolutely not familiar with Culture  artistic practices. Over a few years and thanks to the collaboration with the artistic duo Bianco‐ Education  Valente, the scope of the project started to be clearer and clearer: working on the construction of a widespread open‐air museum, in which various permanent works dialogue with the mountain Health  environment, and with the aim to intervene in the urban space with shared and participated projects. The main consequential impact to be achieved was then to enable Latronico to emerge Sustainability  from its marginalized status thus fostering new cultural dynamics in the town. Science  C‐13 Achievement of the targeted impact: Tourism  Yes/no/partly: Yes Sport  Comment: Yes. Over the course of years, the project has brought a breath of fresh air to the small town of Industry  Latronico activating cultural processes that enabled such a small town to become a destination for more visitors than ever before. Moreover, A Cielo Aperto has brought contemporary art into Other:  the town in a simple, immediate and engaging way. Ten years of projects have helped locals to realize that they, too, can be carriers of culture and that it is not just limited to the big cities. They Specify other: discovered that they had a dense and strong cultural heritage made up of interesting aspects C‐9 Sector which was.. worthy of being translated together with artists. The choice of the Association and the premise of the A Cielo Aperto was that of a design method that develops outside the canonical structures ..the initiator of the activities: Culture and spaces of the contemporary art world. The invited artists, although with great differences from each other, work in public space and act as receptors of needs and criticality, capturing ..the most crucial for the whole case Culture stories, living public space and returning moods and sensations that require constant verification study: and in‐depth analysis. Comment: C‐14 Additional achieved impacts: C‐10 How was the local community involved in the project/activities: Were any additional impacts Yes. From the moment that locals understood that they can be carriers of their dense and strong achieved? cultural heritage, other cultural associations and new dynamics, that were not previously present How was the local community Over the years the various layers of the population have been involved, from children to the in the area, emerged. Moreover, A Cielo Aperto attracts more and more attention from other involved in the project/activities? elderly, depending on the type of activity developed. Since the activities are carried out mainly in organizations too, in diverse fields of interest. For example, the Cultural Association Vincenzo De the summer period, all the inhabitants who normally do not reside in Latronico, but return home Luca has recently joined a new national association on Italian residences, which deals with in the summer period, have also been involved. Even the decision of the type of activity to be territorial realities similar to Latronico where other projects are being developed. developed came from time to time from the succession of the various projects over years and from listening to the territory. Just to make an example, it was understood that the few children C‐15 The main beneficiaries of the creative work in public space(s): in Latronico did not have the possibility to be in the street in places where they could interact. The mothers wanted to encourage experiences that were different from everyday life. So that year Who were the main beneficiaries of The local community at all levels. The project involved everyone, from kids to the elderly. From they invited the artist Elisa Fontana, who was already working in Europe on a project about the creative works in public local permanent residents to the ones that do not reside there but come back in the summertime. children in relation to their parents. The result was a performance in the square with good public spaces(s)? They learned that their dense and strong cultural heritage is a very interesting and powerful participation. For her project in Latronico, Elisa developed a workshop together with the children means of communication that can be fostered and translated with the collaboration of the artists. where they co‐composed a text. The result was a performance in the square, a silent event, where headphones were distributed to the participants and from which they could listen to single C‐16 Presence (or not) of economic benefits for the local community as a whole or any words of that text. They were asked to respond to each word with a gesture. In the past, public specific actors in particular, resulting from the creative works with/in public spaces: art interventions arose from a confrontation with physical space and not with social space. The sculptural element was preponderant, it was installed in the public space coming directly from the Were there any, no matter how big The project fostered the development of micro economies but above all has improved the social artist's studio and did not take into account neither the users nor the place. The A Cielo Aperto or small, economic benefits for the and cultural positivity. project sought a more direct approach with citizenship, thinking that in reality the participatory local community as a whole or any act should be reformulated. The planning was practiced mainly in the workshops, places where it specific actors in particular, is possible to meet and "design without thinking", a path to be built with others and not only the resulting from the creative works prerogative of artists. This practice was then poured into public space, experienced not as a with/in public spaces? neutral container, as happened in many experiences of the sixties, but connoted by the history and biographies of people and these places. The workshops were fundamental for the C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that development of the individual projects; many people participated and established a friendly potentially empowered the actors to prosper in their future development: relationship with the artists; the lunches and dinners were a moment of sharing with familiar characteristics, a way of making everyone feel at home, but also a place for discussion and debate. 309 Were there any exchanges of Yes. The project has improved social and cultural positivity. This happened thanks to a constant Link to public data to better http://www.bianco‐valente.com/ (http://www.bianco‐valente.com/ ) knowledge or other activities and over time sharing of knowledge and experiences among locals, artists and the project understand the activities and actors, performed that potentially organizers. In these kinds of participatory projects, the exchange of knowledge is at the base of as well as impacts: empowered the actors to prosper in every step of the process. their future development? The link: Website of the artistic duo Bianco Valente, member of the Association Vincenzo De Luca and Catalysts in project development. C‐18 Monitoring (or not) of the impact of the project: Link to public data to better http://www.associazionevincenzodeluca.com/Stampa.htm How was the impact of the project / It was not monitored. It could be done somehow monitoring the number of old and new visitors understand the activities and actors, (http://www.associazionevincenzodeluca.com/Stampa.htm) activities monitored? If it wasn’t – over time; if new associations or activities rise; understand if the project is disseminated as well as impacts: how do you think it could be spontaneously outside of the region, etc. The link: Articles and books about "A Cielo Aperto" monitored? D‐1 Main editor in charge of this entry and potential other authors of this case study C‐19 Way in order to communicate the impact of the project: description How was the impact of the project / The project acquired more and more visibility over time and it got different mentions and Name and surname: Pasquale Campanella activities disseminated or publications (1). They also attract interest from other areas (for example territorialists), so much communicated? so that they have recently joined a new national association on Italian residences, which deals Organization: Associazione Vincenzo De Luca (Association Vincenzo De Luca) with territorial realities similar to Latronico where other projects are being developed. Besides that, the project gets disseminated through its website and facebook page. Email: pasquale.campanella@fastwebnet.it C‐20 Perception of the creative works in public space(s) by the final users and the reactions Role: Direct contact for the case study and person interviewed for the case. of the general public: Name and surname: Paola Russo How were the creative works in Many initially struggled to understand the project. It took several years for locals to acquire the Organization: Politecnico di Milano public space(s) perceived, tools to become familiar with the basic concepts of A Cielo Aperto. Ten years of projects helped evaluated, judged by the final users them to understand that they could be primarily bearers of culture and that this was not only Email: paola.russo@polimi.it – what were the reactions of the limited to big cities. They discovered that they had a dense and strong cultural heritage made up general public? of interesting aspects. From that point on, the perception of the locals changed and new cultural Role: Main editor associations were born in the country. D‐2 Representative pictures C‐21 The (one) main success and the (one) main failure of the project/activities Picture's caption: Eugenio Tibaldi’s Sketches of the possible flags Main sucess: It is a project that continues to nurture interest and enthusiasm by various actors. It encapsulates important and beautiful concepts such as hospitality and communication. It has brought art out of its typical elitist dimension and into sociality. It has developed a new way of making art. It also attracts interest from other cultural spheres, generating the possibility of cross‐collaboration to solve common problems. Main failure: Pasquale Campanella, our contact person for the project, does not see the mistakes made during the years of A Cielo Aperto as failures but as fundamental parts of the project. He believes that if an artist creates problems because his work touches more delicate sections of the population, it is not a problem but a stimulating opportunity because it moves dynamics that would otherwise remain crystallized. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader The most important thing at the beginning of the project that enabled A Cielo Aperto to come to conditions (e.g. the supporting life was for sure the love towards Vincenzo De Luca. The affection that the locals felt for this man state of the art in the community, for sure sparked everything. This is why the Association Vincenzo de Luca was born and how A infrastructure, institutional support, Cielo Aperto Started. As regards financial support, they never used public money, but just private financial sources, local or funds coming from the association. Even if the amount is always quite limited, this shows how it is "imported" know‐how etc.) for the possible to create beautiful projects and generate a positive impact on a small town with very main success and main failure factor limited economic resources. A distinctive feature of A Cielo Aperto is the commitment of a few people with ties to the village, including Pasquale Campanella and Bianco‐Valente, who acted as catalysts in the development of the projects. These figures were fundamental for the success of the project. They were able to act as bridges, giving the artists involved a sense of familiarity with the place and knowledge of the relational fabric. Their presence helped to bring out the potential of Latronico, which was then exploited by the artists. One other element that contributed in general to the success of the project is the strong sense of community of the people in Latronico, both residents and not. C‐23 Provide the links to public data on the creative works Link to public data to better http://www.associazionevincenzodeluca.com/progetti/EugenioTibaldi/Eugenio_Tibaldi.htm understand the activities and actors, (http://www.associazionevincenzodeluca.com/progetti/EugenioTibaldi/Eugenio_Tibaldi.htm) Picture's author: Eugenio TIbaldi as well as impacts: Picture's date: 8/24/2011 12:00:00 AM The link: Page of "A Cielo Aperto Website" dedicated to the creative work we are focusing on: "Una bandiera per Latronico" (A flag for Latronico) Picture's source: Pasquale Campanella_Association Vincenzo De Luca 310 Picture's caption: The raising of the winning flag in Largo Eleonora Pimentel in Latronico Picture's author: Unknown Picture's date: 8/25/2011 12:00:00 AM Picture's source: Pasquale Campanella_Association Vincenzo De Luca Picture's caption: The raising of the winning flag in Largo Eleonora Pimentel in Latronico Picture's author: Unknown Picture's date: 8/25/2011 12:00:00 AM Picture's source: Pasquale Campanella_Association Vincenzo De Luca Picture's caption: A word about Latronico" creative work. onOne of the 8 weathering steel words hanging on the village walls 311 Picture's author: Unknown Picture's author: Unknown Picture's date: 8/25/2010 12:00:00 AM Picture's date: 8/25/2010 12:00:00 AM Picture's source: Website Association Vincenzo De Luca Picture's source: Website Association Vincenzo De Luca Picture's caption: Eugenio Tibaldi’s Sketches of the possible flags Picture's caption: A word about Latronico" creative work. One of the 8 weathering steel words hanging on the village walls Picture's author: Unknown Picture's date: 8/25/2010 12:00:00 AM Picture's source: Website Association Vincenzo De Luca Picture's caption: A word about Latronico" creative work. Stefano Boccalini’s postcard sent to collect the words for Latronico. Picture's author: Eugenio TIbaldi Picture's date: 8/24/2011 12:00:00 AM Picture's source: Pasquale Campanella_Association Vincenzo De Luca D‐3 Additional information Additional information: 312 Link: D‐4 Optional final remark Optional final remarks: is there any We would like to explain in depth two of the artwork developed in the course of A Cielo Aperto additional information that was not Project. The first is “Una Bandiera per Latronico” (A flag for Latronico), the artwork we focused communicated through the on in section C. The second is “Una parola su Latronico” (A word for Latronico), which is very template interesting too. “Una Bandiera per Latronico” (A flag for Latronico) The artist Eugenio Tibaldi created for the town a flag, which didn’t exist before. When was first hosted in Latronico, he realised that the municipality of Latronico had a banner but no flag. He wanted the flag to be chosen in a democratic way. Therefore, he decided to involve both residents and emigrants in the project, through the door‐to‐door and the network, with a detailed questionnaire asking for symbols, colours, shape, historical and landscape elements that, in their opinion, were more representative about Latronico. After recollecting all the questionnaires, he made a synthesis and created three different sketches of possible flags which were displayed to the public in the spaces of the Association Vincenzo De Luca. An election was then organized, with real ballot boxes located in different parts of Latronico and neighboring towns. People were asked to choose their favorite flag and the place where they wanted it to be placed in the town. There was a good involvement of locals. They got about 800 ballot sheets back. The final flag which was chosen is the one that contains the three symbols of Latronico most loved by locals: the three mountains of the area, Sant'Egidio stick (the patron saint) and the water drop which symbolizes the Thermal Spa in Latronico. As a spot to hang it, locals chose Largo Eleonora Pimentel, called “The Castle”, not because of the presence of a real Castle, but because it is the highest part of the town. This flag became the official flag used by the municipality of Latronico. “Una parola su Latronico” (A word about Latronico) The Artist Stefano Boccalini used the idea of the postcard as a link between himself and the people of the village. He visited and did an inspection in latronico during winter time, when the town is mostly desert. He walked to a high point of the town and he was impressed by the beautiful panorama visible from Paolo Borsellino street. He took some photos, one of which became a traditional tourist postcard. He decided to send some of them to inhabitants of Latronico living abroad and gave some others by hand to the local residents. He gave away about 700 cards. He asked people to write a single word on the postcard that specifically identified a socio‐economic aspect, a historical tradition or a suggestion of the country. He got back around 360 filled postcards. After a selection of all the words with a selection of people, they chose 8 most representative words which were cut from weathering steel and permanently applied on chosen walls in the old town. Significant is the word 'return' affixed to the house of Elisabetta De Luca, president of the association, who has returned to Latronico after thirty‐five years working in northern Italy. 313 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement +5 Arte All’Arte +4  +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Italia ‐1 Region name (in local language): Toscana ‐2 Place name (in local language): Poggibonsi ‐3 Country name (in english): Italy ‐4 Region name (in english): Tuscany ‐5 Place name (in english): Poggibonsi Open landscape Poggibonsi is an Italian town of 29.009 inhabitants in the province of Siena in Tuscany. The average age is 46,3 years. It is an Comment: important agricultural and commercial center and home to various industries. It rises in the Alta Val d'Elsa territory on the western foothills of the Chianti Hills. Difficult terrain +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good Map of the network of public (infrastructure (infrastructure spaces in the remote place for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5  Effortless terrain Poggibonsi enjoys a central location with respect to the main surrounding cities such as San Gimignano, Colle di Val d'Elsa, Comment: Florence, and Siena, but also Volterra and Pisa. Caption of the map: Poggibonsi map Legend of the map: Poggibonsi map showing the 7 spots with creative works 314 Diversified economic activities High‐income households prevail +5  +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Since the Middle Ages, Poggibonsi has always had a particular commercial vocation that has placed it at the centre of economic Low‐income households prevail exchanges passing through the Valdelsa. The town is currently the capital of the Distretto Industriale dell'Alta Valdelsa (Upper Comment:No sufficient information about it to answer Valdelsa Industrial District), which also includes the municipalities of Colle Val d'Elsa, San Gimignano, Casole d'Elsa, Barberino Tavarnelle and Certaldo, and is a point of reference for employment in a vast area covering the provinces of Florence, Siena and A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Pisa. While throughout the period from the "economic boom" to the 1980s local production was essentially monothematic and at all) to 5 (extremely remote) focused on the furniture and furnishing sector, it is now possible to find companies that deal with different and varied sectors. In Comment: addition to industrial production, another important item for the local economy is service companies. Another sector that has become Estimation: 1 established in recent years and is currently booming is tourism. This is thanks to the rediscovery of many recently enhanced Explanation: historical and cultural attractions, but above all thanks to a fortunate geographical position. In fact, Poggibonsi, given its central position with respect to important cities of art such as San Gimignano, Colle di Val d'Elsa, Florence and Siena, but also Volterra and A‐4 Elements that characterise the remoteness of the place: Pisa, has seen an increase in its accommodation capacity, with the birth of many hotels and holiday farms. In general, considering the territory of Tuscany, we can tell that it has been active in the field of territorial art since the 70’s. This is one of the reasons why Low population density  the creative sector can be considered quite developed. Geographical barrier/allocation  Daily‐life‐support facilities well developed No good transportation links  +5 Difficulties in accessing daily‐life‐  +4 support facilities +3  Social specifics and/or divisions  +2 Economic inferiority  +1 Subjective criteria  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Specify subjective criteria (e.g. “aesthetic inferiority” demographic demographic community’s self‐perception of structure structure being remote etc): ‐1 Other  ‐2 Specify other: ‐3 Summary of the elements that From the above‐described points of view, Poggibonsi certainly cannot be defined as a small and ‐4 characterise this case as a remote remote place from an infrastructure or economic point of view. It is, however, a very interesting place: place compared to the other small municipalities that surround it and that stand out for their ‐5 historical and natural beauty, unlike Poggibonsi which is a rather anonymous town from which tourists pass by absent‐mindedly on their way to the more famous and nearby San Gimignano. Daily‐life‐support facilities none‐existing Low population density rank: Comment:No sufficient information about it to answer Geographical barrier/allocation rank: No good transportation links rank: Difficulties in accessing daily‐life‐ support facilities rank: 315 Social specifics and/or divisions The network of roads, streets, paths Poggibonsi is situated in the Alta Valdelsa at the confluence of the main communication routes rank: and alike elements that tie this that cross Tuscany. On the surface, it may appear to be only a modern town. It has suffered remote place together: several destructions during wars and world conflicts and has been rebuilt over the years, seeing Economic inferiority rank: the most significant development around the 1970s. Nevertheless, it remains rich in some ancient monuments of great value and interest. In general, we can tell that it has the structure of a Subjective criteria (e.g. community’s 1 contemporary town, with buildings from the 50/60’ and some new ones in the outskirts, which self‐perception of being remote etc) live harmoniously together some historical sightseeings. rank: The quantity and structure of public There are several squares and meeting places: three cinemas, a couple of theatres, a beautiful Other rank: space network (besides public library recently restored. A cycle path has been created along the small river that crosses A‐5 Provide the links to public data roads/streets/paths network) in this the city and has become a promenade with several benches along the way. In the street leading remote place: from the town center to the fortress, there is also a lovely park with several children's Links to public data on the remote Poggibonsi demographical data playgrounds, which has recently been well maintained and arranged. place A‐9 General description of the quality of public spaces in this remote place The link: https://ugeo.urbistat.com/adminstat/it/it/demografia/dati‐sintesi/poggibonsi/52022/4 (https://ugeo.urbistat.com/adminstat/it/it/demografia/dati‐sintesi/poggibonsi/52022/4) Answer: From the little information we manage to get, it seems that the public spaces in the town are well equipped to respond to people’s different needs. Links to public data on the remote Poggibonsi website place B‐1 Name(s) of the public space(s) The link: https://www.comune.poggibonsi.si.it/ (https://www.comune.poggibonsi.si.it/) Name(s) of the public space(s) (in Centro commerciale Val D’Elsa local language): Links to public data on the remote General information about Poggibonsi place Name(s) of the public space(s) (in Shopping center Val D’Elsa English): The link: https://en.wikipedia.org/wiki/Poggibonsi (https://en.wikipedia.org/wiki/Poggibonsi) Latitude of the public space(s): 43.46842592202957 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Longitude of the public space(s): 11.156022999816292 Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Ground plan showing the land use Parking area  of the public space(s): Service yard  Other types:  Specify other types: Type of indoor public spaces that Religious edifices can be found in this remote place: Castle Magione Parco Archeologico e Tecnologico Fonte delle fate A‐8 General description of.. Caption's map of the public space: Arte all'Arte_Poggibonsi_Shopping Center Val D'Elsa_Google map Legend's map of the public space: Shopping Center Val D'Elsa_Google map Main location  Name(s) of the public space(s) (in Fortezza di Poggio Imperiale local language): 316 Name(s) of the public space(s) (in Fortress of Poggio Imperiale Legend's map of the public space: English): Main location  Latitude of the public space(s): 43.46057647424343 Name(s) of the public space(s) (in Piazza Cavour Longitude of the public space(s): 11.155081864834585 local language): Name(s) of the public space(s) (in Cavour Square English): Latitude of the public space(s): 43.46770393933571 Longitude of the public space(s): 11.147020057458608 Ground plan showing the land use of the public space(s): Caption's map of the public space: Legend's map of the public space: Main location  Ground plan showing the land use of the public space(s): Name(s) of the public space(s) (in Ponte ex Fassati local language): Name(s) of the public space(s) (in Bridge ex Fassati English): Latitude of the public space(s): 43.4741532613953 Longitude of the public space(s): 11.148889223179768 Ground plan showing the land use of the public space(s): Caption's map of the public space: Legend's map of the public space: Caption's map of the public space: Arte all'Arte_Poggibonsi_Fortress of Poggio Imperiale_Google map Main location  Legend's map of the public space: Fortress of Poggio Imperiale_Google map Name(s) of the public space(s) (in Stazione FFSS (binario 2) Main location  local language): Name(s) of the public space(s) (in Largo Gramsci Name(s) of the public space(s) (in Station FFSS (rail 2) local language): English): Name(s) of the public space(s) (in Gramsci Square Latitude of the public space(s): 43.468238238173726 English): Longitude of the public space(s): 11.149391984380829 Latitude of the public space(s): 43.47200922267936 Ground plan showing the land use Longitude of the public space(s): 11.143330467888969 of the public space(s): Ground plan showing the land use Caption's map of the public space: of the public space(s): Legend's map of the public space: Caption's map of the public space: Main location  Legend's map of the public space: B‐2 Describe the physical environment Main location  Physical environment description of We will focus just on two of the spots where the artworks are located and of which we have Name(s) of the public space(s) (in Parco il Vallone the public space(s) with creative information. Shopping center Val D’Elsa: it’s an ordinary shopping mall. The Artist Gormley local language): works: installed one of its statues in the pedestrian area in front of the main entrance of the shop and the parking lot. Fortress of Poggio Imperiale: The fortress of Poggio Imperiale was built on a hill in Name(s) of the public space(s) (in Vallone Park Poggibonsi between the end of the 15th and the beginning of the 16th century at the behest of English): Lorenzo il Magnifico with the aim of strengthening the territorial defenses of the Florentine dominion, but the project was never completed. It was abandoned for many years and restored in Latitude of the public space(s): 43.46455667996423 2015. The Artist Gormley installed one of its statues on top of one of the perimeter walls of the Longitude of the public space(s): 11.145995372076968 Fortress. Ground plan showing the land use of the public space(s): 317 Caption's map of the public space: Physical environment elements None of them. The Iron sculptures are fixed objects installed in the city. The sculpture installed on User: Visitors of the Fortress and the overall area were important and/or actually the perimeter wall of the fortress has the advantage of looking at a wonderful panorama over the "used" by creative people for their Chianti hills. It is possible to walk on these walls for 2km. User: Workers of the Fortress activities: B‐8_c What are the users activities of this public space(s)? B‐3 Describe the general functions Users Activity Before After Functions and land uses description Shopping center Val D’Elsa: it’s an ordinary shopping mall. Fortress of Poggio Imperiale: Left People going for shopping to the shopping   in the area of the public space: untouched for almost more than 500 years, it now stands as a park and public area where during mall the summer there are shows and concerts, a restaurant with a stunning panoramic position and lots of space to enjoy a stroll overlooking the land that divides Florence and Siena. It is also an Workers of the mall working   archeological site. In 2003, the Municipality of Poggibonsi and the University of Siena inaugurated the Poggio Imperiale Archaeological and Technological Park on the hill, offering tourists the Visitors of the Fortress and the visit the different attractions hosted   opportunity to visit the various phases of settlement brought to light and to observe the work of overall area in the Fortress the archaeologists up close during excavation periods. A fundamental role in the project was   played by the Cassero of the Fortezza Medicea, which represented the reference point for the Visitors of the Fortress and the Enjoy the park and activities hosted "park system"; it housed a complex documentation center with a conference room, guest overall area there quarters, archaeological and computer laboratories, bar, restaurant and bookshop. The idea was Workers of the Fortress working   to create a multipurpose center in which to carry out scientific research, organize conferences and training activities. Workers of the Fortress Enjoy the park and activities hosted   there Functionalities of space were None of them. important and/or actually "used" by B‐9 Parts/sections/spots seem most attractive within the public space (location and creative people for their activities: duration) ‐ Parts/sections/spots at people seem to avoid: B‐4 General demographic characteristics of the area around the public space: Describe what parts seem to be the We don't have information about it. most attractive to people Describe the general demographic It corresponds to Poggibonsi’s described characteristics since these spots are in the town itself. characteristics B‐10 Provide the links to public data on the public space(s) B‐5 Type of the public space(s) with creative work Website: Shopping Center Val D'Elsa Form and function: The first is simply a Shopping mall. The second is a historical fortress surrounded by a park. In the Website's link: https://www.coopfirenze.it/centri‐commerciali/centro‐poggibonsi (https://www.coopfirenze.it Park there are various visitor routes focusing on different themes and accompanied by numerous /centri‐commerciali/centro‐poggibonsi) illustrative panels. It is possible to walk along paths with archaeological, historical‐architectural, geological‐morphological, naturalistic‐environmental and panoramic‐monumental themes. The Website: Poggio Imperiale Archaeological and Technological Park signs on the panels, containing topographical indications relating to the various areas of cultural and environmental interest on the hillside, allow visitors to the Park to find their way around and Website's link: https://artbonus.gov.it/parco‐archeologico‐e‐tecnologico‐della‐fortezza‐di‐poggio‐imperiale.html use the paths with ease. (https://artbonus.gov.it/parco‐archeologico‐e‐tecnologico‐della‐fortezza‐di‐poggio‐ imperiale.html) Ownership: mixed Website: The Fortress Access regarding entry‐control: The statues are always visible. We don’t exactly have information about the entry control on the Fortress. Website's link: https://castellitoscani.com/en/poggibonsi‐fortress/ (https://castellitoscani.com/en/poggibonsi‐ fortress/) Access regarding time of day/week See answer c /year: B‐11 Provide photos of the public space(s) with creative works B‐7 Kind of activity initially designed for this public space: Caption: One of Antony Gormley’s sculptures in Cavour square_Poggibonsi What kind of activity has been this The first is simply a Shopping mall. The second is a historical fortress surrounded by a park. In the public space designed for initially Park there are various visitor routes focusing on different themes and accompanied by numerous illustrative panels. It is possible to walk along paths with archaeological, historical‐architectural, geological‐morphological, naturalistic‐environmental and panoramic‐monumental themes. The signs on the panels, containing topographical indications relating to the various areas of cultural and environmental interest on the hillside, allow visitors to the Park to find their way around and use the paths with ease. B‐8_a Which are the activities in this public space(s)? Activity: shopping Activity: working Activity: visit the different attractions hosted in the Fortress Activity: Enjoy the park and activities hosted there B‐8_b Who are the main users of this public space(s)? User: People going for shopping to the mall User: Workers of the mall 318 Photo's author: Ela Bialkowska/ Courtesy: Associazione Arte Continua ‐ San Gimignano, Italy Caption: One of Antony Gormley’s sculptures in Shopping Center Val D'Elsa_Poggibonsi Photo's author: Ela Bialkowska/ Courtesy: Associazione Arte Continua ‐ San Gimignano, Italy Photo's author: Ela Bialkowska/ Courtesy: Associazione Arte Continua ‐ San Gimignano, Italy C‐1 Official name of the activity/project Caption: One of Antony Gormley’s sculptures in Poggibonsi train station, rail 2 Name in local language: Arte All’Arte Name in English: Art to Art Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that "Arte all'Arte", promoted by "Galleria Continua" of San Gimignano, is a public art project born in took place in the analysed public 1996 and concluded in 2006, thanks to an idea of "Associazione Arte Continua" (A non‐profit space(s) association) and the support of the art critic Luciano Pistoi. The aim of the project was to promote the municipalities in the province of Siena and Florence as an agri‐environmental art district, linking and balancing contemporary art with the wonderful Tuscan historic heritage. Each of the ten editions of Arte all'Arte has produced several interventions by international artists in the public space, realized starting from the analysis of the places and in dialogue with its communities. Arte all'Arte project revolves around the idea of creating, through the work of artists, a new balance between the city and the countryside because, whereas in the past cities were like islands within the countryside, now it is the other way around. The city, which continues to expand, is turning remote areas into deserts. This imbalance is very dangerous and it is important to create interesting and lively dynamics even in areas far from large urban centers, thus creating harmony and balance in the relationship between city and countryside. Thanks to Photo's author: Ela Bialkowska/ Courtesy: Associazione Arte Continua ‐ San Gimignano, Italy Arte all'Arte, each year professional curators are invited to select an international artist for each town or city. After visiting the site and after workshops and meetings with the local population, Caption: One of Antony Gormley’s sculptures on the Fortress of Poggio Imperiale_Poggibonsi the artists conceive and execute a project to transform or reinterpret the site through a site‐ specific installation. A total of 84 artists were invited by the 20 curators who worked on the project over the ten years. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The aim of the project was to promote the municipalities in the province of Siena and Florence as (activities) trying to tackle – what an agri‐environmental art district. The Arte all'Arte project revolves around the idea of creating, was the aim through the work of artists, a new balance between the city and the countryside to avoid turning remote areas into deserts, enhancing interesting and lively dynamics even in areas far from large urban centers. A further aspect of the city‐countryside relationship that underpins the whole project is a rich food and wine itinerary with food and agricultural products from quality local businesses. Moreover, since “Arte all’Arte” project is strictly linked to “Association Arte Continua”, the project is based also on the Association’s scope; “Associazione Arte Continua” in fact, for more than 30 years has been the only one in Italy to periodically offer free public art initiatives involving high‐profile national and international artists. This kind of initiative allows residents to increase their sense of pride and belonging to the local community and territory, thus decreasing the migration flow to the cities. The value of the project for the area consists in the creation of a new, partially diffuse cultural attraction, capable of combining a cultural tourism circuit with a policy of social and educational awareness around major public works, created by 319 famous contemporary international and Italian artists. C‐4 Time frequency: Industry  Time Frequency Periodical activity Other:  Other information: One edition per year Specify other: C‐5 Time period C‐9 Sector which was.. Start: 7/10/1996 12:00:00 AM ..the initiator of the activities: Culture End: 7/12/2006 12:00:00 AM ..the most crucial for the whole case Culture study: Comment: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles C‐10 How was the local community involved in the project/activities: Actor(s): "Galleria Continua" How was the local community The project took place during 10 different editions, all in the Tuscan territory of the municipalities Motivations: Promote the municipalities in the province of Siena and Florence as an agri‐environmental art involved in the project/activities? of the province of Siena and Florence. Each year two art curators have been invited to participate district. in the project. The curators had to select about 6 to 8 artists to join “Arte all’Arte” and contribute with their artwork. In the selection process, they have always tried to ensure the presence of at Roles: Financial, bureaucratic and practical supporter least one Italian curator and one Italian artist for each edition in order to make them known abroad. After visiting the site, the artists design and execute a project to transform a specific site Actor(s): Luciano Pistoi or reinterpret the location through a site‐specific installation. This has been done in collaboration Motivations: Promote the municipalities in the province of Siena and Florence as an agri‐environmental art with the relevant municipality and has been accompanied by workshops and meetings between district. the local population and the artists. These initiatives were then followed up with art training programs open to the population, led by qualified teachers. An important objective in most of the Roles: Founder and supporter projects of Arte all'Arte is that the viewer should not have the role of being merely a passive appreciator, but should participate in the cultural production of the work. Since “Arte all’Arte” is Actor(s): The Artists an extremely wide project, rich in many different workshops and art installations, we decided to Motivations: Support the aim of the project focus on a specific one: “Fai spazio, Prendi posto” (Making Space, Taking Place), the art intervention by Antony Gormley which was carried on in 2004, during the 9th edition of “Arte Roles: Design and make the artworks all’Arte” in the city of Poggibonsi. Despite this Artwork takes place in Poggibonsi, which cannot be properly considered a remote place, we think that it is very interesting from the participatory Actor(s): The curators point of view and it is coherent to the scope of this research since the bigger aim of “Arte Motivations: Support the aim of the project all’Arte” is consistent. The town of Poggibonsi was Anyony Gormley’s chosen site for his ambitious project. In contrast to the charming, picturesque character of the other towns where Roles: Choosing the artists and managing all aspects of the organization of art installations creative works of Arte all’Arte took place, Poggibonsi had an anonymous character that appealed and stimulated him, as if it was seeking a new sense of pride and identity. Poggibonsi is a town Actor(s): "Associazione Arte Continua" where tourists pass through on their way to San Gimignano and it went through a continuous process of construction and reconstruction from the Middle Ages till now. This project was the Motivations: Promote the municipalities in the province of Siena and Florence as an agri‐environmental art most demanding of all since it required intense preparation, ongoing interaction with the local district. community, and considerable negotiation with local authorities within a short time frame. Roles: Founder; financial, bureaucratic and practical supporter Mario Cristiani, partner; Lorenzo Fiaschi, Gormley’s project consisted of the production and installation of seven iron sculptures produced director and partner; Maurizio Rigillo, director and partner; from body casts. Advertisements were placed in local and national newspapers to recruit volunteers to have plaster molds taken of their bodies and then cast in iron. Six local inhabitants C‐7 Description of the supporting background that existed to make the activities happen: plus one external one were chosen by lot to participate. A temporary workshop was set up in the town to produce the molds which were subsequently shipped to the UK to the artist’s studio to What kind of supporting The project was funded with private money by Mario Cristiani (one of the Founders of be finished. Rectangular polystyrene blocks were cut, glued and fitted to the contours of the background existed to make the "Associazione Arte Continua" and “Galleria Continua”), and 10.000 euros from a private art molds then cast in an industrial facility in Sheffield. Once finished, the seven iron sculptures of activities happen (financial, collector, Mario’s friend. To enable the project to grow, it was very important also the support of pixelized shape were shipped back to Poggibonsi to be installed in seven different spots in the institutional etc.) the “Galleria Continua”, the Art Gallery that was already present and active in the Tuscan town which are familiar places of present times and forgotten places of the past. They ranged territory. Moreover, Mario Cristiani’s personal contacts were very important to carry on all from squares, parks, railways and supermarkets. At the same time, the artist has worked on the activities, especially to obtain the numerous permits necessary to use public space to install the creation of a collective memory map as a fundamental part of his project. Sociological research artworks (Mario used to be an activist and to work in politics in Tuscany). Unfortunately, one of has been led by asking Poggibonsi inhabitants which memories they instinctively associated to the reasons why they ended the project was the lack of support from the province and specific places of their town. Thanks to this questionnaire, the artist has been able to create a institutions. map which was displayed in a city tourist center together with the questionnaires and historical pictures of the town and its citizens and of photos of the manufacturing process of the C‐8 Sectors involved in the development of the creative works with public spaces: sculptures. In Gormley’s opinion “the role of the statues is to serve as a catalyst for unacknowledged thoughts and feelings, coordinated to reconsider the collective condition of the Culture  town”. Gormley has related his project to psychogeography: the study of how physical Education  surroundings have an impact on an individual’s emotions and behaviors. The basic concept is to allow a representative section of the population to express itself within the fabric of the city. Health  Representations of subjects not as the world see them, not as they see themselves, but how an objective digital‐analytic system of registration sees them: the pixel made physical; a Sustainability  contemporary version of the graffiti wall, a digital registration of existence. The challenge is to Science  pull this virtual registration back to the world of physical, the real, the absolute, the material. Tourism  C‐11 The role of natural/cultural heritage in the project/activities: 320 Sport  Did cultural and/or natural heritage Yes. The project is all based on the harmonious interaction between contemporary art and the C‐20 Perception of the creative works in public space(s) by the final users and the reactions play any specific role in the historical heritage of the Tuscanian territory (art, architecture, etc.), Moreover, the project of the general public: project/activities? supports and tells the food and wine heritage of the region at the same time, through an integrated Art‐food guide. How were the creative works in Many locals reacted by criticizing the interventions, particularly those that impacted on ancient public space(s) perceived, works of art. Tuscany has a great medieval artistic heritage, so it is complex to understand C‐12 The targeted impact of the project/activity: evaluated, judged by the final users contemporary art. We do not have a general answer but we can say that the perception of the – what were the reactions of the project was different depending on the type of work developed. What was the targeted impact of The aim of the project was to promote the municipalities in the province of Siena and Florence as general public? the project / activities? an agri‐environmental art district. The Arte all'Arte project revolves around the idea of creating, through the work of artists, a new balance between the city and the countryside to avoid turning C‐21 The (one) main success and the (one) main failure of the project/activities remote areas into deserts, enhancing interesting and lively dynamics even in areas far from large urban centers. Main sucess: The greatest success is that the project lasted 10 years and that the works are still present and visible in the area and are an integral part of the city. The project has also brought attention to C‐13 Achievement of the targeted impact: contemporary art, even in small and remote places. Yes/no/partly: Partly Main failure: We don’t have an answer to this. Comment: We don’t have specific information about it. For sure the project, together and in connection with C‐22 Importance of broader conditions for the main sucess and main failure factor: the other art‐related initiatives and associations present in Tuscany, contributed over years to attracting more visitors o the territory. As regards the change of perception towards How important were the broader We understood that Mario Cristiani’s personal contacts were fundamental in the development of contemporary art, we understood that it is still difficult to make non‐art‐related people conditions (e.g. the supporting the project. Moreover, it helped the fact that the Tuscan territory was already active in the artistic understand the value of this kind of creative works. Also from a political and administrative point state of the art in the community, field. of view, the superintendency and politicians usually do not understand the value of such infrastructure, institutional support, interventions thus don’t support much the preservation and dissemination of them. financial sources, local or "imported" know‐how etc.) for the C‐14 Additional achieved impacts: main success and main failure factor Were any additional impacts Yes. The project has led to the creation of a series of didactic paths for schools of different levels, C‐23 Provide the links to public data on the creative works achieved? with the aim of narrating and making people understand environmental and contemporary art from a young age. In order to contribute significantly to the preservation of these widespread Link to public data to better Article for La Repubblica about Gormley's work in Poggibonsi (Article for La Repubblica about works, it is important that the community recognizes itself in these works, and thus in the understand the activities and actors, Gormley's work in Poggibonsi) intention to contribute to their maintenance. To this end, it is necessary to sensitize the younger as well as impacts: generation to active The link: https://firenze.repubblica.it/tempo‐libero/articoli/arte‐e‐fotografia/2015/05/07/foto C‐15 The main beneficiaries of the creative work in public space(s): /le_sette_sculture_di_gormley_che_vivono_tra_gli_abitanti_di_poggibonsi‐113744598/1/ Who were the main beneficiaries of In general, we could say local community and creative sector. This project has left an artistic Link to public data to better Association Arte Continua (Association Arte Continua) the creative works in public public open‐air artistic and cultural heritage understand the activities and actors, spaces(s)? as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: https://www.artecontinua.org/ specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better Article for La Repubblica about Gormley's work in Poggibonsi (Article for La Repubblica about understand the activities and actors, Gormley's work in Poggibonsi) Were there any, no matter how big We don't know as well as impacts: or small, economic benefits for the local community as a whole or any The link: https://firenze.repubblica.it/tempo‐libero/articoli/arte‐e‐fotografia/2015/05/07/news specific actors in particular, /_l_altro_gormley_gli_omini_di_ferro_che_non_se_ne_sono_piu_andati_via‐113740440/ resulting from the creative works with/in public spaces? Link to public data to better Galleria Continua (Galleria Continua) understand the activities and actors, C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that as well as impacts: potentially empowered the actors to prosper in their future development: The link: https://www.galleriacontinua.com/ Were there any exchanges of Maybe there was a more profound and long‐term exchange of knowledge in the collateral impact knowledge or other activities of the project, the one that generated didactic laboratories to let young people discover and D‐1 Main editor in charge of this entry and potential other authors of this case study performed that potentially appreciate the artworks. description empowered the actors to prosper in Name and surname: Paola Russo their future development? Organization: Politecnico di Milano C‐18 Monitoring (or not) of the impact of the project: Email: paola.russo@polimi.it How was the impact of the project / It wasn’t monitored. It could be monitored trying to better understand how people's perceptions activities monitored? If it wasn’t – of contemporary art have changed in the course of the project. Role: Editor how do you think it could be monitored? D‐2 Representative pictures C‐19 Way in order to communicate the impact of the project: Picture's caption: Molds of a young boy to be used to make the statues How was the impact of the project / We don’t know specifically, but the project, in general, is very well known in the artistic field. activities disseminated or communicated? 321 Picture's author: Picture's author: Picture's date: Picture's date: Picture's source: Associazione Arte Continua ‐ San Gimignano, Italy Picture's source: Associazione Arte Continua ‐ San Gimignano, Italy Picture's caption: Making the molds to produce the statues Picture's caption: One of Antony Gormley’s sculptures in front of Don Milani Elementary School 322 Picture's author: Ela Bialkowska Picture's date: Picture's source: Associazione Arte Continua ‐ San Gimignano, Italy Picture's caption: One of Antony Gormley’s sculptures Picture's author: Picture's date: Picture's source: Mario Cristiani_Book “Arte all’Arte 9. Arte architettura paesaggio; la forma delle nuvole” Picture's caption: Antony Gormley interviewing the locals and co‐creating with them Picture's author: Ela Bialkowska Picture's author: Picture's date: Picture's date: Picture's source: Associazione Arte Continua ‐ San Gimignano, Italy Picture's source: Mario Cristiani_Book “Arte all’Arte 9. Arte architettura paesaggio; la forma delle nuvole” Picture's caption: Production phases of Antony Gormley’s sculptures Picture's caption: Antony Gormley’s team making molds of the locals to produce the sculptures 323 D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Picture's date: Picture's source: Mario Cristiani_Book “Arte all’Arte 9. Arte architettura paesaggio; la forma delle nuvole” Picture's caption: Antony Gormley interviewing the locals and co‐creating with them Picture's author: Picture's date: Picture's source: Mario Cristiani_Book “Arte all’Arte 9. Arte architettura paesaggio; la forma delle nuvole” D‐3 Additional information Additional information: Link: 324 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Fireplaces, Meetings and experimentation in Dense settlement the rural area +5 Foghíles, Incontri e sperimentazione +4 nello spazio rurale +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Italia ‐1 Region name (in local language): Sardegna ‐2 Place name (in local language): Semestene ‐3 Country name (in english): Italy  ‐4 Region name (in english): Sardinia ‐5 Place name (in english): Semestene Open landscape Semestene is an Italian tiny village of 120 inhabitants in the northern central area of Sardinia (1). According to the latest data, it will be the first village on the island which will be completely uninhabited in the next ten years. Semestene is an integral part of the region of Logudoro Meilogu, a place in between the plateau of Campeda, the mountain chains of Marghine Goceano, Monte Acuto and the Sassarese area. The morphology of the territory is characterized by wide plains, modest reliefs that delimit fertile valleys and Comment: turn into mountain massifs in the south-western part. The morphological variations of the territory have determined the distribution of the inhabited centers to the margins of the plateaus, favoring the agricultural and above all pastoral activities. The town is located at an altitude of 408 meters above sea level and it is articulated according to a medieval urban scheme around the church of Santa Croce and the parish church of S. Giorgio with an almost radial development. (2) Difficult terrain Map of the network of public +5 spaces in the remote place +4 +3 +2 +1  Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 Caption of the map: Semestene map ‐2 Legend of the map: The whole village of Semestene and its surroundings, showing town area delimitations. ‐3 ‐4 ‐5 Effortless terrain Semestene is a remote city but is well connected from an infrastructural point of view. It is 6 km far from the main street and it’s about 45-minute drive away from Sassari, one of the biggest cities on the island. It is possible to reach the village by car and hardly Comment: by bus. However, being quite close to two main cities which are well connected, it is not so hard to be reached. It is although very remote from a digital point of view. The landscape is extremely rural, dry, with about 9 nuraghi (typical ancient Sardinian edifice) looking at the valley. (3)(Personal interview with Foghiles creator, Antonio Vincenzo Sotgiu). 325 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2  ‐3 ‐3 ‐4  ‐4 ‐5 ‐5 Absence of economic activity The economy of Semestene is mostly based on agriculture and on sheep and goat breeding. Being the number of inhabitants is so Low‐income households prevail small (120 people), it is possible to know very specific details of the demography of this village: -12 of the inhabitants are shepherds, Semestene economy is mostly based on agriculture and sheep farming. The Municipality of Semestene, after long negotiations, Comment: all employed from the dairy industry. None of them is a freelancer. - There is one vineyard that is used for commercial use. - There Comment: authorized Foghiles to use public space safely, making their organization the first that has ever been in charge of cultural activities are 10 farmers, producing the goods for their family sustenance. - There is only one bar-mini market. - There was one pastry shop, dedicated to the community in the area. which closed recently for the Covid crisis. (3) A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Daily‐life‐support facilities well developed at all) to 5 (extremely remote) +5 Estimation: 4 +4 Explanation: +3 A‐4 Elements that characterise the remoteness of the place: +2 Low population density  +1 Geographical barrier/allocation  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic No good transportation links  structure structure Difficulties in accessing daily‐life‐  ‐1 support facilities ‐2 Social specifics and/or divisions  ‐3 Economic inferiority   ‐4 Subjective criteria  ‐5 Specify subjective criteria (e.g. community’s self‐perception of Daily‐life‐support facilities none‐existing being remote etc): Thanks to the interview we had with the creator of Foghíles, Antonio Vincenzo Sotgiu, it was possible to explore in-depth the  demographic structure and the services available in the village. The majority of the population is older than 50 years, with an average Other age of 62 years. (6) In the same way, the amount of services and businesses present in the territory is quite scarce. Vicenzo also Comment: Specify other: Digital divide shared that there are many non-existent services in the territory, such as fiber optic internet, making the village extremely remote from a digital point of view. Most people in Semestene, such as freelancers or regular internet users, have to use private satellite Summary of the elements that Semestene is a tiny village of 120 people and, according to the latest data, it will be the first village internet in order to access a decent connection. characterise this case as a remote on the island which will be completely uninhabited in the next ten years. It is extremely remote place: from a digital point of view. Dealing with a very small community allowed the creators of the project to see concretely every day all the qualities of the social complexity. This means that every day they had the chance to meet people that play a special role inside the community. They want to bring inside Foghiles project people that want to make a community, organize convivial meals as occasions to imagine and build the future of that place together. The project aims to extend and enhance the life of this little village for many years. Low population density rank: 1 Geographical barrier/allocation rank: 326 No good transportation links rank: Difficulties in accessing daily‐life‐ 3 A‐8 General description of.. support facilities rank: The network of roads, streets, paths Semestene is a remote city but is well connected from an infrastructural point of view. It is 6 km Social specifics and/or divisions and alike elements that tie this far from the main street which connects the village to the rest of the island and it’s 45 minutes rank: remote place together: drive away from Sassari, one of the main cities of Sardinia where is possible to find a connection to other destinations through different means of transport. Economic inferiority rank: 4 The quantity and structure of public Being such a small community, they do not have large public spaces. There are communal squares Subjective criteria (e.g. community’s space network (besides in which the inhabitants gather. Likewise, the number of services that the territory offers are few self‐perception of being remote etc) roads/streets/paths network) in this because they present more rural and less urban activities. rank: remote place: Other rank: 2 A‐9 General description of the quality of public spaces in this remote place A‐5 Provide the links to public data Answer: Deepening the response immediately above, there are no large public spaces for its inhabitants; Links to public data on the remote (1) General information about Semestene town however, the squares and areas around churches have ordinary benches and bleachers, which place were also used for some of the activities carried out by Foghiles. We don’t know much more in detail. The link: https://it.wikipedia.org/wiki/Semestene ( https://it.wikipedia.org/wiki/Semestene ) B‐1 Name(s) of the public space(s) Links to public data on the remote (2) General information about Semestene town place Name(s) of the public space(s) (in Campagna Bia Lada local language): The link: https://comune.semestene.ss.it/contenuti/101372/cenni (https://comune.semestene.ss.it/contenuti /101372/cenni ) Name(s) of the public space(s) (in Bia Lada farmland English): Links to public data on the remote General information about Sardinia and Semestene Town place Latitude of the public space(s): 40.39518176643513 The link: https://it.wikipedia.org/wiki/Sardegna (https://it.wikipedia.org/wiki/Sardegna) Longitude of the public space(s): 8.726749192343885 Links to public data on the remote General information about Sardinia and Semestene Town place The link: https://www.sardegnaturismo.it/it/esplora/semestene (https://www.sardegnaturismo.it/it/esplora /semestene) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Ground plan showing the land use Recreational space/s, Sport‐field/s  of the public space(s): Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Caption's map of the public space: Bia Lada map_Google map Type of indoor public spaces that San Giorgio parish church can be found in this remote place: Legend's map of the public space: Zoom on Bia Lada farmland, with the house and the surrounding field. Key to figure: White line ‐ Municipality of Semestene (Ex Elementary School) delimitation of the private space Santa Croce Church Main location  Camper parking area Name(s) of the public space(s) (in Via Umberto I local language): 327 Name(s) of the public space(s) (in Umberto the first street B‐4 General demographic characteristics of the area around the public space: English): Describe the general demographic It doesn’t apply since it is open land and is close to the tiny village of Semestene itself, which is Latitude of the public space(s): 40.39894552318089 characteristics extremely rural, mostly based on agriculture and farms. Longitude of the public space(s): 8.725301006186923 B‐5 Type of the public space(s) with creative work Form and function: Open land with a small house in it. Ownership: Private but abandoned for many years and made available for the project. Access regarding entry‐control: The access to the land is open. The house is a private and closed building, which opened for the event/activity. Access regarding time of day/week Not applicable since it is open land with a private building. /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this It was private land owned by a welsh man, Brian and his wife Teresa from Semestene, who public space designed for initially bought the space and built the house to spend their retirement there and dedicate their time to agricultural activities in their field. Shortly after, Brian died and his wife didn’t want to stay in that Ground plan showing the land use place anymore so she abandoned the place that sat unused for years. Once Foghiles was given of the public space(s): permission to use the space for their activity, they entirely redeveloped the space (cutting brushwoods, fixing the house). B‐8_a Which are the activities in this public space(s)? Activity: Living in the house in the farmland Activity: Visiting the space and the house Activity: Participating to the activities of the event (torchlight procession, dining, visiting the house, enjoying the concert in the space) B‐8_b Who are the main users of this public space(s)? User: Bia Lada owner User: Foghiles project team Caption's map of the public space: Torchlight procession from Umberto I street to Bia Lada farmlan User: Locals Legend's map of the public space: The torchlight procession path, from Via Umberto I, in the center of the village, to Bia Lada farmland, where the activity took place. Key to figure: Dotted orange line ‐ torchlight procession B‐8_c What are the users activities of this public space(s)? path from the village center to the space where the activity took place, Bia Lada farmland. Users Activity Before After Main location  Bia Lada owner Living in the house in the farmland   B‐2 Describe the physical environment Bia Lada owner Participating to the activities of the   Physical environment description of Bia Lada farmland is a rural area near the village, owned by a welsh man, Brian, and his wife event (torchlight procession, dining, the public space(s) with creative Teresa originally from Semestene, who bought the land years ago to spend their retirement there. visiting the house, enjoying the works: In the land, they built themselves a little house to support the agrarian activities. Shortly after concert in the space) Brian died leaving Bia Lada's house and land unattended. The farmland of Bia Lada is a large land, Foghiles project team Participating to the activities of the   quite dry and designated for agricultural activities. Brian and his wife’s house is a very small and event (torchlight procession, dining, humble construction which was abandoned in the last years and made available by Teresa for visiting the house, enjoying the Foghiles activities. concert in the space) Physical environment elements Foghiles' team actually used the house itself as a sort of “museum space” to celebrate Brian’s Locals Visiting the space and the house   were important and/or actually memory. The outdoor land was used to create different sets which were part of the Fogliles "used" by creative people for their event, making the most of the flat terrain. Locals Participating to the activities of the   activities: event (torchlight procession, dining, visiting the house, enjoying the B‐3 Describe the general functions concert in the space) Functions and land uses description The land and the little house are both privately owned but made available for the activities. The B‐9 Parts/sections/spots seem most attractive within the public space (location and in the area of the public space: outdoor space was mostly used for agricultural activities. The indoor space was supposed to be duration) ‐ Parts/sections/spots at people seem to avoid: Brian and Teresa’s home, decorated with symbols reminiscent of Welsh and Sardinian culture. Functionalities of space were As regards the outdoor space, none in particular. The indoor area was used as a museum space, important and/or actually "used" by as explained in point B‐II.a creative people for their activities: 328 Describe what parts seem to be the Regarding this Baia Lada spot specifically, we don’t know if there were specific spots that seemed Caption: “In sa domo 'e su furru yard” (Umberto I street) during the preparation of the fire for the most attractive to people most attractive to people. Speaking in general about the whole project and the other spots, torchlight parade_2019 according to our interview with Vincenzo, we can tell that the activities that were carried out in private spaces such as houses or lands, brought discord to the events due to family disputes and complex social dynamics typical of small villages. This caused some inhabitants not to participate in the activities due to family issues with the owners of the spaces in which they would take place. On the contrary, other activities carried out in public spaces became so popular that residents of neighboring communities were invited to attend and participate. The creative works have changed the situation in the sense that Bia Lada was completely abandoned and left apart, so, with Foghiles intervention, it was completely requalified hence valued. B‐10 Provide the links to public data on the public space(s) Website: General information about Semestene village Website's link: https://comune.semestene.ss.it/home (https://comune.semestene.ss.it/home) Website: Foghiles project presentation Website's link: https://www.foghiles.com/ (https://www.foghiles.com/) B‐11 Provide photos of the public space(s) with creative works Caption: Bia Lada before the creative works_2019 Photo's author: Hadriana Casla Caption: Bia Lada Dinner during the creative works_2019 Photo's author: Hadriana Casla Caption: The start of the torchlight parade_2019.jpg Photo's author: Hadriana Casla Caption: Bia Lada during the preparation of the creative works 2_2019 Photo's author: Hadriana Casla 329 Photo's author: Hadriana Casla Caption: “In sa domo 'e su furru yard” (Umberto I street) during the preparation of the fire for the torchlight parade_2019 Photo's author: Hadriana Casla Caption: The house interior in Bia Lada set up for the creative works_2019 Photo's author: Hadriana Casla Caption: Jam session in Bia Lada during the creative works_2019 Photo's author: Hadriana Casla Caption: Bia Lada before the creative works 2_2019 330 Photo's author: Hadriana Casla C‐1 Official name of the activity/project Name in local language: Foghíles, Incontri e sperimentazione nello spazio rurale Name in English: Fireplaces, Meetings and experimentation in the rural area Nickname: “Celebrazione del Luogo” / "Celebration of the Place" Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that Foghíles is a project, born in the summer of 2018, that promotes and organizes opportunities for took place in the analysed public meeting and experimentation in the rural area, through constant research, reflection and practice space(s) on the organic relationship between the human being and his surroundings. Foghíles means “fireplaces” in sardo logudorese, the local dialect. In the past and still today, the meetings around the fire represent the occasions for transmission of knowledge and direct learning through tales and experiences. Directly connected with the territorial context of Semèstene, the meetings have been aiming to reinterpret places and traditional knowledge, moving “beyond the museification” of rural life and the empowerment of countryside collective celebration. According to the agrarian calendar, Foghíles’ year starts in September during the week of the autumn equinox. Other solstices, equinoxes and several punctual events during the year, are connected with the local practices and the creation of new aware rituals, following the seasonal rhythm. During every event, young volunteers and participants become a temporary part of the village community creating a direct dialogue with the locals, in a context where time is marked by the tolling of bells Photo's author: Hadriana Casla and space is shaped by scenarios of learning and conviviality. The project is curated by Po.Ps. Rurbana who collaborates with other realities on the territory and abroad, always defending their Caption: Jam session in Bia Lada during the creative works_2019 manifesto and respecting the rhythms of the place. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The main aim is to promote and organize opportunities for meeting and experimentation in the (activities) trying to tackle – what rural area, through constant research, collective reflection and practice on the organic was the aim relationship between the human being and his surroundings. Young volunteers and participants become a temporary part of the village community creating a direct dialogue with the locals to extend and enhance the life of Semestene. The population of this tiny village, in fact, is made of about 120 people and, according to the latest data, Semestene will be the first village of Sardinia that will be completely uninhabited in the next ten years. C‐4 Time frequency: Time Frequency Periodical activity Other information: They do 10 days each September during the Autumn Equinox and then 2 days meeting the following solstice and equinox with small activities. C‐5 Time period 331 Start: 9/23/2018 12:00:00 AM End: What kind of supporting The project is curated by Po.Ps. Rurbana, which is an association that promotes specific background existed to make the interventions and long‐term projects in the Sardinian territory, a potential place for the Comment: activities happen (financial, development of new lifestyles, for future generations. Po.Ps. Rurbana operates mainly in the institutional etc.) territory of Semèstene (Sardinia) but is open to overseas exchanges and meetings. Through the C‐6 Actors in relation to the analysed creative work, their main motivation and their roles creation of public, artistic, and cultural events, has the aim of relating different realities, to Actor(s): Antonio Vincenzo Sotgiu activate the sharing and safekeeping of knowledge over time. (2) From an economical point of view, the project has been completely self‐financed, until now. This has been a choice since the Motivations: Coordinate all activities and get in contact with locals respecting rhythms and culture of the beginning, which allowed Foghiles team to experiment freely during the first years and to be territory independent from possible funders. Each participant contributed with a fee depending on the activities proposed and the number of days of participation. During the year, one‐day events have Roles: project director and direct contact with locals been organized in order to finance the September meeting that, taking place for 10 consecutive days, needs more resources. As regards institutional and concrete support, the Municipal Actor(s): Hadriana Casla Administration participated by granting the availability of public spaces for the reception and for Motivations: Document and disseminate activities some events (such as the There was also good support from some members of the community who, in a completely voluntary and informal way, have collaborated especially for the Roles: photo/video and creative direction gastronomic part. Moreover, ss for formal organizations, during September 2019, the Objective Meilogu Association of Bonorva, the neighboring town, took care of the video projection of a film Actor(s): Maria Chiara Sotgiu in the Church Square of Semestene. During September 2018 and 2019, the Trampolieri of Guspini, Motivations: Document and disseminate activities a town located in another historical region of Sardinia, collaborated for the realization of the final parade. Roles: web design and communication C‐8 Sectors involved in the development of the creative works with public spaces: Actor(s): Silvia Nurchi Culture  Motivations: Mediator among project coordinators and locals Education  Roles: human resources Health  Actor(s): Silvia Mocci Sustainability  Motivations: Providing physical‐visual support to the activities Science  Roles: scenography and installations Tourism  Actor(s): Antonio Pinna Nossai Sport  Motivations: Organize all the activities at the best, respecting the territory Industry  Roles: logistics Other:  Actor(s): Chiara Coppola Specify other: Local traditions Motivations: Document and disseminate activities C‐9 Sector which was.. Roles: photo ..the initiator of the activities: Culture Actor(s): Some of the locals ..the most crucial for the whole case Culture Motivations: Support the activities study: Roles: Informal and spontaneous “catering service” Comment: C‐7 Description of the supporting background that existed to make the activities happen: C‐10 How was the local community involved in the project/activities: 332 How was the local community The first edition of Foghiles started in September 2018 and, for ten days, Semestene hosted What was the targeted impact of Foghiles project aims to extend and enhance the life of the little Village of Semestene bringing in involved in the project/activities? different people coming from other cities and towns, to carry on different kinds of activities. the project / activities? active people that want to build community, organize convivial events as occasions to imagine Foghíles calendar consists on 10 days of activities in September and then 2 days of meetings each and design the future of the place together. Working on such a small territory and community solstice and equinox. The team began the activities with locals starting from rituals and seasonal allowed the Foghiles team to see concretely all the qualities of the social complexity of the celebrations. The involvement of the community often happed through the stimulation of village. This means that every day they have the chance to meet people that play a special role memories. Since the activities began in September, the first one was connected to grape harvest. inside the community. Initially, Foghiles aimed at reaching its scope becoming a big festival, It started with Salvatore, one of the local inhabitants and the one who proposed himself to collecting a lot of people from Sardinia and abroad for ten days. This didn’t happen for different involve participants in harvesting. He told stories about growing techniques, curious tricks, and reasons. However, they realized afterward that this “failure” was luck because bringing in a large personal family tales. The activity included also a practical grape harvest, following all the supply crowd in a short time would have disrupted the pace and dynamics of the community. However, chain, from the collection of grapes to the production of wine. The second activity was a pastry on average, the number of people who took part in the activities of Foghiles was about 20 to 40 workshop, where locals, together with the only pastry chef in town Bruna, cooked and people per time. This means a lot for a community that is normally made of 120 people in total. experimented with the inhabitants to create a small dessert for September. The idea behind the activity is that Semestene should have had a typical dessert for Foghiles events, as other C‐13 Achievement of the targeted impact: important festivities of the year. Moreover, the involvement of the community always passed Yes/no/partly: Partly through food moments. Gianni, Antonio’s neighbor, for example used to cook for the people who came to join the festival for the whole ten days. As a third activity, Foghíles organized a game Comment: Also for the reasons described above, the impact was partially achieved. For sure Foghiles started called “Stories of the territory” with a textile map, where the participants were invited to tell the path to change some of the local old dynamics and to enhance the territory. We should also their favorite spot in Semestene. The result was a fabric map where each color spot represents a say that the kind of impact wished by the team requires a longer amount of time and of story told by a member of the community about a specific place (The community is made by implementation of the further editions of the project. Moreover, there are still some political permanent locals and people staying just for the time of the event). Since memory is not only issues to be unhinged in order to reach the aim. The municipality gave them space to organize the represented by oral tradition but it’s also in physical objects, they developed, as a fourth activity, activities but still wants to hold the management of the cultural events in Semestene, laboring to a workshop to build the “banchittas”, the typical stools used in the past to sit around the hand it over to Foghiles. fireplace. One of the closing activities and most attractive ones was the “Su Cabidanni” (September in Sardinian), which plays around the dialect expression saying that “the harvest time C‐14 Additional achieved impacts: is another carnival”. It was a sort of carnival parade with people dressed up in strange costumes made of natural elements. Two of the locals participated in the parade itself. Moreover, this was Were any additional impacts During a private interview with Foghiles creator, Antonio Vincenzo Sotgiu, he showed us a picture one of the biggest events since people and kids from surrounding towns came to see it too. The achieved? of a small domestic altar in a private woman’s home in Semestene. In the photo, it is possible to activities described above were carried out in daylight during the two firsts years of Foghiles see a Foghiles invitation postcard together with the holy cards, habitually present in the homes of activity. At night, instead, they organized music events and open‐air theaters. In particular, in the elderly. This same old woman, once she had received the agenda of Foghíles festival from 2019, they invited a Sardinian‐Senegalese band called “Gegò Yegò” to play in the municipal Antonio, used to call him every day to check if they were respecting the schedule. She also amphitheater. In all these happenings there was a continuous collaboration among Foghiles team participated in providing food to the participants of the events, together with her neighbor. This and locals since most of the activities involved the inhabitants’ wisdom. Here below we will focus is a sweet anecdote to represent a kind of complementary impact that was not foreseen but that in detail on the activity/event “Celebration of the Place” that was carried out in the specific place was reached. Foghiles team didn’t exactly know how involved the locals of Semestene would of Bia Lada farmland in September 2019 (marked above in section B). The "Celebration of the have spontaneously been. Inhabitants were actively present in the activities; they provided help in Place" is a practice at the heart of the Foghíles manifesto: reading places, experiencing them, the organization, as well as spaces and food, welcoming and caring for the attendees. constructing a new narrative, giving new meaning, and finally celebrating them. This practice was carried out in both September 2018 and 2019. In September 2019, the place of Bia Lada, farmland C‐15 The main beneficiaries of the creative work in public space(s): near the village, was chosen. Bia Lada was the nest of Brian, a Welshman who had decided to Who were the main beneficiaries of Foghíles' activities in Semestene were always addressed to the community, to promote and enjoy his retirement years in Semestene, where his wife had origins. Brian and Teresa had bought the creative works in public organize opportunities for meeting and experimentation in the rural area. During every event, the land of Bia Lada and self‐built a house full of symbols that recalled the Welsh and Sardinian spaces(s)? young volunteers and participants became a temporary part of the village community, creating a cultures. Shortly thereafter, Brian passed away leaving the Bia Lada house and grounds direct dialogue with the locals. For this reason, we can tell that the main beneficiaries were the unattended. His wife Teresa continued to live in Semestene and just in 2019 made this place inhabitants of Semestene. available, to be celebrated. During September, on the eve of the Autumnal Equinox, Foghíles and all the participants completed the preparation of the site, selecting the objects and materials C‐16 Presence (or not) of economic benefits for the local community as a whole or any available locally, working on the preparation of a set that respected and praised the story of a "foreign" man, who had chosen Semestene as his last home, welcomed by the local community specific actors in particular, resulting from the creative works with/in public spaces: for his physical strength and goodness of heart. The celebration started from the center of the Were there any, no matter how big The only services present, the bakery and the bar, have benefited from the presence of the guests village around a small fire, which allowed each participating person to light a candle. Participants or small, economic benefits for the of Foghíles. Thanks to the organized events, the trust in the organizing team has been gathered in a silent procession to the Bia Lada countryside. Here, after years of disuse, Brian's local community as a whole or any strengthened, as a reference point for cultural activities and, at the same time, new synergies Nordic stove was rekindled as a community fire, around which everyone could talk, comment on specific actors in particular, with some of the inhabitants. Each event that is organized, strengthens relationships and includes the experience of setting it up, share emotions about the week spent with Foghíles and wish each resulting from the creative works new availability from the locals. other a happy end to the summer and beginning of autumn. The celebration in Bia Lada ended with/in public spaces? with dinner and musical improvisations, integral parts of the convivial spirit of Foghíles. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that C‐11 The role of natural/cultural heritage in the project/activities: potentially empowered the actors to prosper in their future development: Did cultural and/or natural heritage Absolutely yes. Rural life and the empowerment of the countryside play a crucial role in all Were there any exchanges of We don’t have a precise answer to this question. As we understood, there was a mutual exchange play any specific role in the Foghíles events. The territory of Semestene and the local’s knowledge and memories allow knowledge or other activities of knowledge: the locals shared their knowledge and ancient traditions with the Foghiles team project/activities? Foghíles team to promote and organize opportunities for meeting and experimentation in the performed that potentially and other participants, and the Foghiles team offered and showed them new approaches and area. Without these local assets, the projects couldn’t exist. empowered the actors to prosper in tools to see and reinterpret tradition, in order to design a better future for the territory. C‐12 The targeted impact of the project/activity: their future development? C‐18 Monitoring (or not) of the impact of the project: 333 How was the impact of the project / The impact of the project was not exactly monitored. However, there were small signs that gave How important were the broader The answer to this question is implicit in the answers to the question above . activities monitored? If it wasn’t – Foghíles organizers an idea that they were on the right track with the community (one example is conditions (e.g. the supporting how do you think it could be the aforementioned Foghíles' Postcard on a private home altar). These small but significant state of the art in the community, monitored? expressions of affection on the side of the inhabitants, as well as their support in the organization infrastructure, institutional support, of activities, show how involved the locals are and the love they have for the project. What was financial sources, local or measured is the number and type of participants in the different activities. During the 10 days of "imported" know‐how etc.) for the September, 15 steady people from outside the village + temporary guests participated. They main success and main failure factor reached up to a maximum of about 60 people for the final closing events ("Celebration of Place" and "Su Cabidanni" parade) During the seasonal meetings (one day) have participated up to 30 C‐23 Provide the links to public data on the creative works people from outside the country. The age range of the external participants was from 20 to 40 Link to public data to better https://www.foghiles.com/ (https://www.foghiles.com/) years old. Participating Semestene residents range from 65 to 84 years of age. understand the activities and actors, C‐19 Way in order to communicate the impact of the project: as well as impacts: How was the impact of the project / In the beginning, Foghíles was promoted through public presentations and small meetings, both The link: (1) Link to Foghiles website activities disseminated or in Semestene and in other territories of Sardinia (Alghero, Sassari, Cagliari). These were the Link to public data to better Link to Po.Ps. Rurbana association (Link to Po.Ps. Rurbana association) communicated? occasions to introduce the team project to the public personally and to collect contacts of people understand the activities and actors, interested in participating. They then invited people through our newsletter, integrating their as well as impacts: contacts, including international ones. There was a varied word of mouth among contacts. According to what Foghiles team saw, these approaches worked rather than communication The link: http://popsrurbana.com/ through social networks (Instagram @foghiles). Instead, due to the poor internet connection in Semestene, but mostly because of social dynamics of small villages, in Semestene Foghiles team Link to public data to better Foghiles instagram page (Foghiles instagram page) invited the locals to the events through physical postcards and posters. This was an important understand the activities and actors, touchpoint for a project being developed in a small community, which usually values the as well as impacts: importance of an invitation in person. Regarding the dissemination of the project on other The link: https://www.instagram.com/foghiles/?hl=en channels (eg academic dissemination, event blogs,…) Foghiles team started posting more information on the website (eg the cost of tickets to participate in the event), trying to make their Link to public data to better Po.Ps Rurbana Facebook page (Po.Ps Rurbana Facebook page) project more known outside Sardinia. However, they decided to pause this kind of broader understand the activities and actors, communication because of the complex social dynamics of the village. as well as impacts: C‐20 Perception of the creative works in public space(s) by the final users and the reactions The link: https://www.facebook.com/pops.postazionepsicogeografica/ of the general public: Link to public data to better Link to Vimeo video about the first year of Foghiles (Link to Vimeo video about the first year of How were the creative works in At first, the community did not understand very well what Foghíles project was about, and its understand the activities and actors, Foghiles) public space(s) perceived, intentions with the territory. Due to some rituals that were performed related to fire, the as well as impacts: evaluated, judged by the final users community misinterpreted or also found some of their activities bizarre. Its creator, Antonio, – what were the reactions of the exemplifies one of these moments, in which the community wondered “Which kind of religion is The link: https://vimeo.com/346948077 general public? it?”, mostly talking about the torchlight procession. Apart from these fun facts, locals overall D‐1 Main editor in charge of this entry and potential other authors of this case study reacted in a positive way, taking actively part in most of the activities. description C‐21 The (one) main success and the (one) main failure of the project/activities Name and surname: Paola Russo Main sucess: For Foghíles, it was a great social occasion to gather different generations and to make them Organization: Politecnico di Milano work together. Equally valuable is for the team the affection that the project generated in Semestene inhabitants, the support and attention given to their activities, which came to unite Email: paola.russo@polimi.it their community more. Role: Editor Main failure: Most of the problems were communication issues. Foghiles team realized that, in a very small community like Semestene, if you want to get active participation from locals, you have to invite Name and surname: Antonio Vincenzo Sotgiu them personally, knocking at their door and giving them a personal invitation. It’s not enough to Organization: Foghiles / Po.Ps. Rurbana just hang a promo poster on the community bar. People value this kind of gesture. Most of the problems came also from the use of space. The activities, in fact, were carried out in public space, Email: info@foghiles.com but also in private ones. This can be an issue in a small community because it calls into question family disputes and complex social dynamics. For example, many people didn’t participate in the Role: Direct contact for the case study and main person interviewed for the case. torchlight parade “Celebration of the Place” for ancestral problems with that family owning the land. Another problem, which can be a positive aspect too, is that the project leaders of Foghiles D‐2 Representative pictures live in Semestene so they are part of that community. This means that, when they moved to live there, they made a choice somehow of where to stay and who to “stand for”. In a small village Picture's caption: All representative pictures have already been uploaded in section B like that, this brings to dynamics of camps and disagreement. For this reason, some people didn’t *** participate in the events because they didn’t agree with the Foghiles’ “deployment in the community”. Picture's author: C‐22 Importance of broader conditions for the main sucess and main failure factor: Picture's date: Picture's source: D‐3 Additional information Additional information: 334 Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 335 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Big Benches Community Project +5 (or BBCP) +4 BBCP +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Italia ‐1 Region name (in local language): Piemonte ‐2 Place name (in local language): Vezza d'Alba ‐3  Country name (in english): Italy ‐4 Region name (in english): Piedmont ‐5 Place name (in english): Vezza d'Alba Open landscape Vezza d'Alba is an Italian town of 2346 inhabitants in the Piedmont region. It is in the province of Cuneo, which is 65km away from it. Comment: Vezza d’Alba is part of the geographical area of the Roero. (1;2) Difficult terrain +5 +4 +3 +2  +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good Map of the network of public (infrastructure (infrastructure spaces in the remote place for) access for) access ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain The "marginal" position of the province of Cuneo, located close to the southwestern Alpine sector, is accompanied by the existence Comment: of generally difficult access roads. The isolation of the Cuneo area from the rest of the Italian national territory is historically so important that the nickname "third island of Italy" was coined for the province. (2) Caption of the map: Vezza d’Alba map Legend of the map: Vezza d’Alba town in Piedmont Region, showing town area delimitations, distance from Cuneo and the spot where the Big Bench is located. 336 Diversified economic activities High‐income households prevail +5  +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Piedmont in general is a region characterized by food and wine activities, together with some other excellences in terms of Low‐income households prevail landscape and historical references. An important activity is the cultivation of peaches, while a typical product is the madernassa Comment:We don’t have the information to answer this question. pear, which, in addition to Vezza d’Alba, is found only in Castagnito and Guarene, two neighboring municipalities. For these reasons, an important role in the provincial economy is played by the tourism industry. Also, the economy of the province of Cuneo is A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote traditionally strong in the agriculture and animal husbandry sectors. Among the main industries known nationally and internationally at all) to 5 (extremely remote) Comment: are the following: Miroglio textile industry of Alba among the major companies in the sector in Italy. Ferrero di Alba, the fourth confectionery industry in the world. Maina di Fossano, specialized in the production of baked goods. Balocco di Fossano, specialized Estimation: 3 in the production of baked goods. Silvateam of San Michele Mondovì, a multinational specialized in the production of Tannin (2). Explanation: Even if the inhabitants do not consider themselves remote, they are aware of their “marginal” Looking at all these characteristics, it is not very correct to define the province of Cuneo as a remote area. There are quite a lot of position due to generally difficult access roads. well-developed realities and local excellences. However, it happens to miss a strong and systemic network among them. Daily‐life‐support facilities well developed A‐4 Elements that characterise the remoteness of the place: +5 Low population density  +4 Geographical barrier/allocation  +3 No good transportation links   Difficulties in accessing daily‐life‐  support facilities +1 Social specifics and/or divisions  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Economic inferiority  structure structure Subjective criteria  ‐1 Specify subjective criteria (e.g. ‐2 community’s self‐perception of being remote etc): ‐3 Other  ‐4 Specify other: ‐5 Summary of the elements that Vezza d’Alba is a small town, with less than 3,000 inhabitants. It has a huge potential for different Daily‐life‐support facilities none‐existing characterise this case as a remote local activities based mainly on tourism and agriculture. However, lack of good transport According to statistical data and the last census carried out in Vezza d'Alba in 2020, the community has increased since 2001 by place: connections and the difficulty in creating a strong systemic network among all the different local approximately 200 inhabitants, presenting an increase of 6.1% in its population. The average age of the population is between 45 to realities hinders some economic activities placing them in an isolated condition, as well as its Comment: 54 years, with 50.2% men and 49.8% women. (3) There is a list of a few basic services (e.g. 2 mini markets) and a large number of population. farms and wineries. There are also some places of interest to visit and museums, like the Naturalistic Museum of Roero which is the most representative. (4) Low population density rank: 3 Geographical barrier/allocation rank: 2 No good transportation links rank: 1 Difficulties in accessing daily‐life‐ support facilities rank: 337 Social specifics and/or divisions The network of roads, streets, paths WE DON’T HAVE SUFFICIENT INFORMATION TO ANSWER TO THIS QUESTION N.B. In this section, rank: and alike elements that tie this we are focusing on the general description of one of the many places where the creative work remote place together: took place: the town of Vezza d’Alba in the Cuneo province (There are Big Benches located Economic inferiority rank: around Piedmont plus other ones mostly around the north of Italy and a few in the south and even abroad). We will provide more specific details in section B, where we have focused in Subjective criteria (e.g. community’s particular on the spot in Vezza d’Alba where the creative works took place (the specific location self‐perception of being remote etc) where the White Big Bench is located). At the following link it is possible to see the complete and rank: updated map showing all benches around Italy and around the world: Other rank: https://bigbenchcommunityproject.org/ A‐5 Provide the links to public data The quantity and structure of public WE DON’T HAVE SUFFICIENT INFORMATION TO ANSWER TO THIS QUESTION space network (besides Links to public data on the remote (1) General information about Vezza D'Alba town roads/streets/paths network) in this place remote place: The link: https://it.wikipedia.org/wiki/Vezza_d%27Alba (https://it.wikipedia.org/wiki/Vezza_d%27Alba) A‐9 General description of the quality of public spaces in this remote place Links to public data on the remote (2) General information about the province of Cuneo Answer: WE DON’T HAVE SUFFICIENT INFORMATION TO ANSWER TO THIS QUESTION place B‐1 Name(s) of the public space(s) The link: https://it.wikipedia.org/wiki/Provincia_di_Cuneo (https://it.wikipedia.org/wiki/Provincia_di_Cuneo) Name(s) of the public space(s) (in Vezza d’Alba (Cuneo_Piemonte_IT) Links to public data on the remote (3) Statistics data about population local language): place Name(s) of the public space(s) (in Vezza d’Alba (Cuneo_Piedmont_IT) The link: https://ugeo.urbistat.com/AdminStat/it/it/demografia/dati‐sintesi/vezza‐d‐alba/4241/4 English): (https://ugeo.urbistat.com/AdminStat/it/it/demografia/dati‐sintesi/vezza‐d‐alba/4241/4) Latitude of the public space(s): 44.76503929466248 Links to public data on the remote Museum of Roero place Longitude of the public space(s): 8.015052942498182 The link: (4) http://www.mrsntorino.it/cms/sistema‐naturalistico‐museale/museo‐naturalistico‐del‐roero ((4) http://www.mrsntorino.it/cms/sistema‐naturalistico‐museale/museo‐naturalistico‐del‐roero) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Ground plan showing the land use of the public space(s): Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Type of indoor public spaces that The didactic Truffle‐ground can be found in this remote place: Churches Caption's map of the public space: "The Big Bench Community Project"_Vezza D'Alba town_The space where the White Big Bench is Naturalistic museum of the Roero located and the walking path to reach it "Torion"_Google map Schools Legend's map of the public space: Vezza d’Alba town in Piedmont Region_Pedestrian path from the town to the “Bricco del Castellero” hilltop, where the Big White Bench is located. Main location  A‐8 General description of.. B‐2 Describe the physical environment 338 Physical environment description of The "White Big Bench" of Vezza d'Alba, made and inaugurated by the Association of Merchants Form and function: It was an abandoned space turned into Recreational space. As regards Vezza d’Alba Big Bench, the public space(s) with creative and Entrepreneurs of Vezza d'Alba (1) in September 2014, is located on the highest point of the the space was renovated by the Association of Merchants and Entrepreneurs, and it was works: hill of the "Castellero" of Vezza (Bricco del Castellero) an isolated site away from residential areas. managed by them, but it belonged to the Church. This space was later sold to a winery. In general, The bench was put next to the “Torion”, a hexagonal turret built in 1932, by the Priest Giuseppe the Big Benches are located must be constructed in a panoramic and contemplative location, and Gonella, whose family was the owner of most of the lands around the hill, as a place where to go must be freely accessible to the public. It must be set apart from religious buildings, graveyards, on heatwave days. During the Second World, the turret was bombed and destroyed with large monuments, protected buildings, roads, children’s playgrounds, and private residences. It is not holes in its lower part. This made the tower unusable and left abandoned for many years before required to be able to reach the Big Bench by car, a short walk to reach it is even better. It is the intervention of the Vezza Association of Merchants. It has an advantageous position, with a however important to indicate an adequate parking area in the vicinity since there can be up to a 360 ° view of the beautiful natural and monumental landscape below. The path to get to the Big hundred visitors a day. “We at the BBCP are very attentive to the historic sensitivity of many Bench from Vezza d'Alba is well signposted with a row of street lamps to illuminate the path in proposed sites. An attractive location for tourists to appreciate the cultural beauty of an area and the evening. In different spots of the way, it is possible to find small rest areas, such as many small community is not necessarily compatible with ease of access or contextual limitations. We hope wooden huts with benches and a drinking water fountain. After reaching the point of interest, it is the people looking for a Big Bench discover your area while they hunt for it, instead of ignoring also possible to find some facilities for visitors, such as a bike point with useful tools in case of the beauty of the area because a big colored bench in the middle distracts them. Please be aware need for cyclists, two large picnic tables, and a mailbox that contains the GuestBook of the BBCP. that the growing popularity of the big benches is not due to their obvious placement as (3) advertisement but due to their authentic and natural integration into the landscape.” – Chris Bangle (1) Physical environment elements The main characteristic of the place that was “used” for the project is the panoramic unique were important and/or actually position itself, which is one of the required features by the BBCP for anyone who wants to build Ownership: As regards Vezza d’Alba Big Bench, It was owned by the Church and left abandoned for years. "used" by creative people for their its own bench. Moreover, for the construction of the bench in this specific location, it was Then it was given in management to the Association of Merchants and Entrepreneurs. Now it’s activities: necessary to fix the space, clean it and obtain donations for its restructuring. This tower had been privately owned by a winery. As regards the other Big Benches, most of the time they are built on abandoned for a long time so the reconditioning of the space was the decisive step for the private properties, and therefore because this is considered an art piece, you have personal construction of the Big Bench. responsibility for it. However, access to the bench must be free and unhindered 24/7. B‐3 Describe the general functions Access regarding entry‐control: One of the musts for the Big Benches is that access to the bench must be free and unhindered 24/7. Functions and land uses description Before the creative work, the space on the hill “Bricco del Castellero '' didn't have a public in the area of the public space: function. The only construction on top of the hill was the “Torion”, a hexagonal turret built in Access regarding time of day/week See answer to point c. 1932, by the Priest Giuseppe Gonella, whose family was the owner of most of the lands around /year: the hill, as a place where to go on heatwave days. The turret was bombed during the Second World War, rendered unusable and left abandoned until the Association of Merchants and B‐7 Kind of activity initially designed for this public space: Entrepreneurs of Vezza d'Alba asked for permission to redevelop the surrounding area to build What kind of activity has been this The edifice of the Torion itself was built for private use. The area surrounding it was mostly used their White Big Bench. After 2014, when the Big Bench was inaugurated, the spot quickly became public space designed for initially for trekking and walks. However, due to the state of abandonment, it was not considered a a place of attraction for tourists and visitors, bringing attention also to the Torion which was not a relevant place by the community. This changed after the Big White Bench was built there. In fact, particular place of interest before. Unfortunately, as a bizarre downside to so much visibility, the it invited different locals and tourists to visit, thus enhancing the conditions of both spaces. church sold the property to a big winery who, together with an artist, started a process of renewal of the tower to make it an artistic monument. For this reason, the Association of B‐8_a Which are the activities in this public space(s)? Merchants and Entrepreneurs of Vezza d'Alba was asked to remove the bench. They got donations from the new property to find a suitable new spot for the bench, but they are still Activity: Doing sport activities searching for one. Meanwhile, they are taking the opportunity to refurbish the bench. Activity: Visiting/taking pictures Functionalities of space were For the creation of the "White Big Bench" of Vezza d'Alba, it was necessary both the space of important and/or actually "used" by Torion and the path that leads to it. Both were meant to receive tourists and local walkers, adding Activity: Participating to events creative people for their activities: strategic points along the way that would offer more friendly conditions for their visit, such as Activity: Recreation chairs or water fountains. Likewise, the entire road was signposted, facilitating access to the place of interest. As mentioned above, the Torion surrounding space was reconditioned from B‐8_b Who are the main users of this public space(s)? scratch, since it was an abandoned monument. Thus it gained greater value and beauty thanks to the many initiatives and events organized there by the creators of the Big White Bench, from 2014 User: Locals and neighbors till a few time ago when it was removed. User: Sportspeople B‐4 General demographic characteristics of the area around the public space: User: Tourists Describe the general demographic According to statistical data and the last census carried out in Vezza d'Alba in 2020, the characteristics community has increased since 2001 by approximately 200 inhabitants. It now has 2.313 B‐8_c What are the users activities of this public space(s)? inhabitants, with an increase of 6.1 % in its population. The average age of the population is between 45 to 54 years, with 50.2% men and 49.8% women. There is also a presence of a foreign Users Activity Before After community, representing 7.9% of the total population. (4) We don’t have much more information Tourists Visiting/taking pictures   about it. Tourists Recreation   B‐5 Type of the public space(s) with creative work Locals and neighbors Recreation   Locals and neighbors Visiting/taking pictures   Locals and neighbors Participating to events   Sportspeople Doing sport activities   Sportspeople Visiting/taking pictures   Sportspeople Participating to events   339 B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the Many of the visitors like to stay for a long time sitting on the Big Bench itself. It is appealing from most attractive to people a photographic point of view (the benches are superstars of social network posts). Moreover, people sitting on it (like on all of the many other ones located around Italy) feel like kids. The experience of climbing it, sitting on an out‐of‐scale bench and enjoying the sightseeing, is a powerful and fun moment. Likewise, Chris Bangle, the creator of the Big Bench Community project, decided to use and enhance this “popularity” of the big benches being so photographed and being located throughout Italy, by creating a "passport" for the chairs. After reaching the place of interest, visitors can buy this passport in specified locations close to the bench area and then receive a stamp of the place they visited. This is one of the other ideas that most attracts the attention of visitors to the Big Benches. B‐10 Provide the links to public data on the public space(s) Website: (2) Information about Vezza D'Alba and its Torion Website's link: https://www.vezzadalba.com/diario/5‐l‐torion (https://www.vezzadalba.com/diario/5‐l‐torion) Website: (3) Blog describing a one day experience visiting the spot of the White Big Bench in Vezza D'Alba Website's link: http://fugadallacitta.altervista.org/panchina‐vezza‐dalba‐torre‐bbcp/ Photo's author: Google map (http://fugadallacitta.altervista.org/panchina‐vezza‐dalba‐torre‐bbcp/) Caption: "The Big Bench Community Project"_Vezza D'Alba town_Zoom out_Google map Website: (4) Statistics about the population in Vezza D'Alba Website's link: https://ugeo.urbistat.com/AdminStat/en/it/demografia/dati‐sintesi/vezza‐d‐alba/4241/4 (https://ugeo.urbistat.com/AdminStat/en/it/demografia/dati‐sintesi/vezza‐d‐alba/4241/4) Website: (1) Information about the Torion in Vezza D'Alba Website's link: https://torionvezza.wixsite.com/torion/blog (https://torionvezza.wixsite.com/torion/blog) Website: White Big Bench Vezza d'Alba ‐ L Torion Facebook page Website's link: https://www.facebook.com/whitebigbench.vezzadalba/photos/?ref=page_internal (https://www.facebook.com/whitebigbench.vezzadalba/photos/?ref=page_internal) B‐11 Provide photos of the public space(s) with creative works Caption: Vezza D'Alba town_Top view of the space where the White Big Bench is located, next to the"Torion" Photo's author: Google map Caption: Vezza D'Alba town_People sitting on the White Big Bench next to the"Torion" Photo's author: (aerial image ‐ drone) / “Big Bench Community Project” Facebook page Caption: "The Big Bench Community Project"_Vezza D'Alba town_The space where the White Big Bench is located next to the"Torion"_Top view_Google map 340 C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The BIG BENCH COMMUNITY PROJECT (BBCP) is a non‐profit initiative that replicates typical park took place in the analysed public benches all over Italy and abroad, but in an out of scale dimension. It started in Piedmont space(s) promoted by American designer Chris Bangle and his wife Catherine, Clavesana citizens (a town in Piedmont) since 2009, to support local enterprise, tourism and craftsmanship in the towns that host these out‐of‐scale installations. BBCP aims to unite the creativity of the Chris Bangle Associates S.r.l. design team with the craftsmen of this area of Piemonte. The BBCP includes both technical support for those who wish to construct official Big Benches, and collaboration with prominent local craftsmen to create products inspired by them, that may constitute a small contribution to the local economy and tourism, in the spirit of positivity that the Big Benches bring. It started very spontaneously with the first Big Red Bench in Clavesana Borgata in 2010 as a Chris Bangle’s private installation in his house yard. During the first year, people felt curious and started asking if they could sit on it. It's been a short time since they started asking if they could also build their own giant bench. So Chris Bangle started giving the bench technical drawings for free (what they still do) to the ones who wanted to build their own. This is how the Big Benches started to increase in number so that Chris and his studio decided to engineer and structure the process to make it safe, systemic and copyrighted. Now there are 148 big benches, mostly located in the north of Italy but also in the south and a few abroad. It is a very successful project, with lots of requests for new benches coming every day. The BBCP is now working to become a foundation. In this template, we focused on the fifth Big Bench created by the project: “The White Big Bench” located in Vezza d’Alba and created by the Association of Merchants and Entrepreneurs of Vezza d’Alba. Photo's author: “Big Bench Community Project” Facebook page C‐3 Challenge that the project (activities) tried/is trying to tackle: Caption: Vezza D'Alba town_The White Big Bench next to the”Torion" What challenge was the project The Big Bench Community Project (BBCP) initiative aims to support local enterprise, tourism, and (activities) trying to tackle – what craftsmanship in the towns that host these out‐of‐scale installations. Chris Bangle freely provides was the aim the bench builders with designs and instructions, asking as the only condition that they have to be placed in a scenic position, on a public open land, and that they respect the social spirit that gave birth to the original bench: not a private installation, rather part of a collective experience that anyone coming to this region can share and enjoy. (1) C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 8/3/2010 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Chris Bangle Motivations: Support local enterprise, tourism, and craftsmanship to strengthen economies of the local community by a nonprofit initiative that forbids the use of public money. Roles: Lead Designer, creator of nonprofit initiative Big Bench Community Project and of Chris Bangle Associates Srl. Actor(s): Catherine Bangle and Derek Bangle Motivations: Support local enterprise, tourism, and craftsmanship to strengthen economies of the local community by a nonprofit initiative that forbids the use of public money. Photo's author: “White Big Bench Vezza d'Alba ‐ L Torion” Facebook Page Roles: Co‐creator of nonprofit initiative Big Bench Community Project and of Chris Bangle Associates Srl. C‐1 Official name of the activity/project Actor(s): Laura Bongiovanni Name in local language: The Big Bench Community Project Motivations: Takes in the requests for the creation of new benches. Name in English: Roles: Architect, Studio Manager at CBA (Chris Bangle Associates Srl). Nickname: BBCP Actor(s): Other CBA associates Overall name:  Motivations: Support to the project activities 341 Roles: Support to the project activities How was the local community From a general point of view, the involvement of the community in the project happens in involved in the project/activities? different steps. The first one comes from the community side itself. It is the person/association Actor(s): Local Craftsmen that wants to build their own Big Bench that contacts the CBA in order to activate the process. Secondly, once obtained the approval and technical drawings from BBCP, they need to provide Motivations: Being part of a process that supports the local community themselves all permits to build and install the artwork. Once obtained, the person/association Roles: Bench builder usually involves other members of the community. They need to get private funds on their own that will contribute to building the Bench from the materials to the labor and other necessary Actor(s): Marzia Gandini refurbishments of the chosen space. Then local craftsmen get involved to build the bench. The BBCP also encourages people to build the big benches as a local team to strengthen the sense of Motivations: Gives details about publishing information or about the initiatives they run as a non‐profit around community and to enjoy the fun part laying behind the construction of the object. Lastly, new the Big Bench Community Project. layers of the community get involved once the bench is built. As it happened in the case of the Roles: Associate for Press Relations for CBA. bench in Vezza d’Alba, the construction of the White Big Bench construction generated an increase in curiosity about the place, both by locals and tourists. The place became a new Actor(s): Association of Merchants and Entrepreneurs of Vezza d'Alba recreation point where different events and activities took place (from cyclists’ meetings to private wedding photo shoots and many diverse happenings involving also tourists). Motivations: Support and enhance the local economy, being an active part of the community. C‐11 The role of natural/cultural heritage in the project/activities: Roles: Facilitator of the Bench building process in Vezza d’Alba Did cultural and/or natural heritage Yes, cultural and natural heritage is key points of the project since one of the main requirements C‐7 Description of the supporting background that existed to make the activities happen: play any specific role in the to build a bench is to be constructed in a panoramic and contemplative location, and must be project/activities? freely accessible to the public. One of the focal points of BBCP is the beauty of the Italian territory What kind of supporting The Big Bench community project is a nonprofit association that does not allow the use of public and beyond. background existed to make the money. The vast majority of Big Benches are made by private citizens/groups of friends who are activities happen (financial, self‐motivated, local businesses who see the value in tourism, or “Proloco” groups who use C‐12 The targeted impact of the project/activity: institutional etc.) private donations to make it happen. In these really small towns, it is often the town's “most wealthy” citizen who is already active in the community and is already used to paying for many What was the targeted impact of The Big Bench Community Project (BBCP) initiative aims to support local enterprise, tourism, and public services from their own private funds. A lot of private donations also come from Chris the project / activities? craftsmanship in the towns that host these out‐of‐scale installations. BBCP activities (strictly no Bangle’s company, his wife and their team of designers and collaborators. Many benches are profit) include both technical support for those who wish to construct official Big Benches, and physically made by “farming them out” (English expression for paying someone to do it). The collaboration with prominent local craftsmen to create products inspired by them, that may current price tag is around +/‐ 5000 euros for a finished bench, usually by a local woodworking or constitute a small contribution to the local economy and tourism, in the spirit of positivity that the metalworking place. (2_ Personal interview with the creator of The Big Bench Community Project, Big Benches bring to this area. Part of the proceeds from all sales, as well as the donations made Chris Bangle). In the case of the Big White Bench in Vezza d’Alba, donations and volunteer work by those who construct a new bench, will be devolved by the Big Bench Community Project to the from the community were necessary to realize the project. The creators, Association of towns involved and will be destined to strengthen the local community. Merchants and Entrepreneurs of Vezza d'Alba obtained funds from their association and donations for the construction of the Big Bench and the space reconditioning. C‐13 Achievement of the targeted impact: C‐8 Sectors involved in the development of the creative works with public spaces: Yes/no/partly: Yes Culture  Comment: Yes. For The Big Bench Community Project group, reaching out and giving value to small communities has been a great satisfaction. Besides the system of donations explained in previous Education  answers, BBCP has managed to improve the local economy of the places where a new Big Bench is installed, attracting tourists and increasing the number of visitors from local and non‐local Health  communities. Moreover, local craftsmen got and continue getting involved in the construction of Sustainability  these Giant Benches, which grow in number month after month. Science  C‐14 Additional achieved impacts: Tourism  Were any additional impacts The BBCP somehow strengthened the sense of pride and belonging of the community. Firstly achieved? encouraging to make the benches with craftsmen and friends to explore the fun of teamwork and Sport  sense of community. Secondly, it offered ordinary active citizens a simple and feasible possibility Industry  to provide a public service for their community; an occasion to “give back to the community with pride”. Other:  C‐15 The main beneficiaries of the creative work in public space(s): Specify other: Who were the main beneficiaries of The local economy and tourism, in the spirit of positivity that the Big Benches bring to the area C‐9 Sector which was.. the creative works in public where it is placed. Moreover, part of the proceeds from all sales, as well as the donations made by spaces(s)? those who construct a new bench, will be devolved by the Big Bench Community Project to the ..the initiator of the activities: Industry towns involved and will be destined to strengthen the local community. The main idea of the project is to give something back to the communities that host the Big Benches. ..the most crucial for the whole case Tourism study: C‐16 Presence (or not) of economic benefits for the local community as a whole or any Comment: specific actors in particular, resulting from the creative works with/in public spaces: C‐10 How was the local community involved in the project/activities: Were there any, no matter how big Yes. The major part of the direct economic return is from people who visit the bench, eat at the or small, economic benefits for the restaurant, drink a coffee, etc. Moreover, BBCP donates money back to the communities that local community as a whole or any host the big benches. So far they have given around 8000 euros for projects that involve kids and specific actors in particular, art. This year, 2021, 2000 euros will be available. (2)(Personal interview with the creator of The Big resulting from the creative works Bench Community Project, Chris Bangle) with/in public spaces? 342 C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that The link: Blog telling a whole day experience visiting the Big White Bench in Vezza D'Alba potentially empowered the actors to prosper in their future development: Link to public data to better https://www.youtube.com/watch?v=vSVtUyqMeww (https://www.youtube.com Were there any exchanges of I’m not sure about the answer. In my opinion, the exchange of knowledge in this project is mostly understand the activities and actors, /watch?v=vSVtUyqMeww) knowledge or other activities linked to the expertise acquired by locals during the application and construction phase of the as well as impacts: performed that potentially benches. There is a constant sharing of competencies, between the BBCP team and the people The link: Video experience of a day visiting The Big White Bench in Vezza D'Alba by the blog "Fuga dalla empowered the actors to prosper in who want to apply for a bench, then among the craftsmen and the locals and then it continues città" their future development? once the bench is built and events and initiatives happen around it. Link to public data to better https://www.azione.ch/nc/tempo‐libero/dettaglio/articolo/con‐le‐gambe‐a‐penzoloni.html C‐18 Monitoring (or not) of the impact of the project: understand the activities and actors, (https://www.azione.ch/nc/tempo‐libero/dettaglio/articolo/con‐le‐gambe‐a‐penzoloni.html) as well as impacts: How was the impact of the project / The impact of the project was not exactly monitored. One of the main reasons is that it is almost activities monitored? If it wasn’t – impossible for the team to track the process of each Big Bench since they are growing in number The link: One of the tons of articles dedicated to the BBCP how do you think it could be every day. However, Chris Bangle explained to us that despite not carrying out exact monitoring, monitored? they can see on social networks and newspapers, and by different media that talk about the Link to public data to better https://www.facebook.com/BIGBENCHCOMMUNITYPROJECT.ORG/photos/?ref=page_internal BBCP, that the project is very well received by the communities. understand the activities and actors, (https://www.facebook.com/BIGBENCHCOMMUNITYPROJECT.ORG/photos/?ref=page_internal) as well as impacts: C‐19 Way in order to communicate the impact of the project: The link: BBCP Facebook page How was the impact of the project / The impact of the project was not monitored. However, all BBCP initiatives and their results are activities disseminated or disseminated through their social networks and official newsletters and websites. In addition, Link to public data to better https://bigbenchcommunityproject.org/ (https://bigbenchcommunityproject.org/) communicated? since the project became very popular over years, it is possible to read about it and about many understand the activities and actors, linked events and initiatives, on different media. as well as impacts: The link: (1) BBCP website C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: D‐1 Main editor in charge of this entry and potential other authors of this case study description How were the creative works in The Big Benches have a great tourist and photographic appeal, being “superstars” on different public space(s) perceived, social networks. The project has been widely and positively received by different communities Name and surname: Paola Russo evaluated, judged by the final users around the country, making the project grow more and more. The BBCP didn’t attract just tourists – what were the reactions of the but offered a great return to local communities since it drew attention and enhanced the Organization: Politecnico di Milano general public? economy of small towns. Email: paola.russo@polimi.it C‐21 The (one) main success and the (one) main failure of the project/activities Role: Editor Main sucess: In Chris Bangle’s opinion, the biggest success of the project is the smile of people. It is still amazing to see people happy about something you have done. Apart from this, the big success is D‐2 Representative pictures to have the opportunity of supporting the communities and favor tourism and local economies. Picture's caption: Vezza D'Alba town_The space where the White Big Bench is located, next to the"To‐ rion", Main failure: The biggest failure today is the inability somehow to “capitalize” on the power of the big bench in covered with snow (aerial image ‐ drone) a way to support the project and make it sustainable also from an economic point of view. In order to improve this situation, they are in the middle of the change towards being a foundation and, at this scope, they recently launched a crowdfunding campaign; in this way, they would be able to apply for funds in different blocks, attract funds, and finally attract professionals. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader For sure one of the most important things that made the BBCP possible and successful was the conditions (e.g. the supporting enthusiasm of local communities and associations who strongly wanted (and that continue to state of the art in the community, apply for) the Benches in their town. infrastructure, institutional support, financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better https://www.facebook.com/whitebigbench.vezzadalba/photos/?ref=page_internal understand the activities and actors, (https://www.facebook.com/whitebigbench.vezzadalba/photos/?ref=page_internal) as well as impacts: Picture's author: Unknown The link: White Big Bench Vezza d'Alba ‐ L Torion Facebook page Picture's date: Link to public data to better https://torionvezza.wixsite.com/torion (https://torionvezza.wixsite.com/torion) Picture's source: “White Big Bench Vezza d'Alba ‐ L Torion” Facebook Page understand the activities and actors, Picture's caption: Vezza D'Alba town_The White Big Bench next to the”Torion" as well as impacts: The link: Torion website Link to public data to better http://fugadallacitta.altervista.org/panchina‐vezza‐dalba‐torre‐bbcp/ understand the activities and actors, (http://fugadallacitta.altervista.org/panchina‐vezza‐dalba‐torre‐bbcp/) as well as impacts: 343 Picture's author: Unknown Picture's date: Picture's source: “Associazione L TORION” Archives Picture's caption: Vezza D'Alba town_Big Bench_inauguration with Mr. Chris Bangle and authorities of Piedmont region and Vezza d'Alba town Picture's author: Unknown Picture's date: Picture's source: “White Big Bench Vezza d'Alba ‐ L Torion” Facebook Page Picture's caption: Clavesana_The First Big Bench in Chris Bangle's yard Picture's author: Giovanni Tagini Picture's date: Picture's source: BBCP Facebook page /Copyright free Picture's caption: Vezza D'Alba town_Big Bench under construction Picture's author: Unknown Picture's date: 344 Picture's source: “Associazione L TORION” Archives Picture's caption: Vezza D'Alba town_Big Bench_on site transport Picture's author: Picture's date: Picture's source: Associazione L TORION” Archives D‐3 Additional information Additional information: Link: D‐4 Optional final remark Picture's author: Picture's date: Picture's source: “Associazione L TORION” Archives Picture's caption: Vezza D'Alba town_The White Big Bench next to the”Torion" 345 Optional final remarks: is there any We think it could be interesting to copy here the basic steps and information required to apply for additional information that was not a Big Bench (1 data contained in the BBCP website): Do You want to construct a Bench? The communicated through the procedure to construct your own Big Bench is as follows: – fill out the form available on our template website, uploading at least 4 photographs of the proposed location including a photo of the panorama, a photo of the land on which it will be placed with pickets and tape indicating the specific location (approximately 3.50 x 1.80 meters, plus 2 meters minimum unobstructed space on each side) a 360° video filmed from the precise proposed location of the bench, a satellite image of the precise location of the bench (a screenshot from Google Maps is acceptable), a description of available parking, and a description of proposed access route; – if the form is filled out correctly we will evaluate your request and may approve it or request further information or eventual modifications; when the location has been approved we will send you a contract that must be signed and returned to us, together with a 100 € bank transfer as a contribution to the cost of printing the blueprints and the sign that will be hung next to the Bench once construction is complete; – once we have received the signed contract and the bank transfer we will send you the printed construction blueprints by post (we do not send them via email or in digital format) – you can build your Big Bench with the aid of any competent craftsman. If you do not know who to contact, we can offer you a suggestion; – set an inauguration date. We will do our best to be present and celebrate with you! PANORAMA The Big Bench must be constructed in a panoramic and contemplative location and must be freely accessible to the public. It must be set apart from religious buildings, graveyards, monuments, protected buildings, roads, children’s playgrounds, private residences. It is not required to be able to reach the Big Bench by car, a short walk to reach it is even better! It is however important to indicate an adequate parking area in the vicinity since there can be up to a hundred visitors a day! Access to the bench must be free and unhindered 24/7. PHOTOGRAPHS Since the sale of postcards and calendars is a simple method to collect funds for BBCP, Chris will ask each constructor to share the photos of the construction process as well as of the completed bench, as official documentation to promote te new construction and the Big Bench Community Project. THE PASSPORT PROJECT BBCP will issue a personalized stamp for each new completed bench. The promoters of a Big Bench must select at least one business in the immediate vicinity (a bar, cafe, restaurant, shop) interested in acquiring the stamp and using it to frank the Big Bench Passport of any visitor that requests it. The opening hours of this location must cover (even only partially) the weekend. There is no maximum limit of places in the area that can offer this stamping service. The BBCP passport is a way to make your visit to the Big Benches even more fun by collecting the stamps of every bench that you visited! Each stamp has the logo of the Big Bench and the name of the town where it is located. Collecting the stamps on your passport proves that you visited a certain Big Bench, making it a perfect souvenir! The BBCP passport could be a nice and original gift for your friends and family and a good way to introduce them to the Big Benches world! To discover where you can find the passport and/or collect the stamps, please take a look at the signs near every Big Bench. 346 Karl-Bank Kallabakki The Hot Tub Trio Heitu pottarnir á Drangsnesi Masterplan for Flensborgarhofn and Oseyrarsvaedi Rammaskipulag Flensborgarhafnar og Óseyrarsvæðis ICELAND Long Sand Beach Langisandur Rainbow Street Regnbogagatan 347 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Karl-Bank +5 Kallabakki +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ísland ‐1 Region name (in local language): Sveitarfélagið Múlaþing ‐2 Place name (in local language): Djúpivogur ‐3 Country name (in english): Iceland  ‐4 Region name (in english): Municipality of Múlaþing ‐5 Place name (in english): Djúpivogur Open landscape Djúpivogur is a small port town in the east fjords of Iceland. It is in a very open landscape where it sits on the small peninsula, Búlandsnes, which lies between the fjords Hamarfsjörður and Berufjörður. The population count in Djúpivogur from 1. Jan 2021 are 396 inhabitants, which makes it very low in density and has large amounts of undeveloped land. In the parliament 29. Jan 2020 a Comment: parliamentary resolution ”the merge of the municipalities” was approved (1). Djúpivogur is one of the municipalities that merged with others nearby because of how small it is. The purpose of the resolution was to strengthen the system in Iceland by making strong and reliable infrastructure, robust municipalities, better making of capital goods (i. verðmætasköpun) and progressive service. Municipalities are supposed to have a minimum of 250 inhabitants in 2022 and a minimum of 1000 in 2026. Difficult terrain Map of the network of public +5 spaces in the remote place +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access Caption of the map: Figure ground plan for Djúpivogur ‐1 ‐2 Legend of the map:  ‐3 ‐4 ‐5 Effortless terrain Djúpivogur is situated on a peninsula on the east coast of Iceland, called the East-Fjords. The East-Fjords is a synonym for all the fjords on Iceland's jagged east coast. On the coast, there are many small villages. The landscape is beautiful but in some places, there is always a risk of a landslide falling on the road due to the steep and barren mountains. In winter it can get hard to get to Djúpivogur if traveling from the north part of Iceland, because of snow and storms. There are five ways to get to Djúpivogur, the first Comment: and the recommended option is flying to Egilsstaðir (2h 36min), and after, by car for 1h 37min, the second recommended option is flying to Höfn (2h 14min) and then by car for 1h 19min. There are two options where you can take a bus to Egilsstaðir which only travels via the north part of Iceland to Djúpivogur, it takes either 13h 35m or 16h 36m, and then, you have to drive by car for 1h 35m to Djúpivogur. The last option is driving by car from Reykjavík to Djúpivogur via the south coast of Iceland which takes 7 hours. The roads are all asphalted and it is not hard to find the village, it is very close to the “ring road”. 348 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The fishing industry was the main professions in Djúpivogur but has been diminishing, it has been replaced by the aquaculture Low‐income households prevail industry and is set to expand significantly in the next years, with more fish farms and a packaging plant. The Norwegian company, The average wage of the inhabitants in Djúpivogur in 2019 was 6.107 m.kr./year. The average wage in the capital was 6.877 and the Måsøval, owns the majority share of two fish-farming companies, Fiskeldi Austfjarða and Laxar, and therefore now controls the average wage in Iceland was 6.871 m.kr/year. Women got 4.358 and men 7.720 m.kr./year. In terms of participatory practices in majority of aquaculture in the region. The two factories already run a joint slaughterhouse for farmed salmon in Djúpivogur, called Djúpivogur, an important feature of Cittaslow is that the locals (the community) participate in varied projects, such as planning their Comment: Búlandstindur. The plant currently has to transport polystyrene boxes from Hafnarfjörður but plans to build a facility in Djúpivogur to Comment: environment and take on some concepts, such as sustainability. In the years 2005-2018 the locals participated a great deal in the make the packaging locally. Djúpivogur is a Cittaslow town that aims feks at making life better for everyone living in an urban planning process for their town, but when Djúpivogur merged with nearby communities to form Múlaþing it has stopped almost environment and improving the quality of life. Djúpivogur has the artwork The Eggs in Happy-bay and The Rolling Snowball, a co-entirely. Today the participatory practices are non-existing inactive associations and are weak in urban design and planning though operative venture between Djúpivogur and CEAC (Chinese European Art Center) and the Tank (2). they do take place. There are some active organizations, forestry society, the travel association, women's club, and rescue group. Daily‐life‐support facilities well developed A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 4 +3 Explanation: +2 A‐4 Elements that characterise the remoteness of the place:  Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Geographical barrier/allocation  demographic demographic  structure structure No good transportation links ‐1 Difficulties in accessing daily‐life‐  support facilities ‐2 Social specifics and/or divisions  ‐3 Economic inferiority  ‐4 Subjective criteria  ‐5 Specify subjective criteria (e.g. Daily‐life‐support facilities none‐existing community’s self‐perception of Djúpivogur has some public and private daily life support facilities, it has a clinic, police station, town hall, a bank, elementary school, being remote etc): kindergarten, an indoor swimming pool, a grocery store, three restaurants, hotel, hostel, sports facility, some museums, and a post-  office, a dentist is open one day almost every month. According to the register office in Iceland, there were in 2020, 208 men and Other 181 women living in Djúpivogur. There were no newborns and the highest age was 64. Woman were only in the age groups 10-14, Specify other: Comment: 15-19, 35-39, 40-44 and 55-59, men were in the age groups 5-9, 10-14, 15-19, 20-24, 30-34, 35-39, 40-44, 45-49 and 60-64. There is slow growth in the population, the growth had a dip in 2015 but is slowly rising again. The reason for the dip was a loss of job alternatives because a factory was moved from Djúpivogur to Grindavík. In 2018 most of the inhabitants were 0-45 years of age, which is unusual for a village of that size in Iceland, in most of them there is an increase in older people and a decrease in people under 50. 349 Summary of the elements that The place is very remote based on a few things. The population density is very low, there are only The link: https://px.hagstofa.is/pxis/pxweb/is/Ibuar/Ibuar__mann�oldi__2_byggdir__Byggdakjarnar characterise this case as a remote 396 inhabitants in the village itself. The transportation links are not good enough, the only way to /MAN030101.px/table/tableViewLayout1/?rxid=4bb7e9f6‐d542‐490e‐915a‐2b5380b15a24 place: get to Djúpivogur is by car although it is possible to shorten the travel by flying to Egilstaðir. The (https://px.hagstofa.is/pxis/pxweb/is/Ibuar/Ibuar__mann�oldi__2_byggdir__Byggdakjarnar job opportunities are also very few and most of them are somehow connected to the fish and /MAN030101.px/table/tableViewLayout1/?rxid=4bb7e9f6‐d542‐490e‐915a‐2b5380b15a24) fish‐farming industry. The daily‐life‐support facilities are just enough to live there and they have to be because the closest towns that have a bit more of those facilities are Höfn that takes a 1h 19 Links to public data on the remote Djúpivogur town webpage min drive and Egilsstaðir that takes a 1h 37min drive. In terms of geographical barrier, Djúpivogur place is on the East‐�ords and the weather can cause restrictions such as storms, heavy winds and The link: https://djupivogur.is/ (https://djupivogur.is/) snow. Also the roads are not entirely reliable, for there are landslides next to the roads south of Djúpivogur and there are mountain roads on the north. Links to public data on the remote Aquaculture industry place Low population density rank: 2 The link: : https://www.icelandreview.com/business/ambitious‐plans‐to‐expand‐fish‐farming‐in‐east‐iceland/ Geographical barrier/allocation rank: 1 (: https://www.icelandreview.com/business/ambitious‐plans‐to‐expand‐fish‐farming‐in‐east‐ No good transportation links rank: 3 iceland/) Difficulties in accessing daily‐life‐ 5 Links to public data on the remote Cittaslow support facilities rank: place Social specifics and/or divisions The link: https://en.wikipedia.org/wiki/Cittaslow (https://en.wikipedia.org/wiki/Cittaslow) rank: Links to public data on the remote The rolling snowball Economic inferiority rank: 4 place Subjective criteria (e.g. community’s The link: https://djupivogur.is/Mannlif/Menning/Rullandi‐snjobolti/ (https://djupivogur.is/Mannlif/Menning self‐perception of being remote etc) /Rullandi‐snjobolti/) rank: A‐7 The type of public spaces that can be found in this remote place (besides the Other rank: roads/streets/path network) A‐5 Provide the links to public data Square/s, Plaza/s  Links to public data on the remote (2) The Tank, an old fish oil factory made into an exibiton hall Park/s, Garden/s  place Market space/s  The link: https://djupivogur.is/Mannlif/Menning/Tankurinn/ (https://djupivogur.is/Mannlif/Menning Playground/s  /Tankurinn/) Recreational space/s, Sport‐field/s  Links to public data on the remote An interactive map of Djúpivogur place Community open‐air space/s  The link: https://www.map.is/djupivogur/ (https://www.map.is/djupivogur/) Institution‐related open‐air space/s  (e.g.University grounds) Links to public data on the remote A portal of plans in Iceland place Watersides  The link: https://www.map.is/skipulag/ (https://www.map.is/skipulag/) Meadows  Links to public data on the remote The eggs in Happy‐bay Parking area  place Service yard  The link: https://djupivogur.is/Mannlif/Menning/Eggin‐i‐Gledivik/ (https://djupivogur.is/Mannlif/Menning /Eggin‐i‐Gledivik/ ) Other types:  Links to public data on the remote Wage in Djúpivogur Specify other types: place Type of indoor public spaces that ▪ Church The link: https://px.hagstofa.is/pxis/pxweb/is/Samfelag can be found in this remote place: ▪ Institution‐related open‐air space (e.g. elementary school, kindergarden /Samfelag__launogtekjur__3_tekjur__1_tekjur_skattframtol/TEK01003.px/table/tableViewLayout1 ▪ Sports hall /?rxid=e9e0592e‐c760‐42e6‐a12c‐00c43fa3a3e1 (https://px.hagstofa.is/pxis/pxweb/is/Samfelag ▪ Cultural centre /Samfelag__launogtekjur__3_tekjur__1_tekjur_skattframtol/TEK01003.px/table/tableViewLayout1 ▪ Museum /?rxid=e9e0592e‐c760‐42e6‐a12c‐00c43fa3a3e1) Links to public data on the remote (1) Parliamentary resolution place A‐8 General description of.. The link: https://www.althingi.is/altext/150/s/0890.html (https://www.althingi.is/altext/150/s/0890.html) The network of roads, streets, paths The network of roads/streets in Djúpivogur is very simple. There is a main road which leads to the and alike elements that tie this center of the village, and all the way to the The Eggs of Merry Bay exhibition. Usually, people turn Links to public data on the remote The register office remote place together: back the same road to exit the village but it is possible to drive through the town and exit at place another place. From the main road, there are eight dead‐end streets that lead to residential areas. The first street on the left from the main road leads to a residential area, but also to the other end of the village, or the sea. The network could be better but there are many large cliffs that have made restrictions in the built environment. 350 The quantity and structure of public The number of public spaces in Djúpivogur. There are ten green public spaces, as can be seen in Physical environment elements The car‐wash lot and the suroundings of the souvenir shop Bakkabúð. space network (besides Djúpivogurs’ masterplan, and all the houses in Djúpivogur have gardens on their building plots. were important and/or actually roads/streets/paths network) in this There are also about 10 paved public spaces, which are all connected to some kind of service. "used" by creative people for their remote place: There does not seem to be any structure of the public space network, except that they have been activities: placed where it is most convenient. B‐3 Describe the general functions A‐9 General description of the quality of public spaces in this remote place Functions and land uses description The place is defined as a midtown area and a public space. Along it lies the midtown street Answer: The quality of the public spaces is low, green, paved, or blue. There is no central place that gives in the area of the public space: “Bakki”. When you drive into Djúpivogur on the main road you end up seeing the place at the first people an opportunity to meet at, or that is easy to spot when entering the town. There isn’t any crossroads. Close to the place, there are service areas, restaurants, a hotel, a museum, and a garden made for restoration or to enjoy. The blue public spaces are by the sea but they are not camping area. constructed in any way for better comfort for people. The quality that Djúpivogur has, like all the remote places in Iceland, is the closeness to nature and the tranquillity. Functionalities of space were It was important to frame the lot with the wooden blocks or the flower pots, they were what important and/or actually "used" by made it possible for the area to be a public place. The benches with the tables were also B‐1 Name(s) of the public space(s) creative people for their activities: important and the souvenir shop along with the beautiful view. Name(s) of the public space(s) (in Kallabakki B‐4 General demographic characteristics of the area around the public space: local language): Describe the general demographic The place stands by Djúpivogur (the �ord) and there is a good view over the harbor and over to Name(s) of the public space(s) (in Karl‐Bank (edge) characteristics the mountains on Beru�arðarströnd. The area is central and in good connection with the oldest English): part of Djúpivogur, so in its vicinity, you can find old buildings (Langabúð & Faktorshús (tourist information and a museum) and Geysir (the Townhall)). It is also well connected to restaurants Latitude of the public space(s): 64.65683375698728 and campsites. The space is also close to restaurants and a camping area. Longitude of the public space(s): ‐14.283127485471962 B‐5 Type of the public space(s) with creative work Form and function: The public space is kind of an abandoned space, a meeting point, or a rest point, a tourist stop. Ownership: It is owned by the community. Access regarding entry‐control: The access is always open, no entry‐contol. Access regarding time of day/week No limitations. /year: Ground plan showing the land use B‐7 Kind of activity initially designed for this public space: of the public space(s): What kind of activity has been this It was initially designed for service (a petrol station and for washing cars). public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: Parking Activity: Dwelling in the space (rest, sit, talk, enjoy the view etc.) B‐8_b Who are the main users of this public space(s)? Caption's map of the public space: Ground map of Djúpivogur User: Locals Legend's map of the public space: User: Bus drivers Main location  User: Tourists B‐2 Describe the physical environment B‐8_c What are the users activities of this public space(s)? Physical environment description of The place is on the so‐called Kallabakki, which was before construction a sloping grassland on the public space(s) with creative cliffs that stretched down to the sea. A petrol station and a car wash facilities were built there in Users Activity Before After works: the 1970s, both of which have been shut down. Precisely, the construction of the place was   making a concrete lot, framed with concrete edges on three sides. The place became very Tourists Parking prominent in the town picture. On the lot there then came the petrol station and the car wash Locals Parking   facilities. The accessibility to the place is from the street Bakki, which has been defined as the downtown street in Djúpivogur. Now, there is the souvenir shop/tourist shop “Bakkabúð” which Bus drivers Parking   is not the typical souvenir shop but instead, among other things, sells hand‐made things of stone and wood. After the car wash facilities were shut down the place has evolved into a public space Tourists Dwelling in the space (rest, sit, talk,   that attracts people, one of the reasons is probably because of the beautiful view over the harbor enjoy the view etc.) of Djúpivogur. A public space was originally created by arranging small wooden blocks in a row Locals Dwelling in the space (rest, sit, talk,   along the street “Bakki, and in that way separating the lot and the street. Today the two areas are enjoy the view etc.) separated with big flower pots and on the lot, which is defined as the public space, there are some movable benches with tables. B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: 351 Describe what parts seem to be the People seek most being near the concrete edges where they can get the best view. People also most attractive to people use the benches and tables a lot, they are movable so people can choose where they want to sit. B‐10 Provide the links to public data on the public space(s) Website: A map of Djúpivogur Website's link: https://map.is/djupivogur/ (https://map.is/djupivogur/) B‐11 Provide photos of the public space(s) with creative works Caption: View before intervention B1 Photo's author: Páll Jakob Líndal Caption: View after intervention A1 Photo's author: Páll Jakob Líndal Caption: View before intervention B2 Photo's author: Páll Jakob Líndal Photo's author: Páll Jakob Líndal Caption: View after intervention A2 Caption: View after intervention A3 Photo's author: Páll Jakob Líndal Photo's author: Páll Jakob Líndal Caption: Views in Djúpivogur Caption: View before intervention B3 352 Actor(s): Locals Motivations: Better urban planning in town Roles: Participants in decisions making C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting background existed to make the activities happen (financial, institutional etc.) C‐8 Sectors involved in the development of the creative works with public spaces: Culture  Education  Health  Sustainability  Photo's author: Elísabet Bjarnadóttir, google maps Science  C‐1 Official name of the activity/project Tourism  Name in local language: Kallabakki Sport  Name in English: Karl‐Bank (edge) Industry  Nickname: Kallabakki Other:  Overall name:  Specify other: C‐2 Description of the project (activities) that took place in the analysed public space(s): C‐9 Sector which was.. Describe the project (activities) that A public space was created by arranging small wooden blocks in a row along the street “Bakki, ..the initiator of the activities: took place in the analysed public and in that way separating the lot and the street. Today the two areas are separated with big space(s) flower pots and on the lot, which is defined as the public space, there are some movable benches ..the most crucial for the whole case with tables. study: C‐3 Challenge that the project (activities) tried/is trying to tackle: Comment: What challenge was the project Kallabakki, "the center area" was used as a parking lot, but with the small intervention of putting C‐10 How was the local community involved in the project/activities: (activities) trying to tackle – what wooden blocks, changed the place to a public space, that made it possible for people to rest, talk was the aim and enjoy the environment, which was the aim. How was the local community The locals participated in the consultation process for the making of the town centers detailed involved in the project/activities? land‐use plan in Djúpivogur. Kallabakki is a part of the town center area. The participation was C‐4 Time frequency: through public town meetings and a workshop. Time Frequency Periodical activity C‐11 The role of natural/cultural heritage in the project/activities: Other information: In the beginning it was an experiment, it was supposed to stand for a period of time but it Did cultural and/or natural heritage Yes, the place is in the oldest part of Djúpivogur town. The town received its municipal rights in became permanent. play any specific role in the the year 1589 and is among the oldest settlements in Iceland. There is a project in Iceland called project/activities? "Protected Areas in Settlements", which has been done in this place. It is to promote the C‐5 Time period protection and preservation of settlements that have historical value. Start: 6/29/2017 12:00:00 AM C‐12 The targeted impact of the project/activity: End: What was the targeted impact of To create a public space in the town center where people, locals, and visitors can dwell on, enjoy, Comment: Still ongoing the project / activities? and so on. A place where it is possible to speculate about or enjoy the surrounding environment, f.eks. Djúpivogur harbor and to observe the daily life (city life) or activities that go on there. The C‐6 Actors in relation to the analysed creative work, their main motivation and their roles place became a town center square with the possibilities that a square this size gives. Actor(s): Municipality of Djúpivogur C‐13 Achievement of the targeted impact: Motivations: Better urban planning in town Yes/no/partly: Yes Roles: Chairman of a district council Comment: The place is now used as a public space for people instead of being a parking lot. People stay longer in Djúpivogur and it boosts the character of the town. It also reinforces traffic safety, Actor(s): TGJ Design Studio because those who are walking are separated from the ones driving. Motivations: Better urban planning in town C‐14 Additional achieved impacts: Roles: Project manager 353 Picture's source: Picture's caption: Kallabakki before the change Picture's author: Páll J. Líndal Picture's date: 6/3/2018 12:00:00 AM Picture's source: Picture's author: Páll J. Líndal Picture's caption: Town Life, in the new square Picture's date: 6/3/2018 12:00:00 AM Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Páll J. Líndal Picture's date: 7/10/2018 12:00:00 AM Picture's source: Picture's caption: Kallabakki full of people Picture's author: Páll J. Líndal Picture's date: 7/10/2018 12:00:00 AM 354 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement The Hot Tub Trio +5 Heitu pottarnir á Drangsnesi +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2  0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ísland ‐1 Region name (in local language): Vestfirðir ‐2 Place name (in local language): Drangsnes ‐3 Country name (in english): Iceland ‐4 Region name (in english): West�ords ‐5 Place name (in english): Drangsnes Open landscape Drangsnes is a small fishing village, with 72 inhabitants (2021), at the mouth of the Steingrímsfjörður fjord, in the Westfjords of Iceland. It is a part of the Kaldrananeshreppur municipality in Strandir region and the municipality's only urban settlement. Drangsnes is in an open and exposed coastal environment with only low-growing vegetation. Drangsnes has a high proportion of holiday homes. About one-fifth of the houses are owned by people who do not have permanent residence in the village. The Kaldrananeshreppur Comment: municipality has a population density of only 0,22 inhabitants pr. km2 (459 km2 - 109 inhabitants 2019). The nearest urban area, 32 km away, is Hólmavík village (311 inhabitants 2021) which is the largest urban center in the Strandir region. Drangsnes is located 260 km away from Reykjavík, the capital of Iceland. The fishing industry is the main industry of Drangsnes and lumpfish fishing is deeply rooted in the local community and culture. Difficult terrain Map of the network of public spaces in the remote place +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access Caption of the map: Figure ground plan for Drangsnes ‐1 Legend of the map:  ‐2 ‐3 ‐4 ‐5 Effortless terrain Drangsnes is rather isolated since it is located 20 km away from the main road. It can therefore be assumed that few people make their way to the village if they have no errands there. Drangsnes can only be accessed by car since there is no public transportation. Comment: The closest bus stop is in Hólmavík, which operates all year round. The accessibility of the area is rather good since there are asphalt roads from the main highway, but the access can be extremely difficult during the wintertime when heavy snows block the roads. 355 Diversified economic activities High‐income households prevail +5 +5 +4 +4  +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2  ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity The region is a sparsely populated area, the economy is monotonous and most of the inhabitants of Drangsnes work in the fishing Low‐income households prevail industry. The main innovation in the area in recent years has been in tourism, such as a boat tour company which offers regular In Drangsnes a high-income household prevail as a large part of the inhabitants of the village are shipowners or fishermen. As the nature and bird watching trips to Grímsey island, one of the largest nesting grounds for puffins in the country. In 2016, the children of standard deviation of income is high, it tells us that there is a big difference between the income of individuals in Drangsnes. The fish the elementary school in Drangsnes had become tired of their playground, and reported it to the school authorities. The chairman of processing factory is the largest workplace in Drangsnes. The local grocery store and the elementary school provides several jobs Comment: the municipality contacted The Iceland Academy of the Arts which led to the event of eleven design students spending a week in the Comment: but many of the inhabitants work part-time for the municipality. Due to the small size of the village most, if not all, of the inhabitants village to renovate the playground after reviewing the children’s wishes. The locals took part in the renovation. In 2000, the join hands when it comes to projects that concern the community. These include participation in the establishment of the previously inhabitants of Drangsnes lost their main livelihood of 30 years, shrimp fishing. The municipality took the initiative to bring together mentioned fish processing factory, the organization of the cultural festival and other public gatherings, as well as the installation of local individuals, shipowners and companies, to establish a new fish processing factory which has been in operation ever since. This the hot tubs which will be discussed further in sector C. led to a mass movement, as there were 31 shareholders despite the small size of the municipality. A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Daily‐life‐support facilities well developed at all) to 5 (extremely remote) +5 Estimation: 3 +4 Explanation: I believe that the residents of Drangsnes feel isolated due to the location of the village, which is +3 off the beaten track. Roads can be closed in winter due to heavy snow and it is quite a long way to go for leisure activities and to access important necessities located in Hólmavík (32 km). Children +2 in Drangsnes need to attend music lessons and sports practices in Hólmavík. And when the villagers need to get access to important necessities, such as shops and health care, they try to +1 share trips to Hólmavík. Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic A‐4 Elements that characterise the remoteness of the place: structure structure Low population density   ‐1 Geographical barrier/allocation  ‐2 No good transportation links  ‐3 Difficulties in accessing daily‐life‐  ‐4 support facilities ‐5 Social specifics and/or divisions  Daily‐life‐support facilities none‐existing Economic inferiority  Drangsnes has it‘s own elementary school, grocery store, swimming pool, post office, community center, a volunteer fire department Subjective criteria  and a rescue squad. The residents of Drangsnes need to seek health care and organized leisure activities, such as music school, Comment: gymnasium and theater club. There are 72 inhabitants in Drangsnes and there is a similar ratio between men (45,8%) and women Specify subjective criteria (e.g. (54,2%). The average age of the population is 43,1 years (2021). 14% of the population is under twenty and the elementary school community’s self‐perception of has only 8 students. being remote etc): Other  Specify other: Insulation due to heavy snow 356 Summary of the elements that Drangsnes is rather isolated since it is located 20 km away from the main road. It can therefore be The link: https://guidetoiceland.is/travel‐iceland/drive characterise this case as a remote assumed that few people make their way to the village if they have no errands there. The village /drangsnes?�clid=IwAR2t9UTe8jauOgA_zW_GwSu�iAslodPjL9C‐K4Zt‐TBLs7_TsRoUZVi5tw place: can only be accessed by car and the closest public transportation is a bus stop in Hólmavík, 32 km (https://guidetoiceland.is/travel‐iceland/drive away. During summer, the accessibility of the area is good since there are asphalt roads from the /drangsnes?�clid=IwAR2t9UTe8jauOgA_zW_GwSu�iAslodPjL9C‐K4Zt‐TBLs7_TsRoUZVi5tw) main highway, but the access can be extremely difficult during the wintertime when heavy snows block the roads. Drangsnes is off the beaten track, the roads can be closed in the winter due to A‐7 The type of public spaces that can be found in this remote place (besides the heavy snow and it is quite a long way to go for leisure activities and to access some necessities, roads/streets/path network) such as medicine. The Kaldrananeshreppur municipality has a low population density, of only 0,22  inhabitants pr. km2 (459 km2 ‐ 109 inhabitants 2019). Square/s, Plaza/s  Low population density rank: 1 Park/s, Garden/s  Geographical barrier/allocation rank: Market space/s  No good transportation links rank: 2 Playground/s  Difficulties in accessing daily‐life‐ 4 Recreational space/s, Sport‐field/s support facilities rank: Community open‐air space/s  Social specifics and/or divisions Institution‐related open‐air space/s  rank: (e.g.University grounds) Economic inferiority rank: Watersides  Subjective criteria (e.g. community’s Meadows  self‐perception of being remote etc) rank: Parking area  Other rank: 3 Service yard  A‐5 Provide the links to public data Other types:  Links to public data on the remote The municipality's webpage Specify other types: Hot tubs by the sea, a camp site with toilet facilities, showers and charcoal grill, an outdoor place swimming pool The link: https://www.drangsnes.is/ (https://www.drangsnes.is/ ) Type of indoor public spaces that ▪ Public library can be found in this remote place: ▪ Community Center (can be rented) Links to public data on the remote Kaldrananeshreppur Municipal Plan 2010‐2030 ▪ Chapel place The link: http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur/display.aspx?numer=10864 (http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur/display.aspx?numer=10864) A‐8 General description of.. Links to public data on the remote The West�ords Development Plan 2020‐2024 The network of roads, streets, paths There are only five residential streets in Drangsnes and the plots are different in size and shape. place and alike elements that tie this There is no specific street pattern, the highway runs through the village and serves as the main remote place together: street, the four residential streets then branch out from the highway. The houses are situated The link: https://www.vestfirdir.is/is/verkefni/soknaraaetlun‐vest�arda (https://www.vestfirdir.is/is/verkefni right up against the street and are mostly parallel to the seashore. There are very few paved /soknaraaetlun‐vest�arda) paths for pedestrians in the village, but it is possible to walk on gravel paths that run along the Links to public data on the remote Icelandic Regional Development Institute ‐ population of Icelandic municipalities streets. From Drangsnes are some marked hiking trails, e.g. at Bæjarfell, a small mountain above place the village, with a great view over the �ords. The link: https://www.byggdastofnun.is/is/utgefid‐efni/maelabord/ibua�oldi‐1‐januar The quantity and structure of public Drangsnes has few planned public areas. The village is surrounded by nature and around private (https://www.byggdastofnun.is/is/utgefid‐efni/maelabord/ibua�oldi‐1‐januar) space network (besides plots are open green areas and wild nature for public use but there is no coherent network of roads/streets/paths network) in this public spaces or greenways that connect them together. The public spaces are scattered Links to public data on the remote News and information website for the region remote place: throughout the small community and the boundaries between public and private spaces are place rather blurred. The link: https://www.strandir.is/ (https://www.strandir.is/ ) A‐9 General description of the quality of public spaces in this remote place Links to public data on the remote Zoning plan of Drangsnes Answer: Drangsnes has very few public spaces and the existing ones are scattered throughout the place settlement. There is no coherent network of public spaces or green paths that connect them. There is a lack of accessibility for people with disabilities, since the public spaces and walking The link: http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur/display.aspx?numer=12565 paths are poorly defined and there is a lack of contrast between the public and private spaces. (http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur/display.aspx?numer=12565) The main street cuts the settlement apart and makes it quite difficult to establish a Links to public data on the remote Visit West�ords, a marketing agency for the region comprehensive public network. The village is surrounded by wild nature and above the place settlement is an open green area which is intended as an outdoor recreation area for general use. There are hiking trails that run up Bæjarfell mountain, which is above the settlement. The link: https://www.west�ords.is/en/destinations/towns/drangsnes (https://www.west�ords.is /en/destinations/towns/drangsnes) B‐1 Name(s) of the public space(s) Links to public data on the remote Guide to Iceland Name(s) of the public space(s) (in Heitu pottarnir á Drangsnesi place local language): 357 Name(s) of the public space(s) (in “The Hot Tub Trio” Physical environment description of The hot tubs are located by the side of the highway. It’s also the main street and runs through the English): the public space(s) with creative village. The tubs are quite well hidden in their surroundings as they rest a little below street level works: in the middle of a riprap shoreline that runs along the main road. The tubs stand open to the sea Latitude of the public space(s): 65.6882 from where it has a panoramic view of the �ords, the mountains, the harbour and Grímsey island. While soaking in the tubs you can watch seabirds and, from time to time, seals and whales at a Longitude of the public space(s): ‐21.44825 distance. The public parking area is next to the tubs, but people must cross the main road for the changing rooms. There are no actual sidewalks on either side of the road. On the opposite side of the tubs is the elementary school, the church, a playground, and residential buildings. A little further down the street is a fish factory and the harbour. There are only five residential streets in the village and the plots are different in size and shape. The oldest settlement is the one across the street from the tubs and there is the highest population density. The houses across the street are located along the road and stand below a cliff. Most of the houses were built in the fifties and are characterized by Icelandic functionalism, they are one or two‐storey single family houses with smooth unadorned walls, rather small windows, and hip roofs with corrugated iron cladding. Ground plan showing the land use Physical environment elements By a lucky coincidence, a drilling hole with geothermal water was found in Drangsnes. Besides of the public space(s): were important and/or actually utilizing the water for domestic use, the locals placed big fishing crates by the sea which were "used" by creative people for their later replaced by proper tubs. The placement of the tubs was largely determined by the location activities: of the drilling hole, but beautiful surroundings also played a part in the choice of location. In 2006 an artist, Mireya Semper, took inspiration from the site and gave the municipality the artwork Lagríma she embedded in the stones surrounding the hot tubs. B‐3 Describe the general functions Functions and land uses description In this area, land use and layout of streets, houses and plots is determined by landscape and snow in the area of the public space: layers. The main road runs along the shoreline and up the mountain slope with smaller residential Caption's map of the public space: Ground map of the "Hot Trio Tubs" in Drangsnes streets branching off from it. The road by the hot tubs is used by everyone entering or exiting the village from that side, but it has rather light traffic. There is a public parking area next to the tubs Legend's map of the public space: and on the opposite side of the road is an elementary school, a church, a playground, and residential buildings. A little further down the street is a fish factory and the harbour. All green Main location  areas, other than the courtyards, are classified as open areas to the public. Name(s) of the public space(s) (in Baðhús/ búningsklefar Functionalities of space were None of the previously mentioned functionalities of space were important to the creators of the local language): important and/or actually "used" by public hot tubs. creative people for their activities: Name(s) of the public space(s) (in Bath house/ changing rooms English): B‐4 General demographic characteristics of the area around the public space: Latitude of the public space(s): 65.68833572458142 Describe the general demographic There are 72 inhabitants in Drangsnes and there is a similar ratio between men (45,8%) and Longitude of the public space(s): ‐21.448156572550502 characteristics women (54,2%). The average age of the inhabitants is 43,1 years (2021). Drangsnes has a high proportion of holiday homes. About one‐fifth of the houses are owned by people who do not Ground plan showing the land use have permanent residence in the village. The Kaldrananeshreppur municipality has a population of the public space(s): density of only 0,22 inhabitants pr. km2 (459 km2 ‐ 109 inhabitants 2019). In Drangsnes a high‐ income household prevail as a large part of the inhabitants of the village are shipowners or Caption's map of the public space: fishermen, but the level of education is generally not high as there are not many jobs available in Legend's map of the public space: Drangsnes that require higher education. The fish processing factory is the largest workplace in the village. The local grocery store and the elementary school provides several jobs but many of Main location  the inhabitants work part‐time for the municipality. Name(s) of the public space(s) (in Almenningsstæði við Aðalbraut B‐5 Type of the public space(s) with creative work local language): Form and function: It is a public open‐air space with three hot tubs and a bench. There is a public parking area by the Name(s) of the public space(s) (in Public parking by Aðalbraut (the main road) hot tubs with few parking spots and across the road is a small service house with changing rooms English): with shower and toilet facilities. Latitude of the public space(s): 65.68826504323604 Ownership: The municipality owns and operates the hot tubs and the facilities connected to them. Longitude of the public space(s): ‐21.447965577485345 Access regarding entry‐control: Open access, free of charge and people go at their own risk. Ground plan showing the land use Access regarding time of day/week The hot tubs and the changing room facility is open 24/7, all year round. There is a free admission of the public space(s): /year: and people go at their own risk. Caption's map of the public space: B‐7 Kind of activity initially designed for this public space: Legend's map of the public space: What kind of activity has been this It's mostly used for relaxation and socialisation. Initially, the hot tubs were intended for public Main location  public space designed for initially use, for locals and visitors, to relax and enjoy the warm water. After the influx of tourists began to increase, parking was provided and sanitary facilities were set up across the street. The locals B‐2 Describe the physical environment have created new traditions and cultures around the tubs which have become an important part of their lives. People gather there to chat with each other, so in a way it serves as the village's meeting point. The tubs have brought the community closer, encourages communication between both the locals and visitors, as well as they attract visitors. 358 B‐8_a Which are the activities in this public space(s)? Activity: Socialising Activity: Relaxation Activity: Experiencing something new or different B‐8_b Who are the main users of this public space(s)? User: Locals User: Travelers B‐8_c What are the users activities of this public space(s)? Users Activity Before After Locals Socialising   Locals Relaxation   Travelers Socialising   Photo's author: Private collection Travelers Relaxation   Caption: 2015 ‐ Aerial view from east to West Travelers Experiencing something new or   different B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the The tubs themselves is what attracts people to this area but from there is also a nice view over most attractive to people the sea and to the mountains. B‐10 Provide the links to public data on the public space(s) Website: Guide to Iceland ‐ a marketplace for Icelandic travel services Website's link: https://guidetoiceland.is/connect‐with‐locals/regina/drangsnes‐at‐strandir‐in‐the‐west�ords‐of‐ iceland‐the‐troll‐and‐the‐hot‐tubs‐by‐the‐sea (https://guidetoiceland.is/connect‐with‐locals/regina /drangsnes‐at‐strandir‐in‐the‐west�ords‐of‐iceland‐the‐troll‐and‐the‐hot‐tubs‐by‐the‐sea) Website: Strandir.is ‐ News and information website for the region Photo's author: Heimir Gíslason Website's link: https://strandir.is/afthreying1/heitu‐pottarnir‐a‐drangsnesi/ (https://strandir.is/afthreying1/heitu‐ Caption: 2015 ‐ Aerial view from west to east pottarnir‐a‐drangsnesi/) Website: Iceland Travel Guide ‐ a travel community that helps travel operators to promote their services Website's link: https://icelandtravelguide.is/locations/drangsnes‐hot‐tubs/ (https://icelandtravelguide.is/locations /drangsnes‐hot‐tubs/) Website: Visit West�ords, a marketing agency for the region Website's link: https://www.west�ords.is/en/place/drangsnes‐hot‐pots (https://www.west�ords.is/en/place /drangsnes‐hot‐pots) B‐11 Provide photos of the public space(s) with creative works Caption: 1997 ‐ In the beginning Photo's author: Heimir Gíslason Caption: 2019 ‐ The main road 359 Photo's author: Private collection Caption: 2021 ‐ Street view of the tubs, the bath house and the parking area Photo's author: Christine, author of The Eco Travel Babe blog Caption: 2011 ‐ The main road during winter Photo's author: Arna Rut Thorleifsdottir Photo's author: Jón Halldórsson Caption: 2021 ‐ Street view of the tubs Caption: 1997 ‐ In the beginning 360 Describe the project (activities) that In the late 90s, by a lucky coincidence, a geothermal water was found in Drangsnes, a small village took place in the analysed public in the West�ords. Besides utilizing the water for domestic use the locals placed big fishing crates space(s) by the sea, where they use the waste water from the household radiators in the village to maintain the hot water in the tubs. Later, two of the crates were replaced by proper tubs but one crate is still in use. The tubs have now become an important feature of Drangsnes. In 2011, a bathhouse was placed by the tubs, with two changing rooms with shower and toilet facilities. The locals have created new traditions and cultures around the tubs which have become an important part of their lives as people gather there to discuss anything and everything. The tubs have brought the community closer and attract visitors. In 2006 the Icelandic artist, Mireya Semper, took inspiration from the site and gave the municipality the artwork Lagríma she embedded in the stones surrounding the hot tubs. We chose this project because it is entirely constructed by locals and serves as the town's meeting point and encourages communication between both the locals and visitors. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project Initially, the project was only intended as a pet project and wasn't really meant to tackle any (activities) trying to tackle – what challenges. The hot water was put in good use since there weren't any warm pools at site, as is was the aim common in most Icelandic settlements. C‐4 Time frequency: Time Frequency A constant process Other information: Photo's author: Arna Rut Thorleifsdottir Caption: Overview of the public space C‐5 Time period Start: 6/10/1997 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Local residents Motivations: To create a pleasant place to relax and connect Roles: Implementation of the project and users Actor(s): Community counsel Motivations: Create a social platform and attract visitors Roles: Financial support C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting The emergence of the project arose from the coincidence of the discovery of geothermal water in background existed to make the the middle of the village. Initially the idea was just to put the hot water to use. The remoteness of Photo's author: Arna Rut Thorleifsdottir activities happen (financial, Drangsnes, and the fact that it can be difficult to obtain purchased services, means that the institutional etc.) people of the village have had to cultivate creative thinking in order to find solutions to various C‐1 Official name of the activity/project issues that they have faced. The municipality carried financial cost of the project's development, Name in local language: Heitir pottar á Drangsnesi i.e. when two fish craters were replaced with typical hot tubs and when the bath house was installed, in addition to which the municipality takes care of all the operation cost of the project. Name in English: Hot pots/ Hot tubs in Drangsnes C‐8 Sectors involved in the development of the creative works with public spaces: Nickname: Heitu pottarnir Culture  Overall name:  Education  C‐2 Description of the project (activities) that took place in the analysed public space(s): Health  Sustainability  Science  Tourism  Sport  361 Industry  Other:  Were there any, no matter how big Business with local companies increased somewhat with the increased number of tourists. One or small, economic benefits for the full‐time job was created around the tubs, which is good in such a small place. The project was Specify other: local community as a whole or any also a source for an artistic creation, as an artist embedded her artwork in the stones around the specific actors in particular, tubs. C‐9 Sector which was.. resulting from the creative works ..the initiator of the activities: Sustainability with/in public spaces? ..the most crucial for the whole case Tourism C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that study: potentially empowered the actors to prosper in their future development: Comment: The locals created a social platform, which then started to attract visitors and helped with Were there any exchanges of There is no available information about that. reinforcing the local businesses knowledge or other activities performed that potentially C‐10 How was the local community involved in the project/activities: empowered the actors to prosper in their future development? How was the local community The summer 1997, an earth drill was drilling after water and came down to geothermal heat and involved in the project/activities? shortly afterwards it hit a powerful geothermal water vein. All the townspeople rushed to the C‐18 Monitoring (or not) of the impact of the project: source of the geothermal water to see what was going on. Drangsnes had been considered a “cold” area since no geothermal heat had been found in the area, prior to this lucky find. The first How was the impact of the project / It has never been monitored. Maybe it could be interesting to count the users, see the ratio reaction of the children of the village was wishing for a swimming pool. A man, who ran a charr activities monitored? If it wasn’t – between locals and tourists and even their nationality. It would also be interesting to see how farm not far from the village, responded quickly and took his tractor to his farm and picked up how do you think it could be many users of the tubs come to the area especially for the tubs and whether that visit enables three fish craters, which he then gave to the children of the village. All the people of the village monitored? them to use other services in the area. participated in installing the craters by the sea, just below the main road, which they then used as hot tubs. C‐19 Way in order to communicate the impact of the project: C‐11 The role of natural/cultural heritage in the project/activities: How was the impact of the project / There are some newspaper articles about the project, a lot of travel blogs and discussions on activities disseminated or travel websites like Tripadvisor etc. In 2017, an exhibition was held about the history of the hot Did cultural and/or natural heritage Not specifically, but Icelanders have a strong connection with bathing in geothermal waters. For communicated? water in Drangsnes, both in the school hall and on information boards around the town. play any specific role in the centuries, it's been a tradition for Icelanders to gather in hot pools to connect and relax. project/activities? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: C‐12 The targeted impact of the project/activity: How were the creative works in The project has generally received very positive reviews, both from locals and tourists. However, What was the targeted impact of Initially the idea was just to create a pleasant public place to relax and socialize. public space(s) perceived, the locals have sometimes complained about bad handling of the place as people tend to leave the project / activities? evaluated, judged by the final users behind trash and such. – what were the reactions of the C‐13 Achievement of the targeted impact: general public? Yes/no/partly: Yes C‐21 The (one) main success and the (one) main failure of the project/activities Comment: Yes it was a great success. The locals have used it a lot from the beginning and before the bath Main sucess: The main success is how much the space is used. The project is also a clever use of resources (the house was built locals could often be seen wandering the streets wearing bathrobes. People used geothermal water discovery) and the creation of a well‐utilized meeting place that unites the local to make jokes about seeing someone wandering around the village wearing ordinary clothes, he community, in addition to which a platform has been created for visitors to get to know the must be a tourist. natives or chat with each other. C‐14 Additional achieved impacts: Main failure: Due to high attendance, locals can often not enjoy what they have created. Were any additional impacts The initial goal was just to make use of the hot water and create a pleasant place in the village. C‐22 Importance of broader conditions for the main sucess and main failure factor: achieved? Today the tubs have become a landmark for the village and have put the little village on the map. The tubs play an important role for the locals as they still gather there to connect and relax. The How important were the broader The emergence of the project arose from the coincidence of the discovery of the geothermal tubs have brought the community closer, attract visitors and encourages communication conditions (e.g. the supporting water in the middle of the village. Initially the idea was just to put the hot water to use. The between both the locals and visitors. It is an unique experience, especially for foreign visitors, to state of the art in the community, remoteness of Drangsnes, and the fact that it can be difficult to optain purchased services, means bathe in the warm water with magnificent views over the sea and the mountains of the other side infrastructure, institutional support, that the people of the village have had to cultivate creative thinking in order to find solutions to of the �ords. And often, whales and seals can be seen from the pots. financial sources, local or various issues that have faced them. Creative thinking is therefore essential. The municipality has "imported" know‐how etc.) for the always taken care of the financial part of the project and marketing agencies for the region have C‐15 The main beneficiaries of the creative work in public space(s): main success and main failure factor helped with gaining attention. Who were the main beneficiaries of The locals use the tubs a lot and it hasn't changed though they also have a really well equipped C‐23 Provide the links to public data on the creative works the creative works in public swimming pool. The hard working fishermen often go to the tubs after they come home from the spaces(s)? sea and say that they feel much better in their bodies from the hot water. The local businesses Link to public data to better https://www.west�ords.is/en/place/drangsnes‐hot‐pots (https://www.west�ords.is/en/place have benefited from the increased attraction of the village as well as it gave basis for creating understand the activities and actors, /drangsnes‐hot‐pots) new businesses around tourism. as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: Visit West�ords ‐ Marketing Agency for the West�ord region specific actors in particular, resulting from the creative works with/in public spaces: D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Arna Rut Þorleifsdóttir Organization: Landbúnaðarháskóli Íslands ‐ The Agricultural University of Iceland 362 Email: nem.art4@lbhi.is Role: Author D‐2 Representative pictures Picture's caption: The entrance to the hot pots and the view over the �ord Picture's author: Arna Rut Thorleifsdottir Picture's date: 5/29/2021 12:00:00 AM Picture's source: Owner Picture's caption: The hot pots and the view over the �ord Picture's author: Arna Rut Thorleifsdottir Picture's date: 5/29/2021 12:00:00 AM Picture's source: Owner Picture's caption: The original fish crater which is still in use 363 Picture's author: Linda Pukite Picture's date: 6/7/2018 12:00:00 AM Picture's source: https://foursquare.com/v/hot‐pots‐drangsnes /55bb785b498e671271a08696?openPhotoId=5b19c29acbcdee002c8c5e65 Picture's caption: A small piece of an artwork, which is embedded in the surrounding rocks, and a view over the dock and Grímsey island Picture's author: Arna Rut Thorleifsdottir Picture's date: 5/29/2021 12:00:00 AM Picture's source: Owner Picture's caption: People in the hot pots on a sunny day 364 Picture's author: Lian Siekman Picture's date: 8/19/2015 12:00:00 AM Picture's source: http://www.liansiekman.com/tag/drangsnes/ Picture's caption: The view over from the hot pots Picture's author: Arna Rut Thorleifsdottir Picture's date: 5/29/2021 12:00:00 AM Picture's source: Owner Picture's caption: People relaxing in the hot pots Picture's author: Jen Picture's date: 9/1/2018 12:00:00 AM Picture's source: https://lovelyoutliers.com/2018/09/01/hot‐pots‐on‐the‐ocean‐drangsnes‐iceland/ Picture's caption: A view over the hot pots and the �ords 365 Picture's author: Art Bicnick Picture's date: 2/7/2015 12:00:00 AM Picture's author: Arna Rut Thorleifsdottir Picture's source: https://grapevine.is/travel/travel‐featured/2015/07/02/swimming‐on‐the‐edge‐of‐nowhere‐ Picture's date: 5/29/2021 12:00:00 AM swimming‐pools‐in‐strandir‐2/ Picture's source: Owner Picture's caption: The hot pots and the view over the dock and the �ord Picture's caption: The hot pots Picture's author: Regína Hrönn Ragnarsdóttir Picture's date: Picture's source: https://guidetoiceland.is/connect‐with‐locals/regina/drangsnes‐at‐strandir‐in‐the‐west�ords‐of‐ iceland‐the‐troll‐and‐the‐hot‐tubs‐by‐the‐sea Picture's caption: The hot pots with the main road in the background 366 Picture's author: Christine Picture's author: Mireya Samper Picture's date: 9/19/2018 12:00:00 AM Picture's date: 3/1/2013 12:00:00 AM Picture's source: http://ecotravelbabe.com/2018/09/19/the‐hot‐baths‐of‐dragnes/ Picture's source: https://mireya.is/portfolio/iceland‐lagrima‐drangsnes‐2006/ Picture's caption: Part of the artwork which is embedded in the surrounding rocks Picture's caption: Part of the artwork which is embedded in the surrounding rocks_Samper Mireya 367 Picture's author: Unknown Picture's date: Picture's source: https://www.west�ords.is/en/moya/gallery/index/index/islenskt‐myndasafn/best�ords‐ blog/20150125‐img_6843 Picture's caption: People in the hot pots on a rainy day Picture's author: Wendell C Picture's date: 7/28/2019 12:00:00 AM Picture's source: https://foursquare.com/v/hot‐pots‐drangsnes /55bb785b498e671271a08696?openPhotoId=5d3df8631a92cd00083116de Picture's caption: The view over the hot pots and the �ord Picture's author: Mireya Samper Picture's date: 3/1/2013 12:00:00 AM Picture's source: https://mireya.is/portfolio/iceland‐lagrima‐drangsnes‐2006/ Picture's caption: People in the hot pots on a windy day Picture's author: Arna Rut Thorleifsdottir Picture's date: 5/29/2021 12:00:00 AM Picture's source: Owner 368 D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 369 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Masterplan for Flensborgarhofn Dense settlement and Oseyrarsvaedi +5 Rammaskipulag Flensborgarhafnar +4 og Óseyrarsvæðis +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ísland ‐1 Region name (in local language): Höfuðborgarsvæðið ‐2 Place name (in local language): Hafnar�örður ‐3 Country name (in english): Iceland ‐4 Region name (in english): Capital Region ‐5 Place name (in english): Hafnar�ordur Open landscape Map of the network of public Comment: spaces in the remote place Difficult terrain Caption of the map: +5 Legend of the map: +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3  ‐4 ‐5 Effortless terrain Comment: 370 Diversified economic activities Explanation: Because of their proximity and relatively short commute to Reykjavík capital, residents do not think Hafnar�örður is very remote. +5  A‐4 Elements that characterise the remoteness of the place: Low population density  +3  +2 Geographical barrier/allocation  +1 No good transportation links  None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Difficulties in accessing daily‐life‐ creative sector creative sector support facilities ‐1 Social specifics and/or divisions  ‐2 Economic inferiority  ‐3 Subjective criteria  ‐4 Specify subjective criteria (e.g. community’s self‐perception of ‐5 being remote etc): Absence of economic activity Other  Comment: Specify other: Strong identity jeopardized by closeness to Reykjavik Daily‐life‐support facilities well developed Summary of the elements that Hafnar�örður is a town with about 30.000 inhabitants, located in the outskirts of the capital +5 characterise this case as a remote region in Iceland (10 km. south of Reykjavík). It is remoted in that it looses its particularity as a  place: independant town. Hafnar�örður offically emerged in the beginning of the 20th century (town +4 rights received in 1908). By then, 1490 people lived in Hafnar�örður. What gives Hafnar�örður +3 more of a remote feel is more connected to its uniqueness and rich history. Since receiving official town rights in 1908, 1490 people lived in Hafnar�örður. Now, more than a hundred years later, the +2 population has multiplied, but despite this the town has preserved a strong village feel. Its unique identity is in part because of the includedness its residents feel and the towns historic urban +1 landscape. Now‐ as the town is growing and changing, preserving this includedness and uniqness, Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound will be the towns biggest challenge. Without it Hafnar�örður could become identical to so many demographic demographic other towns or enclosed as one with the rest of the capital region ‐without a strong identity. structure structure Low population density rank: 2 ‐1 Geographical barrier/allocation rank: ‐2 No good transportation links rank: ‐3 Difficulties in accessing daily‐life‐ ‐4 support facilities rank: ‐5 Social specifics and/or divisions rank: Daily‐life‐support facilities none‐existing Comment: Economic inferiority rank: 1 High‐income households prevail Subjective criteria (e.g. community’s self‐perception of being remote etc) +5 rank:  Other rank: 3 +3 A‐5 Provide the links to public data +2 Links About Hafnar�örður on wikipedia +1 to public Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory data practices none‐ practices well on the existing developed remote place ‐1 The https://en.wikipedia.org/wiki/Hafnar�%C3%B6r%C3%B0ur (https://en.wikipedia.org/wiki/Hafnar�%C3%B6r%C3%B0ur) ‐2 link: ‐3 Links Official website of Hafnar�örður ‐4 to public ‐5 data on the Low‐income households prevail remote Comment: place A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote The https://www.hafnar�ordur.is/en (https://www.hafnar�ordur.is/en) at all) to 5 (extremely remote) link: Estimation: 1 371 Links Hafnar�örður data The quantity and structure of public Hafnar�örður is quite spread out, in between houses and neighboorhods beautiful lava fields to space network (besides make the town unique. Despite their beauty the lavafields are not ideal because they are not public roads/streets/paths network) in this optional for development nor can they be used for recreational areas because they are often very data remote place: inaccessible and even dangerous. In Hafnar�örður there is a shopping street, harbor area, small on the park, few gardens and open grass areas, playgrounds and school lots and sport areas. The town remote has however developed in a traditional manner in the 20th century with focus on traditional place suburbian neighborhoods with different type of housing, parking lots and either private lawns or barley used lawns between apartment buildings. The outdoor public areas of any relevance are The https://app.powerbi.com concentrated to the center, in or around the old part of town. The public space network is link: /view?r=eyJrIjoiMzkxNmU4OTMtNDZhMi00NTZjLTlmMzctNGExNWEzYjZiZWQ2IiwidCI6ImJmYzc5NTY5LTlhNjAtNDNhZS1hYTdkLTdkY2UyMmVlMzlhZSIsImMiOjl9 however spread out regarding sport areas, like a golf course, walking and cycling trails and (https://app.powerbi.com outdoor and indoor facilities for various sports. /view?r=eyJrIjoiMzkxNmU4OTMtNDZhMi00NTZjLTlmMzctNGExNWEzYjZiZWQ2IiwidCI6ImJmYzc5NTY5LTlhNjAtNDNhZS1hYTdkLTdkY2UyMmVlMzlhZSIsImMiOjl9) A‐9 General description of the quality of public spaces in this remote place A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Answer: The old centre aera of Hafnar�örður is abandond in many ways. It is now made for cars on few people stop there. It has sufferd from the proximity to the capital where the habitants prefer to Square/s, Plaza/s  go. The quality of the public space in the center of Hafnar�örður is very poor and massif buildings from around 1960 cut the old neighborhoud from the seaside and make huge shadows. The town Park/s, Garden/s  has tried to make it a new centre in a recently built suburb, Vellir, which is a scarce and impersonal Market space/s  area with shops and vast parking lots. So now they want to redo the open badly organised area located in the old part of town where you still have some shopping street and houses left with Playground/s  unique characteristics. This central area of the town is very big and makes the connection to the sea on a distance of nealy 1 km of coastline. This area that some would call "no mans land" or Recreational space/s, Sport‐field/s  place for cars, is mostly 50 to 100m wide. Community open‐air space/s  B‐1 Name(s) of the public space(s) Institution‐related open‐air space/s  Name(s) of the public space(s) (in Flensborgarhöfn og Óseyrarsvæðið (e.g.University grounds) local language): Watersides  Name(s) of the public space(s) (in Flensburg‐Harbor and Oseyrar‐area Meadows  English): Parking area  Latitude of the public space(s): 64.06291429806146 Service yard  Longitude of the public space(s): 21.96177292760194 Other types:  Ground plan showing the land use of the public space(s): Specify other types: Lava Fields, camping ground, graveyard Caption's map of the public space: Type of indoor public spaces that �. Galleries Legend's map of the public space: can be found in this remote place: �. Church Main location  �. Sportscenter B‐2 Describe the physical environment �. Indoor swimming pools Physical environment description of Flensborgarhöfn and Óseyrarsvæðið is the southern part of the harbour area in Hafnar�örður and the public space(s) with creative a marina for small boats. It sits where the harbor industrial area, residential area and center area �. Library works: of Hafnar�örður meet. The area is therefore complex, building pattern differs greatly, as well as the age, scale and function of houses. A busy traffic street goes through the area and demarcates �. Movie theater the planning site. The ocean shoreline, which is in most part man made, also demarcates the site. The harbor area is thought to have great potential as it is very safe and experiences milder �. Museums weathers and wind than other similar marinas in Iceland. The area faces the city center and its surroundings, and the proximity to the sea makes it desirable location for both people and various businesses. The area has great potential and Ideas for developing the site have been.. A‐8 General description of.. Physical environment elements Since the project features a new masterplan for the area, all physical aspects in the environment were important and/or actually where important and "used" in one way or another. The network of roads, streets, paths The road system is pretty conventional and can be described as a network of roads and streets "used" by creative people for their and alike elements that tie this that get smaller and less busy closer to residential areas. The layout of the bigger roads is parallel activities: remote place together: to the layout of the landscape, coastline and the harbor area. The main road system is interconnected with the elaborate road system in the capital region of Iceland. A busy 2‐lane road B‐3 Describe the general functions that lies from the international airport in Keflavik to Reykjavík capital goes through the town and has the effect of splitting Hafnar�örður into two west/east. Other bigger roads lie towards the Functions and land uses description Activities in the southern harbor have changed in recent decades from being fish/boat/harbor center and harbor area. In the master plan of Hafnar�örður the street system in classified into 4 in the area of the public space: related industry to more recreational activities and mixed land use. Fewer large fishing boats categories: Main roads, connecting roads, collector streets and local housing streets. The purpose operate in the harbor and larger cargo ships take advantage of deeper moorings further away. of classifying the street system is to separate urban traffic from traffic between places and Small and medium sized passenger ships do however bank in the southern harbor of contribute to the safety of road users and limit pollution. Sidewalks and houses are usually and Flensborgarhöfn. Light industries, fish processing and warehouses on site will probably be mixed conventionally placed on either side of the roads and streets. The dimensions of the roads are with other businesses in the near future, like entertainment, trade and services. According to quite modern and asphalt and concrete characterize the network of roads and sidewalks. There Hafnar�örður masterplan 2013‐2025 the area is defined as a part of 4 ha port area with a marina are no railways in general in Iceland, but public transport relies on buses that are very accessible for small boats, sail club and shipyard etc. Near by areas: Directly north of FlensburgHarbor in Hafnar�örður. One of the goals in the most recent masterplan of Hafnar�örður is to focus more (Flensborgarhöfn) is Norðurbakki where newly built residential houses stand. From there, on slow traffic; pedestrian traffic network, cycling routs and bike lanes and even horse riding southwest along the ocean line is downtown Hafnar�örður which stretches towards the harbor. routs. Fjörður shopping center is the center of the town center, but south towards the harbor you can find Hafnar�örður Church, a sports hall, Viking village and a theater (Gaflaraleikhúsið). The Viking village consists of a restaurant and a hotel and attracts foreign tourists. The residential area/neighborhood of Suðurbær is in the immediate vicinity of Flensburg Harbor, where one can also fins a church, monastery (St. Jósepskirkja, Karmelklaustrið) and a swimming pool (Suðurbæjarlaugin). To the west from Flensburg Harbor, between the industrial area and the residential area of Holt is the Icelandic Film Museum which preserves films and organizes film screenings in the local movie theater (Bæjarbíó). 372 Functionalities of space were The current land use was used and enhanced by adding other functions (mixed land use) Locals Enjoying sea baths and hot tubs (will be   important and/or actually "used" by possible after changes) creative people for their activities: Locals Cycling (will be more likely after changes)   B‐4 General demographic characteristics of the area around the public space: Locals Living (will be possible after changes)   Describe the There are no residents living on site but there are residential neighborhoods nearby. Hafnar�örður has grown considerably above the national average in recent Tourists Walking and enjoying (will be more likely   general decades with an average population increase of about 2.6%. The age distribution in Hafnar�örður is also somewhat different from the average age distribution of after changes) demographic the country, the community is not as aged and there are more households with children. With that said the population in Iceland is changing in general, the characteristics number of senior citizens is increasing and the number of children decreasing. Different demographic information about Hafnar�örður can be found here: Locals Passing through   https://app.powerbi.com /view?r=eyJrIjoiMzkxNmU4OTMtNDZhMi00NTZjLTlmMzctNGExNWEzYjZiZWQ2IiwidCI6ImJmYzc5NTY5LTlhNjAtNDNhZS1hYTdkLTdkY2UyMmVlMzlhZSIsImMiOjl9 Tourists Boating/sailing   B‐5 Type of the public space(s) with creative work Tourists Enjoying sea baths and hot tubs (will be   possible after changes) Form and function: The project site is a harbor area that has been losing its function as an industrial site for the   fishing and shipping industry. A former fish processing house is for an example now used as a Tourists Cycling (will be more likely after changes) workspace for artist. The vision for the site is a multifunctional space with spaces for working Tourists Passing through   (offices, light industry) as well as apartments, and outdoor spaces for recreational activities, with squares and so forth. The sea is an obvious important factor in this public space. Today there is a Workers/Employes Working   sailing club on site but the new planning idea proposes a bigger area for smaller boats that connects with the center to the south. Workers/Employes Cycling (will be more likely after changes)   Ownership: Mixed Workers/Employes Passing through   Access regarding entry‐control: Main part of the site is open. Most of the houses are private and not open to public. The marina Boat owners/users Boating/sailing   for small boats is closed. Boat owners/users Enjoying sea baths and hot tubs (will be   Access regarding time of day/week possible after changes) /year: Boat owners/users Passing through   B‐7 Kind of activity initially designed for this public space: Passengers on cruise ships Passing through   What kind of activity has been this The name of the town, Hafnar�örður, means "Harbor‐�ord". The history of Hafnar�örður is Passengers on cruise ships Walking and enjoying (will be more likely   public space designed for initially intertwined with the history of the harbor and is first mentioned in literature about the after changes) settlement of Iceland (written in 1200) for good port conditions. Not in any part of Hafnar�örður has the environment changed as much as Flensborgarhöfn and Óseyrarsvæðið. No traces of the Passengers on cruise ships Enjoying sea baths and hot tubs (will be   original landscape and original built environment are left or even visible anymore. In the 1400s the possible after changes) harbor area was considered the most important harbor in the country for trade and other activities.. and in the early years of the town, (1900s) this area was in fact the center of B‐9 Parts/sections/spots seem most attractive within the public space (location and Hafnar�örður. In the late 20th century the area as we know it today was created with a massive duration) ‐ Parts/sections/spots at people seem to avoid: landfill. As mentioned above this is the former industrial part of the harbor in Hafnar�örður. The oldest standing houses are industrial houses used for fish related industries and boatbuilding and Describe what parts seem to be the In its current state the marina with small boats seems most attractive. Other areas are not are mostly from years 1950 to more recent years. The newer houses in the area are built on landfill most attractive to people attractive and are meant for cars. People are more likely to walk past the area instead of going after 1980. The area has been evolving (and will further evolve with this new planning proposal) inside it. After changes, many different interesting spaces will be created along with good to be more of a recreational area with mixed use and mixed functions. conditions for walking, cycling and public transport. B‐8_a Which are the activities in this public space(s)? B‐10 Provide the links to public data on the public space(s) Activity: Angling at the harbor Website: Overview of the houses in the area and preservation worth Activity: Boating/sailing Website's link: https://www.minjastofnun.is/media/husakannanir/Flensborg‐01.03.2021.pdf (https://www.minjastofnun.is/media/husakannanir/Flensborg‐01.03.2021.pdf) Activity: Working Website: Historic overview of the area (aerial pictures of land‐fill and changes to shoreline) Activity: Walking and enjoying (will be more likely after changes) Website's link: https://ferlir.is/hafnar�ardarhofn‐fyrrum/ (https://ferlir.is/hafnar�ardarhofn‐fyrrum/) Activity: Cycling (will be more likely after changes) B‐11 Provide photos of the public space(s) with creative works Activity: Passing through Caption: Activity: Enjoying sea baths and hot tubs (will be possible after changes) *** Activity: Living (will be possible after changes) Photo's author: B‐8_b Who are the main users of this public space(s)? C‐1 Official name of the activity/project User: Locals Name in local language: Rammaskipulag Flensborgarhafnar og Óseyrarsvæðis User: Tourists Name in English: Masterplan for Flensborgarhofn and Oseyrarsvaedi User: Workers/Employes Nickname: User: Boat owners/users Overall name:  User: Passengers on cruise ships C‐2 Description of the project (activities) that took place in the analysed public space(s): B‐8_c What are the users activities of this public space(s)? Users Activity Before After Locals Working   Locals Angling at the harbor   Locals Walking and enjoying (will be more likely   373 after changes) Describe the project (activities) that The project is a new framework and development plan for a large harbor area in the heart of Roles: Had initiative. Creating guidelines and a preface for a design competition. Communicating with took place in the analysed public Hafnar�örður. The area is 20,2 ha (13,8 ha on land and 6,5 ha of sea). The project has been an the public and other stakeholders. space(s) ongoing process since 2003, when new ideas first officially emerged along with a new zoning plan for the area. In 2014 a large open meeting with residents and stakeholders was held, with the aim Actor(s): Kjellgren Kaminsky and Mareld & jvantspijker & partners to develop a new framework for the harbour's future, present ideas and development potential Motivations: Work, money, create a good environment to the locals and get their input. This led to appointing a working group that proposed a preface description for a competition to be held, partly based on comments and inputs from locals. In Roles: Main designers in creating a development framework for the site 2018 the open international competition for new ideas for the area was held in collaboration between the town, harbor authority in Hafnar�örður and the architect association of Iceland. A Actor(s): Architect Association of Iceland total of 14 proposals were submitted to the competition and the jury chose 2 ideas to be Motivations: Ensure that the area would be designed for people with good quality spaces, housing and developed further and together. In its assessment of the proposals, the jury focused on overall transport options. solutions for the area, connection to the area's history and strengths, attractiveness and vibrant environment, good living area and good flow of walking, cycling and driving. The two proposals Roles: Help foresee the open competition would go smoothly and rules followed. Provide a member in that were selected to share 1st and 2nd place, were the Swedish design team Kjellgren Kaminsky the jury. and Mareld from Gothenburg, and the Dutch‐Icelandic teiknistofan jvantspijker & partners from Rotterdam. The winning team then further proposed a new development plan for 3 separate Actor(s): Other companies and stakeholders? areas, Fornubúðir, Flensburg Harbor and Óseyri area, that have separate identities but work harmoniously together and connect adjacent neighborhoods and port activities. They also Motivations: focused on the local spirit and history of the place, better land use and utilization infrastructure. Roles: The design also creates space for continued harbor‐, light industry‐, fishing‐ and boating work/services but also proposes opportunities for good public life, residential housing and Actor(s): Siglingaklúbburinn Þytur recreational areas like squares, hot tubs, restaurants, hotels and even research and educational institutions! Motivations: C‐3 Challenge that the project (activities) tried/is trying to tackle: Roles: What challenge was the project The project was tackling (1)changed activities on site, (2)the lack of character, connection and Actor(s): Locals in Hafnar�örður (activities) trying to tackle – what historical reference. The project was also supposed to (3)adapt the space to regional planning Motivations: Gain an area to use and enjoy. increase value of their houses. Increase value of living. Protect their was the aim goals and a new transport system for the capital area. (1)Activities in this southern harbor of view and living standards (schools, traffic, parking..). Hafnar�örður have changed in recent years. Fishing vessels, domestic trawlers and cargo ships are no longer able to dock at the harbor due to their ever growing size. Interconnected industries Roles: Go to meetings and state opinions. Comment on process when the administrative framework have therefore also moved to more convenient locations. Hence it was important to find the allowed. harbor and dock a new purpose and/or strengthen existing infrastructure.The port area was redesigned with this in mind. The solution was focused on mixed land use as well as an emphasis C‐7 Description of the supporting background that existed to make the activities happen: on securing the operation of companies in the port area that base their operations on sea‐related services industry. Focus was also put on service areas for smaller fishing vessels, sailing clubs, What kind of supporting The supporting background is the will of the town to change the area. The site had long been smaller cruise ships and other boating activities. To further strengthen these existing activities the background existed to make the under consideration for new development. Financial.. development proposal includes a residential area and a vision for other recreational activities and activities happen (financial, experiences to thrive on site. The mixed land use also opens an opportunity for other institutional etc.) employment, like offices, innovation and creative workspaces. (2) Flensborgarhöfn and Óseyri are C‐8 Sectors involved in the development of the creative works with public spaces: a very strategic place in Hafnar�örður. The area used to be the heart and center of town and is today very close to Hafnar�örður center, the harbor industry and other residential (and historic) Culture  neighborhoods. The aim of the project was therefore also to revive the area's importance by creating a strong identity and reference to history through architecture and good outdoor spaces. Education  A strong identity would furthermore strengthen Hafnar�örðurs competitive position and separate it from other adjacent municipalities in the capital area. Historic re‐connection will Health  mostly be achieved by regaining the importance of the proximity to the sea (because formerly the Sustainability  community based its livelihood on fishing). Looking at older maps, pictures and old houses also gave the designers inspiration to work with the older charm and balance between the scales of Science  houses, small piers and streets. One of the bigger hurdles in reconnecting Hafnar�örður to the sea and the site to its history was the street, Strandgata. It separates the site from residential Tourism  neighborhoods and afmarkar the area. Strandgata has always been a busy street, however after Sport  widening it to fit modern transport it had the effect of life at the harbor losing its connection to the community in town. The vision for future development of the area took this into account by Industry  connecting surrounding parts of Hafnar�örður to the port and sea by improved conditions for slow traffic and improved services at the port side. (3) The framework&development plan/design Other:  also reflects important objectives in regional planning of the capital area. For example, emphasis is placed on environmentally friendly transport and the new transport plan for the capital area Specify other: (Borgarlínan). A Borgarlína bus stop is planned on Strandgata, so the design of C‐9 Sector which was.. C‐4 Time frequency: ..the initiator of the activities: Industry Time Frequency A constant process ..the most crucial for the whole case Sustainability Other information: The project has a time span. The areas that will be created are a constant process. study: C‐5 Time period Comment: Start: 6/1/2003 12:00:00 AM C‐10 How was the local community involved in the project/activities: End: Comment: Time period refers to the process of redeveloping the site. C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Hafnar�arðarbær Motivations: The town of Hafnar�örður wants to create a town and an area with a strong identity separate to other capital municipalities. They want to create a good environment for working, living, playing and enjoying, for locals and other visitors. 374 How was the local community In the early phases of the project the local community was involved through meetings that were How was the impact of the project / Not relevant at this stage involved in the project/activities? held for the sole purpose of informing locals, gathering ideas and comments. It was the will of the activities monitored? If it wasn’t – town and planning authorities to take locals' opinions into account. According to the planning how do you think it could be proposal report four consultation meetings were held while the framework plan was in process. monitored? The meetings were for residents, landowners, business owners and other stakeholders as well as a number of informal inspections and field trips. This was done to ensure good communication C‐19 Way in order to communicate the impact of the project: between the planning authorities and locals, and to ensure that the plan was according to the will How was the impact of the project / Not relevant at this stage. of the people. According to the report numerous comments were received from the participants, activities disseminated or which were used by the developers and designers in their work. (It is unknown how many people communicated? attended these meetings.) According to social media and news sites however the local community felt as if they had little ability to influence the project. It is unclear if that only regards C‐20 Perception of the creative works in public space(s) by the final users and the reactions one particular building, the creative process or other aspects of the development. It is however of the general public: clear that one building in the area has caused a lot of controversy. In fact the local community has been involved in protests because of the 22 meter high building at Óseyri, as it is thought to be How were the creative works in Unfortunately no information was found about how people perceived the planning proposal. excessive, too high, block views and first and foremost against what was written in the preface public space(s) perceived, for developing the area and promises of Hafnar�örður authorities. Hopefully the following steps evaluated, judged by the final users and further development will include locals even more. This is a very big, expensive and time – what were the reactions of the consuming project, especially for a town the size of Hafnar�örður, and will without a doubt be general public? something local planning office will learn from. C‐21 The (one) main success and the (one) main failure of the project/activities C‐11 The role of natural/cultural heritage in the project/activities: Main sucess: The main success was to take under this large, complex area that did not function well anymore Did cultural and/or natural heritage Yes both. Hafnar�örðurs history was important in the design process as well as natural heritage of (not for business, industry or for locals to enjoy) and produce a vibrant and exciting planning play any specific role in the the sea and harbor related activities. proposal. The planning proposal managed to portray a good environment that functions for project/activities? diverse activities, gives a nod to the heritage of the town and connects other parts of Hafnar�örður with slow traffic and public transport. The other main success is the towns C‐12 The targeted impact of the project/activity: willingness to involve the public in the creative process. It can be debated if they were successful What was the targeted impact of The aim was to create a diverse and humane environment which fits well with the Hafnar�örður in their approach. the project / activities? original settlement pattern and local identity. It was also important to create a more dense and Main failure: One failure in the project is angering the residents of Hafnar�örður by building a enormous continuous built environment (better land use) and use a variety of building types, housing building that is not consistent with the planning preface for the area. Their efforts of building options, materials and color usage. Another targeted impact was to tailor the scale of houses, trust with residents went down the drain. streets and open areas between buildings to existing older built environment. Last but not least the goal was to strengthen the interaction between buildings and public areas, make the site C‐22 Importance of broader conditions for the main sucess and main failure factor: more attractive and stimulate human life and activities mentioned earlier. How important were the broader Very important. It had been the will of both the town and planning authorities in Hafnar�örður to C‐13 Achievement of the targeted impact: conditions (e.g. the supporting re‐develop the area since the early 2000s. Locals (that in general identify with the spirit of state of the art in the community, Hafnar�örður and are proud to live there) were also excited to see some changes to this crucially Yes/no/partly: No infrastructure, institutional support, located area. Therefore financing the project was not too controversial, at least in these early Comment: The project has not reached its construction phase yet so it is difficult to estimate the real impact. financial sources, local or phases that have taken place. The target of participation and interaction with habitants was not working as it should have. The "imported" know‐how etc.) for the habitants don´t seem so enthusiastic about the project because they cannot really identify main success and main failure factor themselves in it but at the same time they are eager to changes and like many of the activities proposed. Will these activities become reality and who will follow them up? When it looks like C‐23 Provide the links to public data on the creative works most things will be made by investors what is going to motive them to humanise and install the Link to public https://sites.google.com/view/sudurbakki‐is (https://sites.google.com/view/sudurbakki‐is) less economic activities that are attractive to the habitants? data to better understand the C‐14 Additional achieved impacts: activities and Were any additional impacts Not relevant. actors, as well as achieved? impacts: C‐15 The main beneficiaries of the creative work in public space(s): The link: Locals protesting the on‐going and planned constructions in the area Link to public https://www.hafnar�ordur.is/media/flensborgarhofn/NyttRammaskipulagFeb2020.pdf (https://www.hafnar�ordur.is Who were the main beneficiaries of The main beneficiaries will be the town of Hafnar�örður as a whole, locals that get to use the data to better /media/flensborgarhofn/NyttRammaskipulagFeb2020.pdf) the creative works in public space as well as companies and businesses. The area will most likely attract a lot of visitors with understand the spaces(s)? financial benefits. The biggest added value will however probably be better quality of life for activities and locals and a stronger identity for Hafnar�örður. actors, as well as C‐16 Presence (or not) of economic benefits for the local community as a whole or any impacts: specific actors in particular, resulting from the creative works with/in public spaces: The link: Overview of the project Were there any, no matter how big See C‐XV Link to public https://www.hafnar�ordur.is/ibuar/framkvaemdir/flensborgarhofn‐oseyrarsvaedi/ (https://www.hafnar�ordur.is or small, economic benefits for the data to better /ibuar/framkvaemdir/flensborgarhofn‐oseyrarsvaedi/) local community as a whole or any understand the specific actors in particular, activities and resulting from the creative works actors, as well as with/in public spaces? impacts: C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that The link: Video and general information about the project potentially empowered the actors to prosper in their future development: Link to public https://www.hafnar�ordur.is/media/flensborgarhofn/Fundargerd‐fra‐4‐ibuafundi‐thann‐15.10.2019‐i‐Hafnarborg_.pdf Were there any exchanges of The process for this project is still ongoing so it is difficult to evaluate if there were any exchanges data to better (https://www.hafnar�ordur.is/media/flensborgarhofn/Fundargerd‐fra‐4‐ibuafundi‐thann‐15.10.2019‐ knowledge or other activities of knowledge. understand the i‐Hafnarborg_.pdf) performed that potentially activities and empowered the actors to prosper in actors, as well as their future development? impacts: C‐18 Monitoring (or not) of the impact of the project: The link: Meeting notes from a meeting with local residents and project managers 375 Link to public https://www.hafnar�ordur.is/media/flensborgarhofn/FBH‐ data to better keppnislys.12.01.2018_Loka.pdf?�clid=IwAR0GEwrpNlvPTreMBEHbTlIEtYzewbYz_THJwsomzIxX_xbHzccoWYA6HJU understand the (https://www.hafnar�ordur.is/media/flensborgarhofn/FBH‐ activities and keppnislys.12.01.2018_Loka.pdf?�clid=IwAR0GEwrpNlvPTreMBEHbTlIEtYzewbYz_THJwsomzIxX_xbHzccoWYA6HJU) actors, as well as impacts: The link: Preface for the design competition D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Dagný Harðardóttir Organization: Landbúnaðarháskóli Íslands Email: nem.dah2@lbhi.is Role: Author, editor D‐2 Representative pictures Picture's caption: Hafnar�ordur draft project 1 Picture's author: Orri Steinarssonm Picture's date: Picture's source: JVST Picture's caption: Hafnar�ordur draft project 4 Picture's author: Orri Steinarssonm Picture's date: Picture's source: JVST Picture's caption: Hafnar�ordur draft project 2 Picture's author: Orri Steinarssonm Picture's date: Picture's source: JVST D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Orri Steinarssonm Picture's date: Picture's source: JVST Picture's caption: Hafnar�ordur draft project 3 376 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Long Sand Beach +5 Langisandur +4 +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ísland ‐1 Region name (in local language): Akranes kaupstaður ‐2 Place name (in local language): Langisandur ‐3 Country name (in english): Iceland ‐4 Region name (in english): Akranes municipality ‐5 Place name (in english): Long Beach Sand Open landscape Akranes is a port town and the largest municipality in the West of Iceland. Although it is the ninth-largest municipality in Iceland it covers only 9 km2 (3 sq mi) of land which makes it the third smallest municipality in area size. The population count from 1. Jan 2021 Comment: is 7.697 inhabitants with a population density of 854 people per km2 (1). It has a rural character (situated around 20 km north of the capital Reykjavík) or a “small towns” appearance but in comparison to other towns in Iceland and the numbers, it has more of a dense urban character. Difficult terrain +5 +4 Map of the network of public spaces in the remote place +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2  Caption of the map: Figure ground plan for Akranes ‐3 Legend of the map: ‐4 ‐5 Effortless terrain Akranes is situated on a peninsula and is also called Skaginn (e. Peninsula). The highway (ring road, esp the road around Iceland) does not run through Akranes but there are two access points on each side of the mountain Akrafjall (9 km long) which dominates over Akranes. The drive is easy on flat land with two ways asphalted road. There are many who live in Akranes but work in Reykjavík. The transit methods are a private car or the bus. There is a bus (bus 57) that drives almost every hour in the rush time Comment: from Akranes to Reykjavík and also from Reykjavík to Akranes (2). In the past, it took 2 hours to drive between Akranes and Reykjavík but in 1998 Hvalfjarðargöng was opened (tunnel) which is a tunnel that goes under a long fjord, Hvalfjörður. This shortens the distance to Reykjavík by 45 km so now it is only a 40 minutes drive to the city. Passing the fjord takes 7 minutes instead of an hour. There used to be a ferry but it stopped going in 1998. 377 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Before the tunnel, Akranes was an important service centre for surrounding regions. Industry is the largest contributor to the town’s Low‐income households prevail economy today (3). Examples are Skaginn3X.com, an innovative producer of high-tech processing systems for the global food The average wage of the inhabitants in Akranes in 2019 was 6.784 m.kr./year, average wage in the capital was 6.877 and average processing industry and www.Akraborg.is is a cannery factory and roe production. Large firms have been locked down or moved Comment: wage in Iceland was 6.871 m.kr/year. Women got 5.660 and men 7.879 m.kr./year (7). In terms of participatory practices in Akranes, away for example HB Grandi which was one of Iceland's largest seafood companies. and a cement plant, both of them held a lot of they are non-existing in active associations and are weak in urban design and planning though they do take place. Comment: job opportunities. There was also a cement plant where many locals worked but now there are only five employees. in 2018 there were over 52% of the locals working out of town. About 10% in Norðurál, an aluminum smelter close by, and 43% in Reykjavík (4). A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote Besides Skaginn3X, www.Kajaorganic.is produces organic food and Kaja café is the only café in Iceland with a certification of being at all) to 5 (extremely remote) fully organic. Estimation: 1 Daily‐life‐support facilities well developed Explanation: The residents that were interviewed do not think Akranes is remote and they thought most of the +5 residents would agree with them. That is based on the fact that more than 70% of the residents work in Reykjavík (the capital (46km) – 40 min drive away) or in the aluminum factory (15 min +4 drive away).  A‐4 Elements that characterise the remoteness of the place: +2 Low population density  +1 Geographical barrier/allocation  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound  demographic demographic No good transportation links structure structure Difficulties in accessing daily‐life‐  ‐1 support facilities ‐2 Social specifics and/or divisions  ‐3 Economic inferiority  ‐4 Subjective criteria  ‐5 Specify subjective criteria (e.g. community’s self‐perception of Daily‐life‐support facilities none‐existing being remote etc): Akranes has most of the public and private daily life support facilities, primary infrastructure such as hospital, high school,  elementary school and kindergarten, swimming pool and stadium, grocery store, a café and etc. There is slow or stable growth in the Other Comment: population (5 and 6). Most of them are under 50, the population pyramid displays somewhat equal numbers for almost all age Specify other: groups. Of course, smaller numbers are still to be expected at the oldest age groups. 378 Summary of the elements that The highway (ring road, esp the road around Iceland) does not run through Akranes but there are Links to public data on the remote (3) Economic activity characterise this case as a remote two access points on each side of the mountain Akra�all (9 km long) which dominates over place place: Akranes. That road is a ring road around Akra�all. The locals express dislike for the road (3). The drive to the city takes 50 minutes and people do not usually visit Akranes unless they are aiming The link: https://www.akranes.is/static/files/1.stjornsysla/Husnaedisaetlun/husnaedisaaetlun‐2020‐2026_26.‐ for something special. Few of the things that attract people are Norðurálsmótið (a football februar‐utgafa‐1.pdf (https://www.akranes.is/static/files/1.stjornsysla/Husnaedisaetlun tournament held once a year) and Írskir dagar (e. Irish days) a festival also held once a year in July. /husnaedisaaetlun‐2020‐2026_26.‐februar‐utgafa‐1.pdf) The public transport system is weak cause there is only one bus that drives to and from Akranes Links to public data on the remote (4) Where do locals work and what they think about the ring road around Akra�all with an hour interval in the rush hours but otherwise on irregular times. Therefore it is popular to place own a car in Iceland. Concerning the economy, large firms have been locked down or moved away for example HB Grandi which was one of Iceland's largest seafood companies and a cement plant, The link: https://www.vegagerdin.is/vefur2.nsf/Files both of them held a lot of job opportunities. /ferdamynstur_vinnusoknasvaedi_akranes_selfoss_hveragerdi/$file/Fer%C3 %B0amynstur%20og%20vinnus%C3%B3knasv%C3%A6%C3%B0i%20Akranes_Selfoss_Hveragerdi.pdf Low population density rank: (https://www.vegagerdin.is/vefur2.nsf/Files Geographical barrier/allocation rank: 3 /ferdamynstur_vinnusoknasvaedi_akranes_selfoss_hveragerdi/$file/Fer%C3 %B0amynstur%20og%20vinnus%C3%B3knasv%C3%A6%C3%B0i%20Akranes_Selfoss_Hveragerdi.pdf) No good transportation links rank: 2 Links to public data on the remote (5) Bureau of statistic in Iceland, the age distribution in Akranes Difficulties in accessing daily‐life‐ place support facilities rank: The link: https://px.hagstofa.is/pxis/pxweb/is/Ibuar/Ibuar__mann�oldi__2_byggdir__sveitarfelog Social specifics and/or divisions /MAN02001.px/chart/chartViewColumn/?rxid=4ab65e5c‐2633‐43a9‐97c2‐3ef909fabec8 rank: (https://px.hagstofa.is/pxis/pxweb/is/Ibuar/Ibuar__mann�oldi__2_byggdir__sveitarfelog /MAN02001.px/chart/chartViewColumn/?rxid=4ab65e5c‐2633‐43a9‐97c2‐3ef909fabec8) Economic inferiority rank: 1 A‐7 The type of public spaces that can be found in this remote place (besides the Subjective criteria (e.g. community’s roads/streets/path network) self‐perception of being remote etc) rank: Square/s, Plaza/s  Other rank: Park/s, Garden/s  A‐5 Provide the links to public data Market space/s  Links to public data on the remote (6) Institute of Regional Development, population Playground/s  place Recreational space/s, Sport‐field/s  The link: https://byggdastofnun.data.is/account/public‐report?id=b36b8664‐016c‐4ce5‐ab26‐b164cd2ce29c (https://byggdastofnun.data.is/account/public‐report?id=b36b8664‐016c‐4ce5‐ab26‐b164cd2ce29c Community open‐air space/s  ) Institution‐related open‐air space/s  Links to public data on the remote (7) Wage in Akranes, Reykjavík and Iceland (e.g.University grounds) place Watersides  The link: https://px.hagstofa.is/pxis/pxweb/is/Samfelag Meadows  /Samfelag__launogtekjur__3_tekjur__1_tekjur_skattframtol/TEK01002.px (https://px.hagstofa.is /pxis/pxweb/is/Samfelag/Samfelag__launogtekjur__3_tekjur__1_tekjur_skattframtol Parking area  /TEK01002.px) Service yard  Links to public data on the remote (8) Housing in Akranes place Other types:  The link: https://www.akranes.is/static/files/1.stjornsysla/Husnaedisaetlun/husnaedisaaetlun‐2020‐2026_26.‐ Specify other types: februar‐utgafa‐1.pdf (https://www.akranes.is/static/files/1.stjornsysla/Husnaedisaetlun Type of indoor public spaces that �. Church /husnaedisaaetlun‐2020‐2026_26.‐februar‐utgafa‐1.pdf) can be found in this remote place: �. Institution‐related open‐air space (e.g. elementary school, kindergarden Links to public data on the remote (9) Interactive ground‐ plan of Akranes �. Sports hall place �. Cultural centre �. Museum The link: https://www.map.is/akranes/ (https://www.map.is/akranes/) �. Golf course Links to public data on the remote (2) Bus schedule (bus 57) place A‐8 General description of.. The link: https://straeto.is/uploads/files/1134‐1011509785.pdf (https://straeto.is/uploads/files /1134‐1011509785.pdf) The network of roads, streets, paths The network of roads/streets in Akranes is structured. The primary street or main road network is and alike elements that tie this quite good as it splits into two main roads, the first one reaching the harbor area and the other Links to public data on the remote (1) Number of inhabitants and density from the Institute of Regional Development remote place together: one reaching into the center area, they are also quite parallel. The housing areas usually have the place form of a grid. If the most common housing types are divided into percentages, 40% of the The link: https://www.byggdastofnun.is/static/files/Vinnusoknarsvaedi housing are apartment buildings, 31% are detached single‐family houses and 13% are duplex /Ibua�oldi_staerd_svaeda_greining_2009.pdf (https://www.byggdastofnun.is/static/files housing (8). /Vinnusoknarsvaedi/Ibua�oldi_staerd_svaeda_greining_2009.pdf ) 379 The quantity and structure of public The quantity of public spaces in Akranes whether they are green open public spaces or paved is Physical environment description of The public area in this case is natural landscape, a one‐kilometer‐long white sandy beach, called space network (besides deficient, they are infrequent and not well distributed over town. Most of the green open public the public space(s) with creative Langisandur. It has been awarded the Blue Flag environmental certification (1). The beach has roads/streets/paths network) in this spaces are playgrounds and some of them are on school or kindergarten grounds (9). There is one works: always been a platform for outdoor activities but in more recent years the area has been evolving remote place: public garden (Garðalundur) located on the east outskirt of the town and for that reason it is not to fit the needs of Akranes locals. On one side it has the Atlantic ocean and on the other side a located appropriately enough for the locals. The garden is the largest green public space and one sports stadium and football fields. A breakwater (rock barrier) separates the beach from the of only two that do not only have the purpose of a playground. The other one is a large green sports area. White sand beaches are unusual in Iceland, but a perfect place to restore body and space at Sólmundarhöfði which lies next to the blue open public space (the beach) and on the mind. The public place has a number of built structures. In the nineties the beach was made more parcel boundary of the old people’s home. The space is appropriately located for the elders and accessible by fitting staircases through the breakwater, above the beach alongside the people 60+ who live in the parcel and terraced houses close by. The large green spaces at the breakwater there is a walking and cycling path, close to the football fields there is some outdoor outskirt of the town are a part of the countryside. There are some blue public open spaces exercise equipment and a big bouncy “airbag” a children's playground equipment (2). There are (coastline) and of them especially two worth mentioning, Langisandur and Breiðin, the point three outdoor showers in different heights with warm water flowing from them. The water is run‐ most south of Akranes. Paved public spaces are even fewer two of them are outside schools and off water from the town's geothermal system (3). There are also changing rooms and bathrooms one outside a kindergarten. Akranes has one public square located in the old part of the town. free of charge for the people and occasionally, in the summertime, there is a small shop on There are many private building lots in Akranes as in hole Iceland. The ones marked in figure 1 are Aggapallur. Aggapallur is a big sun deck with benches open all year round. The newest addition to the spaces that are larger than the typical garden and not necessarily closed or green. Langisandur area is Guðlaug (2018), an award‐winning geothermal pool sitting in the breakwater. Gauðlaugs' design contains two pools, a shower, a staircase to the beach, and a view platform. A‐9 General description of the quality of public spaces in this remote place For better access, there are two ramps at each end of the beach for ambulances or other important vehicles and a parking lot, specially made for people visiting the place. In the parking Answer: The square (Akratorg) mentioned above is more of a walk‐through than a place to stay in. It lacks lot, there is a barbecue facility. comfort, there are two benches and some trees, but they are still small (don't give shelter and won't make much difference in the next 20 years). By that time some of the trees will shade a big Physical environment elements The parking lot makes it easy for people traveling by car to visit the place. The access to the beach part of the space. There is a statue, The Fisherman, that gives the place its’ spirit and gives visitors were important and/or actually is good, the three staircases made of concrete, and the two ramps are placed at regular intervals. something to talk about and there is a fountain where children can play within the summer. The "used" by creative people for their They are necessary for people to be able to get over the rock barrier and down to the beach. A playgrounds have typically 4‐7 playground equipment, a small hill, football goals, or a basketball activities: walking and cycling path runs alongside the breakwater which makes it easier for people to be basket, but it responds only to children's needs, there are usually no trees, benches, or other able to enjoy the area. All the outdoor showers, the changing rooms, bathrooms, and the things that would make the places better for a wider range of users or different kind of actions. geothermal pool are important and raise the comfort level well as increasing the number of Last, there are the blue open public spaces, they fulfill people's needs of outdoor activities of all people that visit the beach. ages. B‐3 Describe the general functions B‐1 Name(s) of the public space(s) Functions and land uses description The residents use the public space for restoration, walks, and play. Residents and others that visit Name(s) of the public space(s) (in Langisandur in the area of the public space: the town swim in the ocean, which is popular in Iceland and practice cryotherapy which is local language): supposed to be very healing for mind and spirit. To get some heat again they dip into Guðlaug. Kids use it for play, teachers use it for outdoor education and in the spring they hold football Name(s) of the public space(s) (in Long Sand Beach practices on the sand (4). The beach has commercial functions for the town, for it is advertised as English): Akraness’ outdoor life and natural gem. Guðlaug is advertised as the geothermal pool on Langisandur to attract tourists. The walking and cycling path which runs alongside the beach Latitude of the public space(s): 64.316754 connects one part of the town to another. It is close to an elder's home and to Sólmundarhöfði, a Longitude of the public space(s): ‐22.060167 cape that lies in one end of the beach and keeps relics of past time and houses from 1900. It is close to a school, a swimming pool, and a harbor. The town held a competition to find the best proposal for the future plan of Langisandur and its’ closest environment. It is supposed to connect the beach, the school area, a future living area (Sementsreitur), and the harbor area (5). Functionalities of space were Creative people use the sand for all the diverse functions mentioned above. They use Guðlaug important and/or actually "used" by very much and it has strengthened the sea swimmer community so many more swimmers have creative people for their activities: joined the community and more dear to try than before (3). B‐4 General demographic characteristics of the area around the public space: Ground plan showing the land use of the public space(s): Describe the general demographic The population count in Akranes from 1. Jan 2021 was 7.697 inhabitants. There is slow or stable characteristics growth in the population and most of them are under 50, the population pyramid displays somewhat equal numbers for almost all age groups. Of course, smaller numbers are still to be expected at the oldest age groups. There is to be expected that all age groups use the public space, especially cause the elder's home is conveniently placed by the beach and school and sports area also. The group of people expected to be sea swimmers are probably mostly between 30‐60 years old. Caption's map of the public space: Langisandur Land Use Plan B‐5 Type of the public space(s) with creative work Legend's map of the public space: Form and function: The public space serves as a playground, recreational space, sport‐field, community open‐air space, institution‐related open‐air space (close to elder's home, sports arena, and a school) and it Main location  is by the waterside. B‐2 Describe the physical environment Ownership: Public. Access regarding entry‐control: The area has free open access. 380 Access regarding time of day/week There are a few access limitations in some of the activities on the beach. Guðlaug is open all Describe what parts seem to be the The part within the public space that seems most attractive to people is where Guðlaug is located. /year: summer (1. May‐31. Agust) Monday, Tuesday, Thursday, Friday, and Sunday from 12‐20, and most attractive to people It is the place where many activities can take place or occur. The creative work as said before is Wednesday and Saturday from 12‐18. In wintertime, it is open on Wednesdays and Fridays from the progress of the access to the beach and to the activities that can take place there. Guðlaug 16‐20 and on Saturdays and Sundays from 10‐18. The changing rooms and the bathrooms have has definitely caused more traffic and attracted more visitors than before. opening hours. The showers are only open in summertime. B‐10 Provide the links to public data on the public space(s) B‐7 Kind of activity initially designed for this public space: Website: About all the beache in Akranes What kind of activity has been this The public space was not initially designed but the main role has become outdoor activities and public space designed for initially activities related to the sea. It has relaxational and recreational values and boosts socialization Website's link: (3) https://issuu.com/landbunadarhaskoli_islands/docs/�o_rurmhg_ok ((3) https://issuu.com among people. /landbunadarhaskoli_islands/docs/�o_rurmhg_ok) Website: A newspaper article about Langisandur B‐8_a Which are the activities in this public space(s)? Website's link: (4) https://www.mbl.is/greinasafn/grein/1071451/ ((4) https://www.mbl.is/greinasafn/grein Activity: Outdoor learning /1071451/) Activity: Walking/running Website: competition to findAticle about the best proposal for the future plan of Langisandur and its’ Activity: Play ‐ Paddle ‐ Shower closest environment Activity: Train Website's link: https://www.akranes.is/thjonusta/umhverfi/hugmyndasamkeppni (https://www.akranes.is /thjonusta/umhverfi/hugmyndasamkeppni) Activity: Teach Website: A map with all the big bouncy “airbags” (a childrens playground equipment) in Iceland Activity: Cycling Website's link: (2) https://aerslabelgir.is/kort/ ((2) https://aerslabelgir.is/kort/) Activity: Restoration Website: Blue Flag environmental certification Activity: Cryotherapy Website's link: (1) https://www.akranes.is/mannlif/ahugavert/tourist‐information ((1) https://www.akranes.is Activity: Enjoy hot pool /mannlif/ahugavert/tourist‐information) B‐8_b Who are the main users of this public space(s)? B‐11 Provide photos of the public space(s) with creative works User: Sea‐swimmers Caption: Overview of Langisandur to the east User: School kids User: Adult locals User: Kids locals User: Football players User: Teachers User: Locals B‐8_c What are the users activities of this public space(s)? Users Activity Before After Locals Walking/running   Locals Cycling   Photo's author: Ja.is Sea‐swimmers Cryotherapy   Caption: Overview of Langisandur to the west Adult locals Restoration   Adult locals Walking/running   Kids locals Play ‐ Paddle ‐ Shower   Locals Enjoy hot pool   Sea‐swimmers Enjoy hot pool   Kids locals Outdoor learning   Teachers Outdoor learning   B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: 381 Photo's author: Ása Katrín Bjarnadóttir Caption: Beautiful sunset seen from Langisandur Photo's author: Ja.is Caption: The parking area Photo's author: Ja.is Caption: A part of the cykling/walking path along Langisandur Photo's author: Ása Katrín Bjarnadóttir Caption: Enjoying Gudlaug 382 Photo's author: Ása Katrín Bjarnadóttir Photo's author: Ása Katrín Bjarnadóttir Caption: Entry from west to Langisandur Caption: View of the sand from the sea, with the mountain Akra�all in the back Photo's author: Ja.is Caption: People kajaking and swimming in the cold Atlantic ocean Photo's author: Ása Katrín Bjarnadóttir Caption: An older couple walking barefeet in the sand 383 Actor(s): Sea‐swimmer members. Motivations: Better facility. Roles: They got the geothermal pool (Guðlaug) in process and further changes on the beach. Actor(s): Municipality. Motivations: Inhabitants use, their health and interest. Roles: Make place more accessible, pleasant and useful. C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting The support which the main amenity got ‐ that is Guðlaug ‐ was a grant fund, named after the background existed to make the couple, Guðlaug Gunnlaugsdóttir and Jón Gunnlaugsson. The contribution to the geothermal pool activities happen (financial, was the last thing the fund board paid before this large million‐dollar fund was closed. The board institutional etc.) of the fund decided to invest in the project. The then‐mayor supported the plans as well as the majority of the town council of Akranes. A prominent architecture firm was hired, who submitted original proposals for a modest but elegant building. The Tourism Site Protection Fund (https://www.ferdamalastofa.is/en) and Akranes municipality also contributed money to the pool at Langasandur. The municipality got 30 million Isl‐Krones, from the tourist site protection found for building a new attraction and by that strengthening the tourist services in Akranes. C‐8 Sectors involved in the development of the creative works with public spaces: Photo's author: Ása Katrín Bjarnadóttir Culture  C‐1 Official name of the activity/project Education  Name in local language: Langisandur Health  Name in English: Long Sand Beach Sustainability  Nickname: Langisandur Science  Overall name:  Tourism  C‐2 Description of the project (activities) that took place in the analysed public space(s): Sport  Describe the project (activities) that Langisandur is not an “actual” project but rather has been an ongoing project for years (from the Industry  took place in the analysed public 1990s.). It has been made more accessible and comfortable cause of its’ popularity. The  space(s) constructions and changes that have been made on the beach are staircases and a walking and Other: cycling path alongside the breakwater; installation of outdoor exercise equipment and a big Specify other: bouncy “airbag” (a children's playground equipment), three outdoor showers in different heights with warm water flowing from them, changing rooms and bathrooms free of charge and C‐9 Sector which was.. occasionally, in the summertime, there is a small shop on Aggapallur (a sun deck with benches). The newest addition to Langisandur area is Guðlaug (2018), an award‐winning geothermal pool ..the initiator of the activities: Sports designed by the prominent architecture firm "Basalt arkitektar". Sitting in the breakwater, Guðlaug contains two pools, a shower, a staircase to the beach, and a view platform. Ten benches ..the most crucial for the whole case Health were also put by the path along the beach (1). For better access, there are two ramps at each end study: of the beach for ambulances or other important vehicles and a parking lot, specially made for Comment: people visiting the place. In the parking lot, there is a barbecue facility. C‐3 Challenge that the project (activities) tried/is trying to tackle: C‐10 How was the local community involved in the project/activities: How was the local community The Municipality has been committed to this project throughout the years. It is their responsibility What challenge was the project The aim has been to make the area more attractive, comfortable, and accessible for people to involved in the project/activities? to improve the place in the interest of the inhabitants. Upgrading had been much needed for (activities) trying to tackle – what enjoy Langisandur by designing quality public space which promotes health and well‐being. years on and around the beach area. Recently, in 2019, the municipality put 10 benches on was the aim Langisandur, especially thought for the elders that live in the home on the east end of the beach C‐4 Time frequency: and further improvements are coming with the new secondary plan for this area. The residents have been also committed through the sea‐swimmer group, which requested the construction of Time Frequency A constant process geothermal baths. Finally, the financial commitment of the Guðlaug Gunnlaugsdóttir and Jón Gunnlaugsson Memorial Foundation has been crucial for the site development. It allowed the Other information: construction of the main facility, until today, that is Guðlaug. C‐5 Time period C‐11 The role of natural/cultural heritage in the project/activities: Start: Did cultural and/or natural heritage The project clearly supports longstanding cultural activities. Swimming in the sea is a cultural play any specific role in the thing in Iceland. It's a long standing activity that is becoming more and more popular. Hot tub End: project/activities? bathing is also highly cultural in Iceland. This is a well‐established practice, which goes back to the Comment: It is an ongoing project which began in the early 1990s. age of settlement/middle age. The natural environment plays an important role in the project, as it concerns the construction of facilities aiming to support and develop activities occuring in a C‐6 Actors in relation to the analysed creative work, their main motivation and their roles 384 very valued natural landscape, that is the long white sandy beach, called Langisandur. C‐12 The targeted impact of the project/activity: C‐22 Importance of broader conditions for the main sucess and main failure factor: What was the targeted impact of The targeted impact of the entire project was to support and develop outdoor activities, for How important were the broader The development of Langisandur would not have been possible without the commitment of the project / activities? reasons of physical and mental health. The targeted impact of the pool Guðlaug was to attract conditions (e.g. the supporting various components of local community: the municipality, the residents, in particular the more people (locals, visitors and foreign tourists) to the beach and to Akranes. state of the art in the community, residents who formed a sea‐swimmers group, and the Guðlaug Gunnlaugsdóttir and Jón infrastructure, institutional support, Gunnlaugsson Memorial Foundation. Finally, the support of a national institution, Ferdamalastofa‐ C‐13 Achievement of the targeted impact: financial sources, local or Icelandic Tourist Board, helped to develop the site. "imported" know‐how etc.) for the Yes/no/partly: Yes main success and main failure factor Comment: Regarding Guðlaug in particular. There have been 30 thousands of visitors to the pool in 2018. C‐23 Provide the links to public data on the creative works C‐14 Additional achieved impacts: Link to public data to better https://www.facebook.com/skagafrettir.is/posts/1209343509190163 (https://www.facebook.com understand the activities and actors, /skagafrettir.is/posts/1209343509190163) Were any additional impacts There has been an increase of sea swimmers. as well as impacts: achieved? The link: Facebook page with news for Akranes , an article where they show live from Langisandur C‐15 The main beneficiaries of the creative work in public space(s): Link to public data to better https://www.skagalif.is/is/utivist/langisandur‐og‐solmundarhofdi (https://www.skagalif.is/is/utivist Who were the main beneficiaries of The local community understand the activities and actors, /langisandur‐og‐solmundarhofdi) the creative works in public as well as impacts: spaces(s)? The link: Article with details about Langisandur C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better http://skagafrettir.is/2019/02/25/var‐leyndarmal‐skagamanna‐ad‐finna‐a‐langasandi understand the activities and actors, /?�clid=IwAR05Bbfz3zn5unQvv2Y6nNJnc05vzVi5Cf‐4FPK2QfswXY3DlQK3ScmaalE Were there any, no matter how big It is hard to say, but there were most likely some visitors that added to the economy. as well as impacts: (http://skagafrettir.is/2019/02/25/var‐leyndarmal‐skagamanna‐ad‐finna‐a‐langasandi or small, economic benefits for the /?�clid=IwAR05Bbfz3zn5unQvv2Y6nNJnc05vzVi5Cf‐4FPK2QfswXY3DlQK3ScmaalE) local community as a whole or any specific actors in particular, The link: Article about historical use of the beach resulting from the creative works Link to public data to better https://www.youtube.com/watch?v=fiuGgtvw0SA (https://www.youtube.com with/in public spaces? understand the activities and actors, /watch?v=fiuGgtvw0SA) C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that as well as impacts: potentially empowered the actors to prosper in their future development: The link: Video from the beach Were there any exchanges of No, there were none. Link to public data to better https://www.akranes.is/is/frettir/langisandur‐eina‐blafanastrond‐landsins‐arsins‐2019 knowledge or other activities understand the activities and actors, (https://www.akranes.is/is/frettir/langisandur‐eina‐blafanastrond‐landsins‐arsins‐2019) performed that potentially as well as impacts: empowered the actors to prosper in their future development? The link: Article about when Langisandur got the environmental certification Blueflag C‐18 Monitoring (or not) of the impact of the project: Link to public data to better https://skessuhorn.is/2020/12/11/hugmyndasamkeppni‐um‐skipulag‐og‐honnun‐langasandssvaedis/ understand the activities and actors, (https://skessuhorn.is/2020/12/11/hugmyndasamkeppni‐um‐skipulag‐og‐honnun‐ How was the impact of the project / There has been one project based on Langisandur which was funded by The Icelandic Center for as well as impacts: langasandssvaedis/) activities monitored? If it wasn’t – Research (rannis.is) (link to project). In the project which is from 2012 the writer observed and how do you think it could be counted the number of people that used and came to the place, and their actions, it lasted for 5 The link: Planning and design competition monitored? weeks. Link to public data to better (1) https://skessuhorn.is/2019/05/10/unnid‐ad‐baettu‐utivistarsvaedi‐vid‐langasand/ ((1) understand the activities and actors, https://skessuhorn.is/2019/05/10/unnid‐ad‐baettu‐utivistarsvaedi‐vid‐langasand/) C‐19 Way in order to communicate the impact of the project: as well as impacts: How was the impact of the project / Some of the constructions that have been made in the place were advertised in the town paper, The link: Town paper activities disseminated or including Guðlaug, which was also introduced on Facebook and in tourist advertising sites like communicated? icelandtravelguide.is. However Guðlaug was more widely disseminated in the national and Link to public data to better https://skessuhorn.is/2019/05/10/unnid‐ad‐baettu‐utivistarsvaedi‐vid‐langasand/ international press (architectural journals and websites, such as Archdaily etc.). understand the activities and actors, (https://skessuhorn.is/2019/05/10/unnid‐ad‐baettu‐utivistarsvaedi‐vid‐langasand/) as well as impacts: C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: The link: An article about the importans of improving outdoor recreational areas How were the creative works in As written in the papers Akranes.is and Skessuhorn.is the people of Akranes are generally happy Link to public data to better https://78762ef0‐11c6‐4a92‐a151‐92a6e06e513a.filesusr.com public space(s) perceived, with the geothermal pool. Some inhabitants say that they do not think about Langisandur as the understand the activities and actors, /ugd/0444d2_1abe38fa4d5641e9a7fcc851e2751c5c.pdf (https://78762ef0‐11c6‐4a92‐ evaluated, judged by the final users natural pearl and prefer using another beach on Akranes coast, other inhabitants are fascinated as well as impacts: a151‐92a6e06e513a.filesusr.com/ugd/0444d2_1abe38fa4d5641e9a7fcc851e2751c5c.pdf) – what were the reactions of the by Langisandur and think of it as one of Akraness’ pearls. The link: A research on two outdoor areas in Akranes, Langisandur and Garðalundur general public? C‐21 The (one) main success and the (one) main failure of the project/activities D‐1 Main editor in charge of this entry and potential other authors of this case study description Main sucess: The main success is probably that the development of Langisandur and especially the pool Name and surname: Elisabet Bjarnadottir Guðlaug has opened for the further interest of developing the place even more. Organization: Main failure: There is none. 385 Email: nem.elb1@lbhi.is Role: D‐2 Representative pictures Picture's caption: Beautiful women bathing in the sea at Langisandur Picture's author: Helena Guttormsdóttir Picture's date: 7/8/2020 12:00:00 AM Picture's source: Picture's caption: Guðlaug, the hot pool in Langisandur, is always popular *** Picture's author: Ása Katrín Bjarnadóttir Picture's date: 6/5/2019 12:00:00 AM Picture's source: Picture's author: Ása Katrín Bjarnadóttir Picture's caption: Outdoor education Picture's date: 6/10/2020 12:00:00 AM *** Picture's source: Picture's author: Teachers at Brekkubæjarskóli Picture's caption: The showers in Langisandur are warm and cosy Picture's date: 3/4/2020 12:00:00 AM *** Picture's source: https://www.brekkubaejarskoli.is/is/skolinn/httpsphotosgooglecomalbums/2019‐2020 Picture's author: traveler @rbaggo /langisandur‐vor‐20 Picture's date: 6/9/2020 12:00:00 AM Picture's caption: Children playing Picture's source: https://game.dclick.io/posts/@rbaggo/iceland‐summer‐16‐langisandur‐beach‐in‐akranes‐and‐the‐ outdoor‐items‐you‐d‐like‐to‐have Picture's caption: Office 386 Picture's author: Astrid Le Lelarge Picture's author: Birgir Þ Jóhannsson Picture's date: Picture's date: Picture's source: Picture's source: Picture's caption: Seaside walkpath 1 Picture's caption: Artfiical beach pools Picture's author: Astrid Lelarge Picture's date: Picture's source: Picture's caption: Seaside walkpath 3 387 Picture's author: Astrid Lelarge Picture's date: Picture's source: Picture's caption: Artfiical beach pools 2 Picture's author: Birgir Þ Jóhannsson Picture's date: Picture's source: Picture's caption: Seaside walkpath 2 Picture's author: Birgir Þ Jóhannsson Picture's date: Picture's source: Picture's caption: Artfiical beach pools 3 388 Picture's author: Birgir Þ Jóhannsson Picture's date: Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 389 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Rainbow street Regnbogagatan +5 +4 +3 +2  +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Ísland ‐1 Region name (in local language): Múlaþing ‐2 Place name (in local language): Seyðis�örður ‐3 Country name (in english): Iceland ‐4 Region name (in english): Mulathing ‐5 Place name (in english): Seydis�ordur Open landscape The village of Seyðisfjörður lies in a long and narrow fjord (also called Seyðisfjörður) in east Iceland. It is part of Múlaþing municipality, but due to distance between towns as well as the landscape, it is quite isolated from other towns in Múlaþing. In Comment: January 2021 the number of people in Seyðisfjörður were about 660 with only 3,18 people per km2, which makes population density very low. The town is located in the far end of the fjord, enclosed but sheltered by the steep mountains of Bjólfur (1085m) and Strandatindur (1010m). Lowland is limited in Seyðisfjörður but the town's footprint covers about 0,85 km2. Difficult terrain +5 +4 Map of the network of public spaces in the remote place +3  +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 Caption of the map: Figure ground plan for Seyðis�örður ‐3 Legend of the map: ‐4 ‐5 Effortless terrain Even though roads are well maintained, the main road to and from Seyðisfjörður lies over Fjarðarheiði mountain, which is often closed due to bad weather conditions. The road through Fjarðarheiði is one of the highest mountain roads in Iceland and is considered one of Seyðisfjörður biggest challenges. Public transport is limited to buses or other vehicles, which also rely on the main Comment: road. (However construction of the Fjarðarheiðar tunnel between Egilsstaðir and Seyðisfjörður is scheduled to begin in 2022).The ferry Norræna, sails from Denmark to Seyðisfjörður all year round with travelers and goods. The nearest airport is in the town of Egilsstaðir 28 km away. 390 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3  +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Historically, economic activities in Seyðisfjörður have revolved around the sea. The village formed due to its natural harbor, Low‐income households prevail prosperous fishing grounds and proximity to the European continent. The local economy was therefore based on the fishing Comment: companies as well as light industries. Today there are still a few boats operating from Seyðisfjörður as well as fish-related industries. However, tourism is playing a growing role in the economy of Seyðisfjörður and most of the economic activities in Seyðisfjörður today A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote revolves around the car/passenger ferry Norræna (since 1974). This includes general service jobs, customs, hotel-hostel-restaurant at all) to 5 (extremely remote) employees and so forth. Another important note is the creative factor. In the early 2000s separate creative local initiatives sparked Estimation: 3 Comment: conditions leading up to Seyðisfjörður becoming a hub for creative work and inspiration for artists from all over. From a gallery, to artist residencies, to an annual non-profit art festival LungA and even an experimental art school, the scene has given the small Explanation: Even though the population density is low, and steep mountains and harsh weather conditions village not only a strong identity but also an economic boost. In december 2020 natural disasters (a series of landslides) hit can limit access to and from the �ord, Seyðis�örður is the entrance town of Norræna ferry. It is Seyðisfjörður and will have a (at least temporarily) negative impact on economic activities. Many companies had operations in the also a well connected town, and visited by many each year, especially in the summertime landslide area, employing many people. The government of Iceland has decided to make a three-year agreement with the (festivals and good weather). municipality of Múlaþing and Austurbrú, a co-operation platform for the administration in East Iceland, on the development of the economy in Seyðisfjörður. The project includes a contribution of 215 million kroner over the next three years. A‐4 Elements that characterise the remoteness of the place: Daily‐life‐support facilities well developed Low population density  +5 Geographical barrier/allocation  +4 No good transportation links  +3 Difficulties in accessing daily‐life‐   support facilities +2 Social specifics and/or divisions  +1 Economic inferiority  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Subjective criteria  structure structure Specify subjective criteria (e.g. ‐1 community’s self‐perception of ‐2 being remote etc):  ‐3 Other ‐4 Specify other: ‐5 Daily‐life‐support facilities none‐existing Seyðisfjörður is relatively well equipped in terms of basic life-support facilities for the settlement of its size. It has its own community health centre, educational institutions, retirement home, law enforcement and social services. Residents in Seyðisfjörður can also enjoy various sport facilities and art/culture can be found in and around the town. The population in Seyðisfjörður has steadily decreased since 1987, during that time about 130 children attended school in Seyðisfjörður but in 2012 they were only 65. This Comment: decrease has negatively affected the town's finances and the utilization of housing in the town. The younger age groups are the ones shrinking the most mostly due to lack of higher education and job opportunities. The biggest age group is ages 60-69 years old and the average age is 43,6 years. The split between men and women is pretty equal. It should be noted that there are many leisure/summer houses in Seyðisfjörður, ie. houses owned by people who do not live there year-round. 391 Summary of the elements that This small town only has about 660 residents and is enclosed by mountains that can often be The link: https://www.getlocal.is/blog/seydis�oerdur‐the‐secret‐gem‐of‐the‐east (https://www.getlocal.is characterise this case as a remote inaccessible due to harsh winters and bad road conditions. The landscape has also made life in the /blog/seydis�oerdur‐the‐secret‐gem‐of‐the‐east) place: village fragile as avalanches and landslides can be expected in certain seasonal conditions. Recent landslides in december 2020 had a severe and devastating impact on residents as many Links to public data on the remote Live webcam (historical) houses, residential and businesses were destroyed. The population has steadily been place declining in the past decades, in many parts because of changes in employment opportunities. In The link: http://157.157.117.166:8151/video.mjpg (http://157.157.117.166:8151/video.mjpg) 1991 catch quotas for cod were 2,943 tonnes but in 2010 it had reduced 1,043 tonnes. This large reduction in catch quotas led to fewer jobs in the fish‐industry and partly explains the population Links to public data on the remote A report that tracks population development in Seyðis�örður development in the village. As mentioned above, this development had a considerable effect on place the development of the housing market and utilization of housing in Seyðis�örður and some of the houses in the village are only used as summerhouses. Changes in population also have to do The link: https://www.byggdastofnun.is/static/files/Skyrslur/Samfelag with young people leaving to seek higher education elsewhere. Seyðis�örðurs rural character is /Samfelag_atvinnulif_og_ibuathroun_skyrslan_i_heild.pdf (https://www.byggdastofnun.is/static due to the landscape, transport challenges and low population density, but it is also very far from /files/Skyrslur/Samfelag/Samfelag_atvinnulif_og_ibuathroun_skyrslan_i_heild.pdf) bigger urban settlements in Iceland (like Reykjavik and Akureyri). The closest town with more Links to public data on the remote Information about the economy in Seyðis�örður (among other information) extensive services (Egilsstaðir) is about 28 km away. place Low population density rank: 1 The link: https://www.verkis.is/media/pdf/Kafli‐6.7‐Ahrif‐a‐samfelag‐og‐efnahag‐ID‐188048‐.pdf Geographical barrier/allocation rank: 3 (https://www.verkis.is/media/pdf/Kafli‐6.7‐Ahrif‐a‐samfelag‐og‐efnahag‐ID‐188048‐.pdf) No good transportation links rank: 2 Links to public data on the remote Housing development in Seyðis�örður place Difficulties in accessing daily‐life‐ support facilities rank: The link: https://www.s�.is/static/files/skjol/PDF/samthykktir/stjornsysla/husnaedisaaetlun_apr18.pdf (https://www.s�.is/static/files/skjol/PDF/samthykktir/stjornsysla/husnaedisaaetlun_apr18.pdf) Social specifics and/or divisions rank: Links to public data on the remote Sport facilities in Seyðis�örður place Economic inferiority rank: 4 The link: https://www.mulathing.is/is/thjonusta/ithrottir‐og‐fristundir/ithrottasvaedi‐1 Subjective criteria (e.g. community’s (https://www.mulathing.is/is/thjonusta/ithrottir‐og‐fristundir/ithrottasvaedi‐1) self‐perception of being remote etc) rank: A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Other rank: Square/s, Plaza/s  A‐5 Provide the links to public data Park/s, Garden/s  Links to public data on the remote Masterplan report place Market space/s  The link: http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur Playground/s  /DisplayDoc.aspx?itemid=01634425351245262500 (http://skipulagsaaetlanir.skipulagsstofnun.is Recreational space/s, Sport‐field/s  /skipulagvefur/DisplayDoc.aspx?itemid=01634425351245262500) Community open‐air space/s  Links to public data on the remote Visit Seyðis�örður place Institution‐related open‐air space/s  (e.g.University grounds) The link: https://visitseydis�ordur.com/ (https://visitseydis�ordur.com/) Watersides  Links to public data on the remote Visit Austurland(East Iceland) place Meadows  The link: https://www.east.is/en/destinations/communities/seydis�ordur (https://www.east.is Parking area  /en/destinations/communities/seydis�ordur) Service yard  Links to public data on the remote Municipality of Múlaþing website place Other types:  The link: https://www.mulathing.is/is (https://www.mulathing.is/is) Specify other types: Camping ground, school yard Links to public data on the remote Masterplan place The link: http://skipulagsaaetlanir.skipulagsstofnun.is/skipulagvefur /DisplayDoc.aspx?itemid=01634425351426512500 (http://skipulagsaaetlanir.skipulagsstofnun.is /skipulagvefur/DisplayDoc.aspx?itemid=01634425351426512500) Links to public data on the remote Austurbrú, action after landslide disaster place The link: https://austurbru.is/support‐for‐seydis�ordur/ (https://austurbru.is/support‐for‐seydis�ordur/) Links to public data on the remote Overview of what makes the village unique and things to do there 392 place Name(s) of the public space(s) (in Regnbogagatan (Norðurgata) Type of indoor public spaces that a) Gallery local language): can be found in this remote place: b) Church Name(s) of the public space(s) (in The rainbow street c) Sportscenter English): d) Indoor swimming pool Latitude of the public space(s): N65° 15' 38.303" e) Library Longitude of the public space(s): W14° 0' 34.809" f) Movie theater Ground plan showing the land use of the public space(s): g) Museum Caption's map of the public space: Legend's map of the public space: A‐8 General description of.. Main location  The network of roads, streets, paths The main access road into Seyðis�örður over Fjarðarheiði mountain lies from the west into the and alike elements that tie this town before splitting in two separate directions to either side of the �ord (Ránargata and B‐2 Describe the physical environment remote place together: Austurvegur). The route over the mountain is 26 km and by many, thought to be one of Iceland's most spectacular and scenic roads. It also follows the river, Fjarðará, which flows into the �ord. Physical environment description of The creative project that will be described here below is situated on a relatively short street called Seyðis�örður is U‐shaped as it sits by the very end of the 17 km long and narrow �ord. In the the public space(s) with creative Norðurgata (now more known as Regnbogagatan/the Rainbow Street). A few houses are on center of the village a lagoon also has a strong impact on the village's layout and flow of traffic. works: either side of the street, and at the end of the street the church in Seyðis�örður is located. The The network of roads in the village mostly follows the landscape and lie parallel to the shoreline seven houses on the street are all 2 stories tall with gable roofs and corrugated iron cladding. and mountains on either side of the �ord. Sidewalks and houses are similarly placed on either side Many buildings in Seyðis�örður were built or imported from Norway around the year 1900 and of the roads. The dimensions of the roads are quite modern as Seyðis�örður urbanisation did not have these Scandinavian characteristics. The style is therefore not isolated to this particular street start until around the year 1900. Asphalt and concrete characterize the network of roads and but does have an impact on the overall character of the area around the street. The distinctive sidewalks. There are no railways or special bike lanes in Seyðis�örður, but as mentioned above church at the end of the street, known as the blue church or Bláakrikja because of its pale blue the village is accessible by sea. Large areas in the center of town by the lagoon and harbour area wooden exterior, was (re)built in 1920. Despite its small scale and simple structure the listed are asphalt parking lots for buses and other vehicles in connection to the ferry. church has a big impact on the environment and is popular material on visitors' photographs. The street is furthermore closed off to car traffic. On the opposite end from the church benches have The quantity and structure of public There are a few different public spaces in Seyðis�örður, but outdoor spaces are mainly not been placed in front of the hotel/restaurant to close access for traffic other than pedestrian space network (besides developed/defined/designed or have no clear boundaries or thresholds. There are no plazas or an traffic. The rainbow street is located at the “entrance” of town, where the main access road roads/streets/paths network) in this obvious center, only one square with a large water feature in front of the elementary school and enters town and splits into two separate streets that lie on either side of the �ord. Nearby there is remote place: swimming pool. The few outdoor public spaces that are well equipped are for example in relation a camping area, a parking lot and the local supermarket. Behind the houses on the eastern part of to the school facilities (like the playground by the school) and sport facilities. The football field in the street there is a lagoon that makes quite an impact on the area, and a car bridge over the river Seyðis�örður is a floodlit football field with brand new artificial grass and there is also a beach that flows into the lagoon. Other features that affect the character of the physical environment is volleyball court and a new 8 basket frisbee golf course located in an outdoor recreation area. the nature and steep mountains on either side of Seyðis�örður. There is also an area for camping. Other public spaces are more open and less defined, there is a small garden/ backyard by the church, a harbour area and open grass areas. Public spaces in Physical environment elements The street itself, its character and layout along with the surface materials used on the street, are Seyðis�örður could also be the popular natural surroundings, waterfalls and artwork situated in were important and/or actually the physical aspects used in this project. In the mid‐1990s, just before the 100th anniversary of the nearby mountain hillside. Our assessment is that the quantity of outdoor public space with a "used" by creative people for their Seyðis�örður, it was decided to make Norðurgatan a residential/pedestrian street. Its center was specific purpose (like playgrounds and sport areas) are met, but a clear developed center, garden activities: dug up from end to end, and paved with stone slabs, made from material from the nearby lagoon and/or spaces for other purposes, like meeting, dwelling or other functions, are lacking. Distances (Lónleiruhellurnar). It soon became apparent that those living on the street and others did not are not an issue because of the small size of the village. respect the new traffic restrictions. The slabs on the newly paved street broke, sagged and slipped apart under the weight of the vehicles. A barrier was placed at the end of a street to A‐9 General description of the quality of public spaces in this remote place prevent further damage, but when the creative work that will be described here later, was undertaken in the space, the broken slabs were still in place. The project was originally a Answer: Visitors have described Seyðis�örður as a charming, unique and special place but as said above temporary repair on the street and was supposed to last one summer. there are few developed or designed outdoor public spaces besides the network of roads and the areas mentioned above. Seyðis�örðurs quality does not rest on those spaces but rather its B‐3 Describe the general functions beautiful natural surroundings, charming wooden houses, vibrant art scene, culture and local spirit. Seyðis�örður has limited daylight and sunlight during winters, (in fact it is one of the Functions and land uses description On the masterplan drawing of Seyðis�örður the area of the rainbow street is defined both as darkest towns in Iceland) so it is safe to say that more effort has been put into indoor public in the area of the public space: residential area and service and shopping area. With that said the street is not a conventional spaces. Indoor public spaces in Seyðis�örður are of good quality as they serve different needs of residential area. Today most of the houses are used for accommodation for tourists, with people. In general, weather plays a big role in how outdoor public spaces are used in Iceland. The restaurants/bars, galleries and small shops. As mentioned above the street is located at the same weather in Seyðis�örður is characterized by extremes, both strong winds and precipitation but place where the entrance road into the village splits up into two separate roads (Ránargata and also calm and warm weather. The lack of urban design and definition, and even the lack of Austurvegur) and attracts most visitors that visit Seyðis�örður. The church is an important practical features (like places to sit) in outdoor spaces in Seyðis�örður can in some part be function in the space. It sits at the end of the street and is open to all visitors. because some spaces are mainly used during the summer. However this lowers the quality of Functionalities of space were The functions and services on the street created conditions for the creative work to take place. many spaces and streets. With that said, the “untouched nature” of spaces sometimes make important and/or actually "used" by The nature of the services in the houses led to the project taking place there, more specifically the them charming and give them a quality that cannot be measured or even explained. But in terms creative people for their activities: cafe/restaurant/bar function. of responding to different needs the quality is lacking. The opportunities are there, in recent years people in Seyðis�örður gave their only square a name and added a few outdoor furniture. which B‐4 General demographic characteristics of the area around the public space: is hopefully the beginning of a more developed area for sitting, standing, enjoying and other happenings. One of the few spaces that have been undertaken in recent years is the subject of this case study, and is an example of a public space of good quality. B‐1 Name(s) of the public space(s) 393 Describe the general demographic In January 2021 the number of people in Seyðis�örður were about 660. The town is so small it can Local residents Walk around, enjoy, take pictures   characteristics be argued that everyone neighbours the rainbow street. Demographics in Seyðis�örður, age and   gender, were described in A‐ii‐d. It is an aging community and many houses (at least 20 Local residents Attend the Gay pride walk apartments) are owned by people living elsewhere during the main part of the year. To add to Tourists Eat and drink   that, the average number of residents per apartment is 1,67 which is far below the average in Iceland of 2,53. Most households in Seyðis�öður are therefore single people according to 2016 Tourists Walk around, enjoy, take pictures   data. Demographics are also characterized by immigrants and immigrant workers working in the fishing industry (According to 2012 data many of them are polish with no family and loose Tourists Visit shops, restaurants, services,   connection to the society). Therefore many people living in Seryðis�örður or staying there part of and/or church the year are not active members of society. Tourists Stay at the hotel   B‐5 Type of the public space(s) with creative work Tourists Attend the Gay pride walk   Form and function: The rainbow street project is a street space and a recreational space with restaurant and galleries Employees working in houses on the Access to home/work   for example. street Ownership: Ownership is mixed. Houses are private but the street is public. Employees working in houses on the Work   Access regarding entry‐control: The street is outdoors and always open, not controlled. street Access regarding time of day/week The street itself is always open but services in houses of each side of the street are open regular B‐9 Parts/sections/spots seem most attractive within the public space (location and /year: hours according to what service they offer/provide. Bad weather is a factor that could limit people duration) ‐ Parts/sections/spots at people seem to avoid: from visiting, regarding accessibility and enjoyment. Describe what parts seem to be the B‐7 Kind of activity initially designed for this public space: most attractive to people What kind of activity has been this The street still serves its original purpose providing access to the houses on the street but its B‐10 Provide the links to public data on the public space(s) public space designed for initially surface material, appearance and the activities there have changed throughout the years. The Website: History and archeological sites in Seyðis�örður houses on each side of the street were built around 1900 and have been well preserved as well as still functioning as space for shops, services and apartments. It is unclear when exactly the street Website's link: https://fornleif.is/wp‐content/uploads/2020/11/FS764‐17181_NETFornleifaskr%C3%A1ning‐%C3%A1‐ formed but Seyðis�örður started to build in 1875 and a lot of the houses are from the early 20th Sey%C3%B0isfir%C3%B0i_Verndarsv%C3%A6%C3%B0i‐%C3%AD‐bygg%C3%B0_kort.pdf century. At the beginning of the 19th century, new technology developed in the construction (https://fornleif.is/wp‐content/uploads/2020/11/FS764‐17181_NETFornleifaskr%C3%A1ning‐%C3%A1‐ industry in Norway. Sawmills began to produce ready‐made houses for export all over the world. Sey%C3%B0isfir%C3%B0i_Verndarsv%C3%A6%C3%B0i‐%C3%AD‐bygg%C3%B0_kort.pdf) Entrepreneurs from Seyð�örður with strong ties to Norway took the opportunity and many of these houses rose, both residential houses, shops and public buildings. Most of the houses in B‐11 Provide photos of the public space(s) with creative works Norðugata were used for services and shops. In one of them there was for example a post office and another building housed the first apartment building in Seyðis�örður. Caption: B‐8_a Which are the activities in this public space(s)? *** Activity: Access to home/work Photo's author: Activity: Eat and drink C‐1 Official name of the activity/project Activity: Work Name in local language: Regnbogagatan Activity: Walk around, enjoy, take pictures Name in English: Rainbow street Activity: Visit shops, restaurants, services, and/or church Nickname: “Hýr Halarófa” (Gay pride in Seyðis�örður) Activity: Stay at the hotel Overall name:  Activity: Attend the Gay pride walk C‐2 Description of the project (activities) that took place in the analysed public space(s): B‐8_b Who are the main users of this public space(s)? Describe the project (activities) that In the small village of Seyðis�örður a colorful street has captured the attention of people world took place in the analysed public wide. The street features the colors of the rainbow painted on the surface, framing in User: Local residents space(s) Seyðis�örður iconic blue church. The colorful street first emerged back in 2014 when a resident organized a small gay pride event, and has since then become part of the built landscape in User: Tourists Seyðis�örður. Not only does the street show support to the local LGBTQ community but it beems User: Employees working in houses on the street joy and beauty and has become among the most photographed places in East Iceland. Although the parade is only an hour every year, the rainbow is all year round. The project was originally a B‐8_c What are the users activities of this public space(s)? temporary repair on the street and was supposed to last one summer but became successful immediately. The aim of keeping the rainbow street year round was also to support and raise Users Activity Before After awareness of the status of people in the LGBTQ community in remote places and it unites the residents when they gather to voluntarily apply fresh paint each year. This project shows that big Local residents Access to home/work   changes don’t always have to be made to change a village's local image. It also enhances sociality, solidarity and communication among the residents and nearby villages, who might otherwise Local residents Eat and drink   never have had the opportunity to get in touch with each other. Local residents Work   C‐3 Challenge that the project (activities) tried/is trying to tackle: Local residents Visit shops, restaurants, services,   and/or church 394 What challenge was the project At first the objective was bringing the gay pride celebration to the small town. Back in 2014 a local Culture  (activities) trying to tackle – what man, Snorri Emilsson, did not have the oppertunity to attend the gay pride celebration in  was the aim Reykjavík (the capital) so he took matters into his own hands. He gatherd a few friends and they Education walked back and forth on Norðurgata to show support for the rights of gay people and to have Health  fun. They even connected music to the speaker system at Kaffi Lára, a cafe/bar located on the street. After posting the stunt on social media, it instantly became a hit and the following year it Sustainability  became an official event with over 70 people attending. Instead of walking only on Norðurgata the parade went through town and by the end of the march the group had grown to almost 120 Science  people. The gay pride in Seyðis�örður had come to stay and is now the only place outside Tourism  Reykjavík to officially march for solidarity and celebration of diversity. The rainbow street itself is a product of this gay pride celebration. In 2016 when the celebration had grown even more, locals Sport  and organizers of the event painted the street one night. The aim was to brighten up and make Norðurgata more festive. It was also a temporary repair on the broken slabs in the street but it Industry  became so successful that fresh paint has been applied since. Other:  C‐4 Time frequency: Specify other: Gay pride festival Time Frequency A constant process C‐9 Sector which was.. Other information: Although the parade is only an hour every year, the rainbow is all year round. Fresh paint is applied annually as it fades during harsh winter weather each year. ..the initiator of the activities: Culture ..the most crucial for the whole case Culture C‐5 Time period study: Start: 6/1/2017 12:00:00 AM Comment: The cultural connection to the gay pride festival, LGBTI rights and the oppertunity to educate and End: celebrate diversity is the most important in this case study. Tourism was not initially a sector. Comment: Start date: summer 2016 ‐ ongoing C‐10 How was the local community involved in the project/activities: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles How was the local community The gay pride festival in Seyðis�örður as well as the rainbow street is both initiated and maintaind involved in the project/activities? by the local community. At first the street was painted by organizers of the gay pride event but Actor(s): A local, Snorri Emilsson after the rainbow street became a huge success it is painted and maintained by the town of Seyðis�örður and in good cooperation with house owners on the street. Each spring workers or Motivations: Celebrate gay pride away from Reykjavík other volunteers are armed with rollers and brushes and paint the rainbow street for the following summer. It has become a symbol of the arrival of summer and better weather and Roles: Came up with the idea, initiated it and brought people together. brings hope and joy to residents of Seyðis�örður. As described in C‐III a Seyðis�örður local did not Actor(s): Kaupfélag Hinsegin daga have the oppertunity to attend the gay pride celebration in Reykjavík so he took matters into his own hands. He gatherd a few friends (6 of them to be exact) and they walked back and forth on Motivations: Promote LGBTQ+ rights Norðurgata to show support for the rights of gay people. After posting the stunt on social media, it instantly became a hit and the following year it became an official event with over 70 people Roles: Kaupfélag Hinsegin daga have supported the initiative with various goods that have been attending. Instead of walking only on Norðurgata the parade went through town and by the end borrowed and donated. of the march the group had grown to almost 120 people.The festival had come to stay because of Actor(s): The Norðurgata group (a group of shop owners) the effort and interest from locals, from local law enforcement to shop owners who supported the event to the people that showed up. The rainbow street itself is a product of this gay pride Motivations: To attract people to their businesses and turn Norðurgata into more than just a street‐ but a celebration. In 2016 when the celebration had grown even more, locals and organizers of the destination event painted the street one night before the parade took place. Even though the idea was only to brighten up and make the broken slabs in Norðurgata more festive, the rainbow became much Roles: The Norðurgata group has faithfully supported the initiative by undertaking decorations and, more than a decorative feature ‐but rather a platform for Seyðis�örður and a statement about among other things, responsible for the rainbow being painted. what sort of community they strive to be. Actor(s): Residents in Seyðis�örður and other visitors C‐11 The role of natural/cultural heritage in the project/activities: Motivations: Did cultural and/or natural heritage Not directly. But it can be argued that the streetscape made by old wooden houses and by the Roles: Celebrate, enjoy, take photos play any specific role in the listed church of the town played a role in the choice of this street. It can also be argued that the project/activities? natural landscape, long distance from Reykjavík and remoteness of Seyðis�örður sparked the Actor(s): The town of Seyðis�örður events that led to painting of the street. Motivations: Attract visitors and capital. Maintain Seyðis�örðurs good image. C‐12 The targeted impact of the project/activity: Roles: Support the main actors, provide paint and more.. What was the targeted impact of The targeted impact was to make the street more beautiful, lively and festive because of the bad the project / activities? state it was in and because of the gay pride celebration. The colors that were chosen represent C‐7 Description of the supporting background that existed to make the activities happen: the LGTBQ+ official colours. What kind of supporting Supportive background is mostly the community in Seyðis�örður. Local law enforcement also background existed to make the gave a green light for the parade from the start. As mentioned above shop owners in Norðurgata, C‐13 Achievement of the targeted impact: activities happen (financial, the municipality the gay community in Iceland have all supported the activities in Norðurgata. Yes/no/partly: Yes institutional etc.) Iceland is known for being particularly LGBTQ+ friendly. Capital city Reykjavik hosts a big Pride festival each year that attracts around 100,000 people. To put that in perspective, the country’s Comment: Yes, even though it was done in the spur of the moment and only supposed to be a temporary entire population is only 335,000. repair the street came alive and added a lot of character to the area. C‐8 Sectors involved in the development of the creative works with public spaces: 395 C‐14 Additional achieved impacts: Were any additional impacts Yes, the rainbow street became much more than only a decorative feature. It became a Main failure: The street might not get much needed repair on surface materials. achieved? destination and a landmark for Seyðis�örður. And it promotes local architectural heritage. Even though the idea was only to brighten up the broken slabs in Norðurgata with paint, the rainbow C‐22 Importance of broader conditions for the main sucess and main failure factor: furthermore became a platform for Seyðis�örður and a statement about what sort of community How important were the broader It can be speculated that broader conditions were an important factor. What makes Seyðis�örður Seyðis�örður strives to be. It also became permanent but not temporary. Since the rainbow conditions (e.g. the supporting really unique is how developed the art sector is compared to the small size of the village. Hence, street was painted in 2016 it has attracted a lot of attention, it has even been used in marketing state of the art in the community, there is a strong focus on art related projects which often reflect openness of and to people. If materials at Inspired by Iceland (a marketing campaign for Iceland as a destination).The street has infrastructure, institutional support, there had not been an open minded community, the first gay pride event would maybe not have become one of the most photographed spots in east Icelands and draws a lot of attention on financial sources, local or taken place and the street paint would probably never have been added. For the very least it social media. Therefore tourist are more tempted to make their way into Seyðis�örður. Dagný "imported" know‐how etc.) for the would not have been as successful. The rainbow street is a simple project that became successful Erla Ómarsdóttir, employment, culture, and sports representative of Seyðis�örður town said in a main success and main failure factor because of the support of the local community and despite Seyðis�örðurs remoteness. Its main interview that people explicitly come to Seyðis�örður only to have their picture taken by the success is also connected to a broader idea and activism regarding LGTBQ+ rights. street. Many tourists however stay longer, and some couples have even decided to get married in the church at the end of the street. (The street has become so iconic that even one of Iceland's C‐23 Provide the links to public data on the creative works beloved musicians, Bubbi Morthens, was so inspired by the initiative that he named the title track: Regnbogans stræti.) Link to public data to better Visit East Iceland, about the rainbow street (Visit East Iceland, about the rainbow street) understand the activities and actors, C‐15 The main beneficiaries of the creative work in public space(s): as well as impacts: Who were the main beneficiaries of Besides the local business owners on the street who have the most direct interest, the town of The link: https://www.east.is/en/place/rainbow‐street the creative works in public Seyðis�örður, residents and businesses located there also benefit. The project has been known to spaces(s)? attract people to the site and business/hotel/restaurant owners, even the church, indirectly Link to public data to better The rainbow street as marketing material (The rainbow street as marketing material) benefit financially from the people the rainbow street attracts. Seyðis�örður also benefits from understand the activities and actors, the marketing opportunities, and in creating a positive image of life there. More funds also results as well as impacts: in the old houses by the street getting more love and attention from their owners. The link: https://austurland.is/en/street‐became‐hit/ C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Link to public data to better The success of the street (The success of the street) understand the activities and actors, Were there any, no matter how big The group that participates in the preparation of the street does everything in voluntary work, no as well as impacts: or small, economic benefits for the wages are paid, and initially all costs came from the group's own pockets. Several members of the The link: https://www.ruv.is/frett/litrik‐gata‐a‐seydisfirdi‐slaer‐i‐gegn local community as a whole or any business community as well as the town of Seyðis�örður have shown support by donating paint specific actors in particular, and other funds. As mentioned above, more visitors subsequently draw more people into shops, Link to public data to better Local news about the street (Local news about the street) resulting from the creative works restaurants, galleries and even hotels/hostels, with economic benefits for business owners. understand the activities and actors, with/in public spaces? as well as impacts: C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that The link: https://www.s�.is/is/leit?q=regnbogagatan potentially empowered the actors to prosper in their future development: Link to public data to better The queer parade in Seyðis�örður (The queer parade in Seyðis�örður) Were there any exchanges of There is no information available to answer this question. There is however ongoing extensive understand the activities and actors, knowledge or other activities research on how tourists (foreign guests) behave, consume and experience different places in as well as impacts: performed that potentially Iceland in general. It is also worth mentioning that the rainbow street has been mentioned in The link: https://www.mbl.is/frettir/innlent/2019/08/27/tha_gengum_vid_aftur/ empowered the actors to prosper in travel sector conventions. https://visitseydis�ordur.com/is/culture/queer‐parade‐pride‐parade‐in‐seydis�ordur/ their future development? Link to public data to better Monitoring foreign visitors in Iceland (Monitoring foreign visitors in Iceland) C‐18 Monitoring (or not) of the impact of the project: understand the activities and actors, How was the impact of the project / There is no information on if or how the project was monitored in an organized matter. Locals do as well as impacts: activities monitored? If it wasn’t – however notice a change, the street has become a tourist hot spot and visitors stand in the The link: https://www.rmf.is/static/research/files/2017‐07‐18175‐seydis�ordur‐skyrslapdf how do you think it could be middle of the street and take pictures. monitored? D‐1 Main editor in charge of this entry and potential other authors of this case study description C‐19 Way in order to communicate the impact of the project: Name and surname: Dagny Hardardottir How was the impact of the project / Through small articles and blogs in local papers and websites. activities disseminated or Organization: Landbúnaðarháskóli Íslands communicated? Email: nem.dah2@lbhi.is C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: Role: author How were the creative works in According to 2020 sources, Rainbow street is the second most photographed place in east D‐2 Representative pictures public space(s) perceived, Iceland. Articles, pictures and social media implies that people enjoy the colorful street. As Picture's caption: Seydisfordur during winter evaluated, judged by the final users mentioned above it has drawn a lot of attention and the rainbow alone attracted people to visit – what were the reactions of the the village. Locals are, according to an interview with a resident in Seyðis�örður, very proud and general public? happy with the change the rainbow paint made. C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: As noted above the main success is the attention it brings to Seyðis�örður. Both portraying the small village in a positive light but also attracting guests. It might not have been the initial goal ‐ 396 but the idea also saved money on repair. Picture's date: Picture's source: Picture's caption: Seydis�ordur bird view (free of rights) Picture's author: Austurbrú Picture's date: Picture's source: Austurbrú Picture's caption: Seydis�ordur rainbow Picture's author: Freysteinn G. Jonsson Picture's date: Picture's source: https://unsplash.com/photos/1b5PLkPZI8Q D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Austurbrú Picture's date: Picture's source: Austurbrú Picture's caption: Seydis�ordur rainbow during winter 397 Picture's author: Ingvi Örn Þorsteinsson Design consultancy for the renovation of commercial facades in Saint-Genest-Malifaux and Bourg- Argental Mission de conseils en design pour la rénovation des façades commerciales à Saint- Genest- Malifaux et Bourg- Argental Local people tell the story of the town of Dunières Des habitants racontent le bourg de Dunières Frontage, revealing greenery FRANCE Frontage, révéler le végétal Rock to Heavens Trail Le Chemin des Roches à Cieux Agora Bench Le banc à palabres 398 Design consultancy for the renovation of commercial Legend of the map: facades in Saint-Genest-Malifaux and Bourg-Argental Mission de conseils en design pour la rénovation des façades commerciales à Saint- Genest- Malifaux et Bourg-Argental A‐1 General information about the location of the remote place Country name (in local language): France Region name (in local language): Auvergne‐Rhône‐Alpes Place name (in local language): Communauté des Communes des Monts du Pilat Country name (in english): France Region name (in english): Auvergne‐Rhône‐Alpes Place name (in english): Communauté des Communes of Monts du Pilat Map of the network of public spaces in the remote place Caption of the map: Map of Bourg‐Argental and Saint‐Genest‐Malifaux 399 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Diversified economic activities Dense settlement +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed creative sector creative sector Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4  ‐4 ‐5 ‐5 Absence of economic activity Open landscape Predominantly craft/trade and local interest economic activity and creative sector moderately developed, with the exception of Saint-Low density area (49 inhabitants/km2) open landscape and rural character prevail, evolving towards residential 2 out of 4 working Julien Molin-Molette, located on the outskirts of the Communauté de Commune. The economic activity concerns trade, tourism and Comment: people work outside the Communauté de Communes. Comment: the hotel and craft industries, mainly the building trades. Although the area is very well equipped with optical fiber, there is still no significant establishment of high value-added trades. In terms of crafts, initiatives are concentrated at the margins (Saint-Julien-Difficult terrain Molin-Molette) or in the immediate vicinity (Dorlay valley, Pélussin). +5 Daily‐life‐support facilities well developed +4 +5 +3 +4 +2   +3 +1 +2 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good +1 (infrastructure (infrastructure for) access for) access Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic ‐1 structure structure ‐2 ‐1 ‐3 ‐2 ‐4 ‐3 ‐5 ‐4 Effortless terrain ‐5 The terrain is not particularly difficult and the road infrastructure is suitable, but it is quite sensitive to the climate. The equipment and maintenance of a network of roads, with fairly scattered locations, represents a significant social cost, to be covered by the Daily‐life‐support facilities none‐existing Comment: Community of Communes. The sensation of distance is expressed, in the first instance, in three main aspects: 1.distance from Aged demographic structure; there is an adequate but not very diverse range of equipment to help people in their daily lives, and half services and shops, 2.limited school facilities after secondary school, 3.limited public transport. of them are concentrated in the two main communes (Saint-Genest-Malifaux and Bourg Argental). From the point of view of the Comment: services offered, the Community is faced with the limits of a residential mutation which has not been accompanied by economic development, thus hindering the installation of a younger population, craftsmen or agricultural projects. 400 High‐income households prevail Summary of the elements that The two communes concerned by our mission of advice on signs and shop fronts are the main characterise this case as a remote communes of the Community of Communes of the Monts du Pilat. Each has about 3000 +5 place: inhabitants, i.e. a total of 40% of the total population of the Community. Nearly 50% of the shops +4 and almost all the services, particularly health services, are concentrated there. These communes have very different profiles. Bourg‐Argental, isolated at the bottom of the valley, is oriented +3 towards the Rhone valley. Its urban form is deeply marked by the industrial activities, which are now extinct. Saint‐Genest‐Malifaux, situated on a plateau at an altitude of over a thousand metres +2 is more exposed to climatic variations. Oriented towards the Loire valley, this has benefited from +1 a greater attractiveness in terms of living environment, which explains its residential development. These two communes have in common, on the one hand, a tendency towards Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory demographic decline and ageing of the population and, on the other hand, a lack of renewal of practices none‐ practices well the supply of services and shops, coupled with a significant vacancy in housing and commercial existing developed premises. Remoteness is therefore characterised not so much in terms of distance in the strict sense, but in terms of definition of the identity of places, issues of centrality and attractiveness.  ‐1 We can evoke a of dependence on the metropolises, as well as the effects of a functional ‐2 assignment ‐ Pilat as a 'garden' for Lyon and Saint‐Étienne ‐ compromising the identity of these municipalities. In such a way the argument based on the quality of the "living environment" (calm, ‐3 clean air, wide open spaces) often takes on the appearance of a claim rather than an expression of attachment. ‐4 Low population density rank: 1 ‐5 Geographical barrier/allocation rank: 3 Low‐income households prevail The socio-economic situation of households varies considerably between the municipalities, depending on whether they are No good transportation links rank: residential, predominantly agricultural, formerly industrial or oriented towards tourism. The residential development that was at the Difficulties in accessing daily‐life-2 Comment: origin of the demographic boom at the end of the 20th century has come to an end, combined with an ageing population. The support facilities rank: conditions required for participatory practices are not very present, except in the field of sport, although on this point the Pilat Park and the territory of the Communauté de Commune benefit above all from the frequentation of a population from outside. Social specifics and/or divisions rank: A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) Economic inferiority rank: Estimation: 2 Subjective criteria (e.g. community’s 4 self‐perception of being remote etc) Explanation: The notion of distance is insufficient to qualify remoteness. It must be combined with a reflection rank: on the filiations and dependencies that weave this rural space. An aspect of local demography, little studied, appears in the biographies: it is the influence of the settlement of families, Other rank: 5 considered over two or three generations. This reveals the intensity of the links between plateau A‐5 Provide the links to public data and valleys, villages and urban centres. The distance felt becomes the intimate expression of a dispersion that is experienced and transmitted in different ways. This dispersion is frequently Links to public data on the remote associated with ruptures that are regularly caused by economic difficulties. Living at a "distance is place often the result of a break in the family or personal trajectory. The 'city', on which one remains dependent, is the centre to which one had to turn one's back at some point in history, or the one The link: https://www.cc‐montsdupilat.fr/ (https://www.cc‐montsdupilat.fr/) to which one had to move closer to. The inscription of affects in geography is a determining factor in the notion of distance Links to public data on the remote place A‐4 Elements that characterise the remoteness of the place: The link: https://www.parc‐naturel‐pilat.fr/ (https://www.parc‐naturel‐pilat.fr/) Low population density  Links to public data on the remote Bourg‐Argental Insee Geographical barrier/allocation  place No good transportation links  The link: https://www.insee.fr/fr/statistiques/2011101?geo=COM‐42023#consulter‐sommaire (https://www.insee.fr/fr/statistiques/2011101?geo=COM‐42023#consulter‐sommaire) Difficulties in accessing daily‐life‐  support facilities Links to public data on the remote Saint‐Genest Malifaux Insee place Social specifics and/or divisions  The link: https://www.insee.fr/fr/statistiques/2011101?geo=COM‐42224 (https://www.insee.fr/fr/statistiques Economic inferiority  /2011101?geo=COM‐42224) Subjective criteria  Links to public data on the remote Observatoire du paysage (campagne Sophie Ristelhueber) place Specify subjective criteria (e.g. feeling of decline, lack of identity community’s self‐perception of The link: https://terra.developpement‐durable.gouv.fr/observatoire‐photo‐paysage being remote etc): /searchkwl.do?f=critere4&q=Sophie+Ristelhueber (https://terra.developpement‐durable.gouv.fr /observatoire‐photo‐paysage/searchkwl.do?f=critere4&q=Sophie+Ristelhueber) Other  Links to public data on the remote Specify other: Situation on the margins of the main metropolitan area (Lyon, Saint‐Étienne), without benefiting place from the attractiveness of the latter 401 The link: http://www.st‐genest‐malifaux.fr/ (http://www.st‐genest‐malifaux.fr/) Name(s) of the public space(s) (in ‐ à Bourg‐Argental : rue du Cardinal Donnet ; rue de République ; rue et place de la Cité ; place de local language): la Liberté ; place du 11 Novembre ‐ à Saint‐Genest‐Malifaux : rue du Maréchal Foch, rue de la Links to public data on the remote Sémène, rue du Feuillage et rue du Velay place Name(s) of the public space(s) (in ‐ in Bourg‐Argental: rue du Cardinal Donnet; rue de République; rue and place de la Cité; place de The link: http://www.bourgargental.fr/ (http://www.bourgargental.fr/) English): la Liberté; place du 11 Novembre ‐ in Saint‐Genest‐Malifaux: rue du Maréchal Foch, rue de la Sémène, rue du Feuillage and rue du Velay A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Latitude of the public space(s): 45.296790 45.340243 Square/s, Plaza/s  Longitude of the public space(s): 4.560701 4.419985 Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Watersides  Meadows  Parking area  Service yard  Other types:  Specify other types: Ground plan showing the land use Type of indoor public spaces that municipal halls of the public space(s): can be found in this remote place: media library sports and religious facilites A‐8 General description of.. The network of roads, streets, paths These two town centres are located at the crossroads of departmental roads carrying local traffic and alike elements that tie this and, for Bourg‐Argental in particular, a large transit of heavy vehicles, due to the nearby forestry remote place together: activity (sawmill) and the plastics industry on the Loire coast (Sainte‐Sigolène; Yssingeaux). This traffic has a clear impact on the profile of the roads and banks, often in conflict with the built‐up areas. Pedestrian/cycle paths are largely affected by the preponderance of road traffic, and the structure of the network offers few traffic alternatives. The centre of Bourg‐Argental, due to the confluence of two rivers, offers however a richer possibility of secondary paths, allowing to leave/enter the town without crossing too much road traffic. The inscriptions of general interest (signage, for example) are predominant and offer a functional reading of the town centres. The quantity and structure of public Apart from the spaces bordering traffic lanes ‐ pavements, squares, parking ‐ there are few space network (besides outdoor spaces that can be seen as "public", in the sense that they are likely to be the object of roads/streets/paths network) in this public use or appropriation, independently of the habits linked to the commercial offer. The offer remote place: of services intended for the public ‐ leisure, culture ‐ is structured by a "zoning" and a qualification Caption's map of the public space: Plans of Bourg‐Argental & Saint‐Genest‐Malifaux of the space which largely affects the possibility of an external social life. Legend's map of the public space: A‐9 General description of the quality of public spaces in this remote place Main location  Answer: The main characteristics of public spaces in these two municipalities are: 1/ that outdoor areas traditionally used for community life ‐ squares, forecourts, market halls ‐ are now dedicated to B‐2 Describe the physical environment parking and/or highly regulated use (numerous prohibitions, warnings, etc.), 2/ the very seasonal/occasional use of these spaces (few shelters, parking facilities, sanitary facilities, etc.), and 3/ privatisation and congestion of pedestrian intersections B‐1 Name(s) of the public space(s) 402 Physical environment description of On a rural plot of land, most of the buildings were constructed in the nineteenth century. These Activity: Discover the public space(s) with creative buildings originally combined industrial/economic activity and housing. The buildings are of works: average height ‐ ground floor + 3 floors ‐ and of modest construction. The state of maintenance of B‐8_b Who are the main users of this public space(s)? the facades is mediocre, with numerous transformations that have affected the rhythms and User: Clients modenatures. It is characteristic, from a socio‐cultural point of view, that the urban landscape ‐ especially that of Saint‐Genest‐Malifaux ‐ is claimed to be "typical" of a country village, whereas User: Walkers its urban form is the result of the industrial boom, particularly in connection with Saint‐Étienne. In Bourg‐Argental, there is an important group of shopfronts with heritage value, but which have User: Tourists been neglected: these are panelled shopfronts dating from the beginning of the 20th century. These creations testify to both a craft know‐how and the history of the town as a centre of B‐8_c What are the users activities of this public space(s)? economic exchange between the Rhône valley and the plateau. In addition, part of the Bourg‐ Argental town centre is subject to the regulations of the Monument Historique, which means that Users Activity Before After projects must be examined by the architect of the Bâtiments de France. Clients Shopping   Physical environment elements The work on the sign and shopfronts consisted of a re‐reading of this urban landscape, which has Clients Parking, meeting, socialising   were important and/or actually a very disparate appearance due to the succession of interventions, commercial occupations and "used" by creative people for their lack of maintenance (due in part to the ageing population of owners, the absence of heirs and the Walkers Parking, meeting, socialising   activities: low land value). This "reading" is based on an enhancement of the facades' strength, the search for vertical rhythm elements and the identification of vernacular constants in the construction Tourists Discover   (materials used for example). This intervention framework largely dictated the work of the designers and graphic artists, particularly from the point of view of the use of text, by seeking to B‐9 Parts/sections/spots seem most attractive within the public space (location and limit inscriptions, and of colour, by favouring the distant vision of the shopfronts and inscriptions. duration) ‐ Parts/sections/spots at people seem to avoid: In this respect, a major obstacle was to invite the partners to consider their locations in a spatial manner ‐ as part of an urban ensemble perceived in movement ‐ and not in a photographic Describe what parts seem to be the The situations encountered in Saint‐Genest‐Malifaux and Bourg‐Argental clearly show that manner ‐ as an isolated, singular element in close‐up. most attractive to people thresholds are favoured and used. Thresholds in the sense of areas located near shops, or in the sense of passage, for example at the level of road crossings. However, these thresholds are also B‐3 Describe the general functions difficult to use: narrowness of pavements, lack of shelters, etc. On the other hand, traditionally dedicated spaces ‐ forecourts, squares, etc. ‐ are not very popular with the public. This is a Functions and land uses description The area concerned is the network of public roads in the city centre with a commercial vocation. common situation in medium mountain towns, where the economic/productive activity is totally in the area of the public space: We are therefore talking, on the whole, about shops located along roads, bordered by pavements removed from the urban centre. that are generally not very wide. These shops are frequented by a neighbourhood population, the vast majority of whom travel by car. We are therefore in town centres, the attractiveness of B‐10 Provide the links to public data on the public space(s) which lies essentially in the association between the commercial offer and services (school, health, administration). There are two reasons for travelling to these town centres: the regular Website: one (the town centre is located on a daily route) or the combined one (several needs/constraints Website's link: http://nicolassoulier.net/html/texts_les_frontages.html (http://nicolassoulier.net can be met at the same time: picking up children from school/shopping, etc.). Otherwise, people /html/texts_les_frontages.html) would rather go to the outskirts of town to buy supplies on the way home from work. Website: Functionalities of space were The main themes of the intervention were : ‐ 1/ the dynamic perception of the urban landscape, important and/or actually "used" by because the car remains the privileged "point of view" ‐ 2 / the rhythm of the facades and the Website's link: https://www.ruesauxenfants.com/ (https://www.ruesauxenfants.com/) creative people for their activities: verticality, in order to favour a distant vision, to make it easier to read the perspectives, ‐ 3 / the limitation of inscriptions ‐ text ‐ and coloured variants to allow a better reading and not to "suffer" Website: the competition of public inscriptions. Website's link: https://www.studioidae.com/projets/aero‐seine‐2/ (https://www.studioidae.com/projets/aero‐ B‐4 General demographic characteristics of the area around the public space: seine‐2/) Describe the general demographic Residential area, with a prevalence of renting, offering old dwellings of old design and medium or Website: characteristics small surface areas. The housing stock in the centre of the village is not very well developed, with Website's link: https://www.levoyageanantes.fr/de‐l‐art‐des‐enseignes/ (https://www.levoyageanantes.fr/de‐l‐art‐ a significant level of vacancy (both in housing and in shops). It can be seen that the dwellings are des‐enseignes/) mostly occupied by households of modest social status and/or elderly people. Website: B‐5 Type of the public space(s) with creative work Website's link: https://www.instagram.com/typotopy_/?hl=fr (https://www.instagram.com/typotopy_/?hl=fr) Form and function: Squares and streets in town centres with a commercial vocation. B‐11 Provide photos of the public space(s) with creative works Ownership: Private Caption: Saint‐Genest‐Malifaux_ Tourist Office Access regarding entry‐control: Free access, visibility of facades, signs and storefronts is possible at any time. Access regarding time of day/week No limitation /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The public space has no particular purpose: it is a public road serving and crossing town centres. public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: Shopping Activity: Parking, meeting, socialising 403 Photo's author: TYPOTOPY Photo's author: TYPOTOPY Caption: Saint‐Genest‐Malifaux_ beauty salon Caption: Bourg‐Argental_Hair Salon 404 Photo's author: TYPOTOPY Photo's author: TYPOTOPY Caption: Bourg‐Argental_Centre‐bourg Caption: Saint‐Genest‐Malifaux_restaurant 405 Describe the project (activities) that TypoTopy's mission concerns two town centres on the Pilat region that are significantly marked, took place in the analysed public in the commercial field, by the decline, by the lack of renewal of the offer and by the ageing of the space(s) visual environment. The aim of the mission was to propose around thirty projects for shopkeepers in order to encourage them to undertake a process of renovating their signs and shopfronts. The main line of action concerns signs and storefronts because they define a territory of reflection that goes far beyond the field of efficiency. The sign inscribes a message in the public space which is related to other messages relating to the uses of public space: signage, advertising, etc. This set of messages is defined in visual terms (competition vs. coherence) and translated into regulations. Typotopty's approach is that the message (or image) that a shopkeeper wishes to give about himself (his activity) contributes to the collective formulation of the uses of public space and that it is of the graphic artist/designer contributing to a calmer reading of this space. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The aim was to raise awareness among shop keepers of the need to renovate their signs and shop (activities) trying to tackle – what fronts, using the skills of graphic designers. This objective is part of a set of measures designed to was the aim strengthen the commercial attractiveness of town centres. C‐4 Time frequency: Time Frequency One‐time activity Other information: C‐5 Time period Start: 2/1/2020 12:00:00 AM End: Comment: in progress C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Communauté de Commune des Monts du Pilat Motivations: Economic development Roles: Project Initiator Actor(s): Intervention fund for trade and crafts Motivations: Collective mobilisation of shops, attractiveness Roles: Coordination, financing Actor(s): Shopkeepers Photo's author: TYPOTOPY Motivations: Request for competence regarding renovation C‐1 Official name of the activity/project Roles: Beneficiaries of the project Name in local language: Mission de conseils en design pour la rénovation des façades commerciales à Saint‐Genest‐ Malifaux et Bourg‐Argental C‐7 Description of the supporting background that existed to make the activities happen: Name in English: Design consultancy for the renovation of commercial facades in Saint‐Genest‐ Malifaux and What kind of supporting ‐ financial and technical support from the financing authorities ‐ community staff to interact with Bourg‐Argental background existed to make the the shopkeepers ‐ documentary resources (photo library, photographic inventory of the activities happen (financial, landscape, etc.) ‐ network of resource persons: architects, technicians, e Nickname: institutional etc.) Overall name:  C‐8 Sectors involved in the development of the creative works with public spaces: C‐2 Description of the project (activities) that took place in the analysed public space(s): Culture  Education  Health  Sustainability  Science  Tourism  Sport  406 Industry  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Other:  Were there any exchanges of not relevant Specify other: local authorities and shop keepers knowledge or other activities C‐9 Sector which was.. performed that potentially empowered the actors to prosper in ..the initiator of the activities: Other their future development? ..the most crucial for the whole case Other C‐18 Monitoring (or not) of the impact of the project: study: How was the impact of the project / not relevant Comment: Local authorities (Communauté de Communes des Monts du Pilat) activities monitored? If it wasn’t – how do you think it could be C‐10 How was the local community involved in the project/activities: monitored? How was the local community This mainly involved the shopkeepers themselves, with whom a survey was conducted over a C‐19 Way in order to communicate the impact of the project: involved in the project/activities? period of almost four weeks. Individual meetings, in their workplaces, allowed designers to acquire a good knowledge of the situations of each of the shopkeepers, their activities, their How was the impact of the project / The project has not yet been communicated constraints and their expectations in terms of shop fronts and signs. They were thus able to carry activities disseminated or out an inventory of the buildings, to take note of the development prospects and the economic communicated? context. In the course of the survey, attention was paid to documenting the variations of the activity ‐ according to the days and hours ‐ but also certain aspects, ergonomic for example, C‐20 Perception of the creative works in public space(s) by the final users and the reactions relating to the conditions of exercise of the activity. A second step was the exchange with the of the general public: shopkeepers about the projects, including possible modifications to them. In this way, the interested parties currently have in their hands which they can implement in the way that suits How were the creative works in not relevant them. public space(s) perceived, evaluated, judged by the final users C‐11 The role of natural/cultural heritage in the project/activities: – what were the reactions of the general public? Did cultural and/or natural heritage Yes, the built heritage is, strictly speaking, the physical support of the sign as it is, for the graphic play any specific role in the artist/designer, the support for his reflection, in resonance with the expectations expressed by C‐21 The (one) main success and the (one) main failure of the project/activities project/activities? the retailer. Main sucess: Creation of a sustained exchange with shopkeepers who are not usually concerned by the C‐12 The targeted impact of the project/activity: intervention of graphic artists/designers. What was the targeted impact of To stimulate the retailers concerned to take the initiative to renovate and, in the long term, to Main failure: Absence of a collective dynamic. The meetings set up by the Communauté de communes the project / activities? trigger a virtuous dynamic gathered very few participants. C‐13 Achievement of the targeted impact: C‐22 Importance of broader conditions for the main sucess and main failure factor: Yes/no/partly: Partly How important were the broader It is premature to conclude the success or failure of the mission. While the projects have been conditions (e.g. the supporting presented to stakeholders, often reworked, with recommendations for implementation, three Comment: At this stage of the action it is not possible to answer positively or negatively. However, it can be state of the art in the community, important points can be mentioned which could help the implementation phase to run smoothly: observed that the continuous exchanges with the shopkeepers have enabled them to overcome infrastructure, institutional support, ‐ the existence of a strong network of artisans (which we have identified) that will allow the their apprehensions concerning, on the one hand, the dialogue and forms of exchange with the financial sources, local or implementation of these projects in good conditions ‐ the awareness of the different services graphic artists/designers and, on the other hand, the regulatory complexity (to obtain the "imported" know‐how etc.) for the concerned in the municipalities and the institutions issuing authorisations ‐ a context of urban authorisations for the installation). On the other hand, we observed during our exchanges with main success and main failure factor evolution ‐ due to the fact that the two towns will undergo major development work ‐ which the local authorities that the mediation of a graphic artist/designer could favour the perception of could encourage the initiative of shopkeepers. On the other hand, one can fear ‐ as a contribution a renovation project. However, at this stage, it is not possible to conclude that this project has to a possible failure ‐ the great uncertainty on the sustainability of the activities: thus, among the initiated a dynamic. This can be seen following the completion of the first projects. thirty traders concerned, six of them are no longer involved (moving, sale, transmission change of activity, etc.) C‐14 Additional achieved impacts: C‐23 Provide the links to public data on the creative works Were any additional impacts not relevant achieved? Link to public data to better understand the activities and actors, C‐15 The main beneficiaries of the creative work in public space(s): as well as impacts: Who were the main beneficiaries of not relevant The link: the creative works in public spaces(s)? D‐1 Main editor in charge of this entry and potential other authors of this case study description C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Name and surname: Costanza Matteucci, Pierre Hanau Were there any, no matter how big not relevant Organization: Association TypoTopy or small, economic benefits for the local community as a whole or any Email: costanza.benedetta.matteucci@gmail.com; typotopy.tresor@gmail.com specific actors in particular, Role: resulting from the creative works 407 with/in public spaces? D‐2 Representative pictures Picture's caption: Chez Valérie Tobacco Before Picture's author: TYPOTOPY Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental Picture's author: Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental Picture's author: TYPOTOPY Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's author: TYPOTOPY Picture's caption: Saint‐Genest‐Malifaux Picture's date: 9/4/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental 408 Picture's author: Sylvain Reymondon Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental Picture's author: TYPOTOPY Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental. Boulangerie Lorrain Tradition Picture's author: Sylvain Reymondon Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Saint‐Genest‐Malifaux. Eden Roc 409 Picture's author: Sylvain Reymondon Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental. Atelier Floral Pollen Picture's author: Sylvain Reymondon Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental. Ambulances Bartasson Picture's author: TYPOTOPY Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Bourg‐Argental. Sylvie Coiffure Portrait 410 Picture's author: TYPOTOPY Picture's date: 9/3/2020 12:00:00 AM Picture's source: TYPOTOPY Picture's caption: Secrets Beauté Before Picture's author: Caroline Pauchant/Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Sylviie Coiffure Before Picture's author: Caroline Pauchant/Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Secrets Beauté Portrait 411 Picture's author: Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Sylviie Coiffure Project Picture's author: Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Aux délices cafe Before Picture's author: Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Lorrain Project Before (Boulangerie) Picture's author: Benjamin Fernandes Picture's date: Picture's source: TYPOTOPY Picture's caption: Aux délices cafe Portrait 412 Picture's author: Benjamin Fernandes Picture's date: Picture's source: TYPOTOPY Picture's author: Sylvain Reymondon Picture's caption: Aux délices cafe Project Picture's date: Picture's source: TYPOTOPY Picture's caption: Chez Valérie Tobacco Project Picture's author: Benjamin Fernandes Picture's date: Picture's source: TYPOTOPY Picture's caption: Chez Valérie Tobacco Portrait 413 Picture's author: Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY Picture's caption: Imagin'hair Before Picture's author: Costanza Matteucci Picture's date: Picture's source: TYPOTOPY Picture's caption: Imagin'hair Project Picture's author: Costanza Matteucci Picture's date: Picture's source: TYPOTOPY Picture's caption: Imagin'hair Portrait 414 Picture's author: Costanza Matteucci Picture's date: Picture's source: TYPOTOPY Picture's caption: Secrets Beauté Project Picture's author: Caroline Pauchant/Sylvain Reymondon Picture's date: Picture's source: TYPOTOPY D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 415 A-2 Elements that characterise the remoteness of the place (from -5 to 5) Local people tell the story Dense settlement of the town of Dunières +5 Des habitants racontent le +4 bourg de Dunières +3 +2 A-1 General information about the location of the remote place +1 Rural character -5 -4 -3 -2 -1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): France  -1 Region name (in local language): Haute Loire -2 Place name (in local language): Dunières -3 Country name (in english): France -4 Region name (in english): Haute Loire -5 Place name (in english): Dunières Open landscape Dunières is a rural town, falling in the category of "not/not very dense" as defined by the French statistics body, INSEE. It has a Comment: population of 2,700 and the town's built heritage is very heavily marked by its industrial heritage from the end of the 20th century, weaving mill and sawmills, including the Moulin sawmill, which still exists and is an economic actor in the town. Difficult terrain +5 +4 +3 Map of the network of public spaces in the remote place +2 +1 Poor (infrastructure for) -5 -4 -3 -2 -1 0 +1 +2 +3 +4 +5 Good (infrastructure for) access access -1 -2 -3  Caption of the map: map of Dunières -4 Legend of the map: -5 Effortless terrain Dunières is a central municipality in the Monfaucon (pop. 8,551) intermunicipal grouping made up of 8 villages: Saint-Romain-Lachalm, Dunières, Riotord, Raucoules, Montfaucon-en-Velay, Saint-Julien-Molhesabate, Montregard, Saint-Bonnet-le-Froid. Comment: Between Velay and Vivarais, this territory offers a remarkable natural setting much appreciated by people who practise outdoor sports and hikers. 416 Diversified economic activities High-income households prevail +5 +5  +4 +4 +3 +3 +2 +2 +1 +1 None-existing creative -5 -4 -3 -2 -1 0 +1 +2 +3 +4 +5 Well-developed creative Participatory practices -5 -4 -3 -2 -1  +1 +2 +3 +4 +5 Participatory practices sector sector none-existing well developed -1 -1 -2 -2 -3 -3 -4 -4 -5 -5 Absence of economic activity Low-income households prevail For about a decade, the town has suffered from a lack of vitality that has taken the form of a drop in its population and an increase in Comment:Most of the town's inhabitants are working class or retired. Comment: empty premises in the town centre. A recurrent phenomenon in territories a long way from major urban areas, and which is occurring all over the country. A-3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) Daily-life-support facilities well developed Estimation: 2 +5 +4 Explanation: +3 A-4 Elements that characterise the remoteness of the place: +2 Low population density  +1 Geographical barrier/allocation  Aged demographic -5  -3 -2 -1 0 +1 +2 +3 +4 +5 Sound demographic No good transportation links  structure structure Difficulties in accessing daily-life-  -1 support facilities -2 Social specifics and/or divisions  -3 Economic inferiority  -4 Subjective criteria  -5 Specify subjective criteria (e.g. Daily-life-support facilities none-existing community’s self-perception of being remote etc): Although the make-up of houses at first appears varied and heterogeneous and a certain balance could be expected in this respect, in fact only 10% of couples are under 40 years whereas 13.5% are over 80. In other words, the population of Dunières is ageing and Other  Comment: struggling to renew itself: a non-negligible proportion of people under 40 newly arrived in Dunières have settled there "by default" and as a real life choice. Specify other: Summary of the elements that Although the Jeune Loire region is a relatively dynamic area, thanks in particular to its proximity characterise this case as a remote to the employment areas of Saint-Etienne and Le Puy en Velay, Dunières remains on the fringes place: of these demographic dynamics due to its distance from the RN88 (Route Nationale 88). It has lost around 15% of its population since 1955. Dunières is the most populous town in the Community of Communes and the main commercial centre of the territory. However, it is not reflected in a real animation of the public space. Low population density rank: 1 Geographical barrier/allocation rank: No good transportation links rank: 2 Difficulties in accessing daily-life- support facilities rank: 417 Social specifics and/or divisions rank: 3 Economic inferiority rank: 4 The network of roads, streets, paths The town of Dunières has good road infrastructure, but it is crossed by main roads carrying a lot and alike elements that tie this remote of heavy goods vehicles. This is aggravated by narrow pavements, and by pedestrian linkways Subjective criteria (e.g. community’s place together: that have been cut off. Pedestrian routes are relatively unsafe, not easy to negotiate. There are self-perception of being remote etc) no cycle paths in the town, which imposes heavy reliance on the car. rank: The quantity and structure of public The town is situated at the bottom of a valley, along the River Dunière, but this is not exploited Other rank: space network (besides as a public space (park) at all. The town has very few (3!) quality public spaces, and these placed roads/streets/paths network) in this along the main road running through the town, with a lack of nature in the public space. (no A-5 Provide the links to public data remote place: trees). Links to public A-9 General description of the quality of public spaces in this remote place data on the remote place Answer: Because these spaces are alongside the main road, they do not lend themselves to rest or leisure. There is one public space strongly linked to local tourism, with a picnic table, but it is a The link: https://fr.wikipedia.org/wiki/Duni%C3%A8res (https://fr.wikipedia.org/wiki/Duni%C3%A8res) long way from the town centre. The other 2 spaces in the town centre have a children's Links to public playground (for small children) and the other is a war monument. Public space with no data on the observed use, no street furniture. There are a high demand for a public space where people remote place could come together and for bathing and fishing areas to be laid out along the river. The link: https://fr.wikipedia.org/wiki/Ligne_de_Firminy_%C3%A0_Saint-Rambert-d%27Albon B-1 Name(s) of the public space(s) (https://fr.wikipedia.org/wiki/Ligne_de_Firminy_%C3%A0_Saint-Rambert-d%27Albon) Name(s) of the public space(s) (in Réseau de surfaces vertes du Bourg de Dunières Links to public local language): data on the remote place Name(s) of the public space(s) (in Network of green spaces in the town of Dunières English): The link: https://www.leprogres.fr/politique/2020/11/12/la-commune-eligible-aux-petites-villes-de- demain#:~:text=Le%20minist%C3%A8re%20de%20la%20Coh%C3%A9sion,partenaires%20pour%20leurs%20projets%20de Latitude of the public space(s): 45.2080556 (https://www.leprogres.fr/politique/2020/11/12/la-commune-eligible-aux-petites-villes-de- Longitude of the public space(s): 4.34555556 demain#:~:text=Le%20minist%C3%A8re%20de%20la%20Coh%C3%A9sion,partenaires%20pour%20leurs%20projets%20de) Links to public data on the remote place The link: https://www.facebook.com/dunieres43.fr/ (https://www.facebook.com/dunieres43.fr/) A-7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Ground plan showing the land use of Park/s, Garden/s  the public space(s): Market space/s  Playground/s  Recreational space/s, Sport-field/s  Community open-air space/s  Institution-related open-air space/s  (e.g.University grounds) Caption's map of the public space: Watersides  Legend's map of the public space: map of Dunières Meadows  Main location  Parking area  Service yard  B-2 Describe the physical environment Other types:  Physical environment description of not possible to complete the public space(s) with creative Specify other types: works: Type of indoor public spaces that can Private gardens in housing in the town centre Physical environment elements were not possible to complete be found in this remote place: important and/or actually "used" by creative people for their activities: A-8 General description of.. B-3 Describe the general functions 418 Functions and land uses description in not possible to complete Describe the project (activities) that As part of the urban study on revitalising Dunières town centre conducted by the Department the area of the public space: took place in the analysed public of Haute Loire, a participatory sensitive-type approach was proposed by the team of designers space(s) on the Urban Project Team (MOEU). During the Urban Diagnosis phase, a sensitive mapping of Functionalities of space were not possible to complete the territory was drawn up based on multiple meetings with the inhabitants. A sensitive map is important and/or actually "used" by the formalization of a document that attempts to convey the affective dimension of a territory, creative people for their activities: to understand the landscape through a human-scale vision, to define a place based on people's accounts of it. These maps are subjective, and provide a "snapshot of a feeling" expressed by B-4 General demographic characteristics of the area around the public space: those who inhabit and walk its streets on a daily basis. This map served as the deliverable for this participatory work with the population to give value to their involvement in the urban Describe the general demographic not possible to complete study and it fed into the urban development and objective diagnostic work on the territory characteristics done by the MOEU team. B-5 Type of the public space(s) with creative work C-3 Challenge that the project (activities) tried/is trying to tackle: Form and function: not possible to complete What challenge was the project The activity was attempting to reveal a vernacular history and heritage of Dunières. The aim Ownership: not possible to complete (activities) trying to tackle – what was was to uncover information, curiosity, the cultural and human potential of this territory which is the aim not encompassed in more objective studies. Our challenge was therefore to identify and Access regarding entry-control: not possible to complete inventory this intangible heritage linked to memory, to the purely affective attachment that shapes the imaginative representation and builds the story of Dunières. Access regarding time of not possible to complete day/week/year: C-4 Time frequency: B-7 Kind of activity initially designed for this public space: Time Frequency Other What kind of activity has been this not possible to complete Other information: The information gathering workshops were held in December 2019 and January 2020. And the public space designed for initially map was formalised in February 2020. B-8_a Which are the activities in this public space(s)? C-5 Time period Activity: not possible to complete Start: 12/1/2019 12:00:00 AM B-8_b Who are the main users of this public space(s)? End: 2/1/2021 12:00:00 AM User: not possible to complete Comment: The information gathering workshops were held in December 2019 and January 2020. And the map was formalised in February 2020. B-8_c What are the users activities of this public space(s)? C-6 Actors in relation to the analysed creative work, their main motivation and their roles Users Activity Before After Actor(s): Inhabitants (all age groups)   Motivations: Sharing B-9 Parts/sections/spots seem most attractive within the public space (location and duration) - Parts/sections/spots at people seem to avoid: Roles: contributors Actor(s): Non-profit organisations/shopkeepers Describe what parts seem to be the not possible to complete most attractive to people Motivations: Sharing B-10 Provide the links to public data on the public space(s) Roles: contributors Website: Actor(s): Local authority Website's link: http://cptludd.fr/index.php?article86/carte-dunieres (http://cptludd.fr/index.php? Motivations: Curiosity about the responses article86/carte-dunieres) Roles: Commissioning authority B-11 Provide photos of the public space(s) with creative works Actor(s): MOEU team Caption: not possible to complete Motivations: To complete the urban diagnosis with a subjective component *** Roles: Mediators Photo's author: C-7 Description of the supporting background that existed to make the activities happen: C-1 Official name of the activity/project What kind of supporting background This project was publicly commissioned. The commission was to carry out an urban study and Name in local language: Des habitants racontent le bourg de Dunières existed to make the activities happen produce a Guide Plan for revitalising Dunières town centre. Our MOEU team was selected and (financial, institutional etc.) paid to conduct this study between September 2019 and May 2021. The participatory Name in English: Local people tell the story of the town of Dunières methodology and approach were proposed by our team, as was the format of the deliverables. Nickname: C-8 Sectors involved in the development of the creative works with public spaces: Overall name:  Culture  C-2 Description of the project (activities) that took place in the analysed public space(s): Education  419 Health  Were there any, no matter how big or NO - difficult to answer small, economic benefits for the local Sustainability  community as a whole or any specific actors in particular, resulting from the Science  creative works with/in public spaces? Tourism  C-17 Presence (or not) of any exchanges of knowledge or other activities performed that Sport  potentially empowered the actors to prosper in their future development: Industry  Were there any exchanges of NO - difficult to answer knowledge or other activities Other:  performed that potentially Specify other: Architectute, Urban planning, Housing, Transport, Shops empowered the actors to prosper in their future development? C-9 Sector which was.. C-18 Monitoring (or not) of the impact of the project: ..the initiator of the activities: Other How was the impact of the project / With an institutional body, open to the public, which could permanently collect contributions ..the most crucial for the whole case Other activities monitored? If it wasn’t – how and memories from local inhabitants on their territory study: do you think it could be monitored? Comment: Urban planning C-19 Way in order to communicate the impact of the project: C-10 How was the local community involved in the project/activities: How was the impact of the project / The sensitive mapping project and its impact on the formalisation of the guide plan will soon be activities disseminated or disseminated to the general public. Through the local newspaper and an exhibition across the How was the local community At the participatory workshops, which sometimes dealt with more pragmatic subjects such as communicated? town in shop windows in the town centre, the entire process will be highlighted by the involved in the project/activities? the problems encountered on a daily basis in their town, a more relaxing activity linked to the commissioning authority. memory and atmospheres of the town was proposed to the inhabitants of Dunières. Just as important as the other activities, those that allow the participants to express themselves in a C-20 Perception of the creative works in public space(s) by the final users and the reactions more personal way: They were simply invited to tell us their memories linked to the village, and of the general public: to talk about their favourite place. These 2 subjects were chosen as to trigger a discussion that would lead to a more detailed knowledge of the Dunières profile. The interviews were How were the creative works in public difficult to answer particularly rich - it was if each person was revealing their hidden treasures to us. space(s) perceived, evaluated, judged by the final users – what were the C-11 The role of natural/cultural heritage in the project/activities: reactions of the general public? Did cultural and/or natural heritage No C-21 The (one) main success and the (one) main failure of the project/activities play any specific role in the project/activities? Main sucess: difficult to answer C-12 The targeted impact of the project/activity: Main failure: difficult to answer What was the targeted impact of the The first impact of formalising this map was its huge contribution to the acculturation of the C-22 Importance of broader conditions for the main sucess and main failure factor: project / activities? members of the MOEU team to the "Dunières spirit". In addition, the accounts gathered contributed to a very large extent to moving the study and the guide plan forward. There was How important were the broader difficult to answer also the intention of sharing this sensitive map widely within the community to create a sort of conditions (e.g. the supporting state "pride" in belonging to this territory. of the art in the community, infrastructure, institutional support, C-13 Achievement of the targeted impact: financial sources, local or "imported" know-how etc.) for the main success Yes/no/partly: Yes and main failure factor Comment: The desired impact of the urban project was achieved. The impact relating to local C-23 Provide the links to public data on the creative works pride/imaginary representations and stories was partly achieved, because due to the Covid 19 pandemic we were obliged to do fewer in-person meetings and it was not possible to Link to public data to better disseminate the map widely or complete it following the encounters and interviews done. understand the activities and actors, as well as impacts: C-14 Additional achieved impacts: The link: Were any additional impacts achieved? This sensitive map will be displayed in the window of a vacant shop in the centre of Dunières from summer 2021 and it will be published in the local newspaper. It is expected that it will lead D-1 Main editor in charge of this entry and potential other authors of this case study to more reactions. description C-15 The main beneficiaries of the creative work in public space(s): Name and surname: Juliana Gotilla Who were the main beneficiaries of difficult to answer Organization: Atelier Captain Ludd (in association with NOVAE architectes, ADHOC, IEM) the creative works in public spaces(s)? Email: juliana@cptludd.fr C-16 Presence (or not) of economic benefits for the local community as a whole or any Role: specific actors in particular, resulting from the creative works with/in public spaces: 420 D-2 Representative pictures Picture's caption: A sensitive map Picture's author: AtelierCaptainLUDD Picture's author: Atelier Captain LUDD Picture's date: 2/14/2020 12:00:00 AM Picture's date: 2/13/2020 12:00:00 AM Picture's source: AtelierCaptainLUDD Picture's source: AtelierCaptainLUDD Picture's caption: Commune de Dunières Picture's caption: Tool used_Participatory workshop Picture's author: AtelierCaptainLUDD Picture's author: AtelierCaptainLUDD Picture's date: 9/3/2020 12:00:00 AM Picture's date: 11/1/2019 12:00:00 AM Picture's source: AtelierCaptainLUDD Picture's source: AtelierCaptainLUDD Picture's caption: Tools used_Participatory workshop Picture's caption: Sensitivity map print version 421 Picture's date: 11/1/2019 12:00:00 AM Picture's source: AtelierCaptainLUDD Picture's caption: What future for Dunières center ? Picture's author: AtelierCaptainLUDD Picture's date: 11/1/2019 12:00:00 AM Picture's source: AtelierCaptainLUDD Picture's caption: Tools used_Participatory workshop Picture's author: Atelier de design Captain Ludd Picture's date: Picture's source: Atelier de design Captain Ludd Picture's caption: Sensitive map zoomed Picture's author: AtelierCaptainLUDD 422 Picture's author: Atelier de design Captain Ludd Picture's date: Picture's source: Atelier de design Captain Ludd D-3 Additional information Additional information: Link: D-4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 423 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Frontage, revealing greenery +5 Frontage, révéler le végétal  +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): France ‐1 Region name (in local language): Auvergne Rhone‐ Alpes ‐2 Place name (in local language): Genilac centre Bourg ‐3 Country name (in english): France ‐4 Region name (in english): Auvergne Rhone‐ Alpes ‐5 Place name (in english): Genilac town centre Open landscape Comment: Difficult terrain +5 +4 +3 +2 Map of the network of public +1 spaces in the remote place Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4  Caption of the map: Map of Genilac ‐5 Legend of the map: Effortless terrain Comment: 424 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2  ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 2 +3 Explanation: The village is located 24km from Saint‐Etienne. There is not much public transport to serve the +2 town, requiring a car to get around. +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1  +3 +4 +5 Sound Low population density  demographic demographic structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐  support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Comment: Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that characterise this case as a remote place: Low population density rank: Geographical barrier/allocation rank: No good transportation links rank: 1 Difficulties in accessing daily‐life‐ 2 support facilities rank: Social specifics and/or divisions rank: 425 Economic inferiority rank: Subjective criteria (e.g. community’s self‐perception of being remote etc) rank: Other rank: A‐5 Provide the links to public data Links to public data on the remote place Ground plan showing the land use The link: http://www.genilac.fr (http://www.genilac.fr) of the public space(s): A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Caption's map of the public space: Centre bourg de Genilac Community open‐air space/s  Legend's map of the public space: La Rue Louis Marchand et la place de Verdun Institution‐related open‐air space/s  (e.g.University grounds) Main location  Watersides  B‐2 Describe the physical environment Meadows  Physical environment description of Rue Louis Marchand is a narrow street that had no pavements for pedestrians. The landscaping the public space(s) with creative project accompanying the design frontage structures offered a reorganisation of the street with a Parking area  works: pedestrian strip and a frontage strip in front of the houses where vegetation 20 to 40 cm thick Service yard  would be planted. In order to highlight the front doors of the houses and serve as a filter between homes and the public space, thin metal structures were offered to residents which would support Other types:  plants in pots or climbing plants. And so the front doors were rehabilitated and the inhabitants were able to re‐appropriate their houses. Specify other types: not relevant Physical environment elements not relevant Type of indoor public spaces that were important and/or actually can be found in this remote place: "used" by creative people for their activities: A‐8 General description of.. The network of roads, streets, paths The project is situated in a the historic centre of the town. It is connected to a network of streets B‐3 Describe the general functions and alike elements that tie this and roads linked to the town centre. Functions and land uses description This is a street in the town centre. There are four shops nearby in the town centre. This street remote place together: in the area of the public space: links the lower town and the town centre a bit higher up. The quantity and structure of public The streets concerned by the project are very narrow and give priority to cars. The landscaping Functionalities of space were The main function of the frontage structures is to allow the inhabitants to re‐appropriate the space network (besides project has allowed the creation of pavements and pedestrian areas to facilitate walking around important and/or actually "used" by outside of their homes by offering a "furnishing" structure to support plants: climbing plants or roads/streets/paths network) in this the town. creative people for their activities: pots, whichever is chosen by the residents. remote place: B‐4 General demographic characteristics of the area around the public space: A‐9 General description of the quality of public spaces in this remote place Describe the general demographic The residents concerned ‐ 9 houses ‐ are mainly working people who live in Gentilac, but work Answer: not relevant characteristics elsewhere in the daytime, commuting by car. B‐1 Name(s) of the public space(s) B‐5 Type of the public space(s) with creative work Name(s) of the public space(s) (in Rue Louis Marchand, Place de Verdun Form and function: To highlight and "green" the front doors of houses. local language): Ownership: frontage, the boundary between the public and private domain Name(s) of the public space(s) (in Rue Louis Marchand, Place de Verdun (small square) English): Access regarding entry‐control: Free Latitude of the public space(s): 45.5328 Access regarding time of day/week public space, access 24/7 /year: Longitude of the public space(s): 4.58306 B‐7 Kind of activity initially designed for this public space: 426 What kind of activity has been this The main idea is the re‐appropriation of the public space close to their their homes by residents. public space designed for initially The frontage structures also allow the re‐greening of a town centre that is very much a "mineral" space in spite of being in the country. B‐8_a Which are the activities in this public space(s)? Activity: No way of greening the space around their home, as a street/road passes right in front of their doors. No space for pedestrians. Activity: No pavements, no benches in the public space, very "mineral" town centre Activity: A frontage between the public and private space that allows the front doors of houses to be highlighted and "greened". Activity: Greener surroundings, a street with benches placed at intervals to sit on, frontage structures on certain public walls (café and entrance to the street) Activity: Entrance enhanced and entrances and space outside the houses greened B‐8_b Who are the main users of this public space(s)? User: Residents in the street User: Residents of the town B‐8_c What are the users activities of this public space(s)? Photo's author: Sara de gouy Users Activity Before After Caption: Genilac_after Residents in the street No way of greening the space   around their home, as a street/road passes right in front of their doors. No space for pedestrians. Residents in the street A frontage between the public and   private space that allows the front doors of houses to be highlighted and "greened". Residents in the street Entrance enhanced and entrances   and space outside the houses greened Residents of the town No pavements, no benches in the   public space, very "mineral" town centre Residents of the town Greener surroundings, a street with   benches placed at intervals to sit on, frontage structures on certain public walls (café and entrance to the street) B‐9 Parts/sections/spots seem most attractive within the public space (location and Photo's author: Sara de gouy duration) ‐ Parts/sections/spots at people seem to avoid: Caption: Genilac_after Describe what parts seem to be the not relevant most attractive to people B‐10 Provide the links to public data on the public space(s) Website: Recent project currently the subject of communication. Inauguration scheduled for September 2021. Website's link: B‐11 Provide photos of the public space(s) with creative works Caption: Genilac_before 427 Photo's author: Sara de gouy Photo's author: Sara de gouy Caption: Genilac_after Caption: Genilac_Before 428 Photo's author: Sara de gouy Photo's author: Sara de gouy Caption: Genilac_before Caption: Genilac_after Photo's author: Sara de gouy Caption: Genilac_after 429 Photo's author: Sara de gouy C‐1 Official name of the activity/project Science  Name in local language: Frontage, révéler le végétal Tourism  Name in English: Frontage, revealing greenery Sport  Nickname: Industry  Overall name:  Other:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Specify other: Municipality/community of municipalities Describe the project (activities) that Frontage, revealing greenery is what could be called a minimal project that gives pride of place to C‐9 Sector which was.. took place in the analysed public its main protagonist: plants. Customised frontage structures have been designed as part of a ..the initiator of the activities: Other space(s) landscaping project to rehabilitate two public spaces in the centre of the small town of Genilac, a small square and a street. Rue Louis Marchand has served as a prototype project, which involved ..the most crucial for the whole case Other offering residents in the streets of the town centre structures custom‐made for each house to study: highlight the houses' front doors and create a strip of greenery between the public space and the private space. These frontage structures therefore create a new in‐between space which gives Comment: The project was commissioned by a public authority. Municipality/community of municipalities the residents an incentive to re‐appropriate the space outside their houses. C‐10 How was the local community involved in the project/activities: C‐3 Challenge that the project (activities) tried/is trying to tackle: How was the local community The project was developed in close consultation with residents who volunteered to take part. What challenge was the project To give the residents an incentive to re‐appropriate the space outside their houses. To highlight involved in the project/activities? After an initial walk round the site with the people concerned, several consultation workshops (activities) trying to tackle – what the front doors. To re‐green a very "mineral" street that left no space for pedestrians. were organised to decide on the uses of each structure. Each structure was therefore designed was the aim after precise discussion of what was wanted in terms of plants (in pots or climbing), usage (bench or no bench), the constraints specific to the site (type of house, entrance, narrowness, access) C‐4 Time frequency: and orientation. Fourteen structures were built in this first phase. A few months later, with real involvement on the part of residents and the town's green spaces department, the plants made Time Frequency Other their entrance and beautifully colonised the street. The involvement of the resident and the green spaces department crucial, to get the plants planted and then maintained. Other information: This is a long‐term project. Its experimental side is intended to generate interest in adapting it to other spaces or houses according to residents' wishes. C‐11 The role of natural/cultural heritage in the project/activities: C‐5 Time period Did cultural and/or natural heritage not relevant play any specific role in the Start: 1/13/2018 12:00:00 AM project/activities? End: C‐12 The targeted impact of the project/activity: Comment: 2020 (phase 1) Remains to be seen if it will be followed up What was the targeted impact of To give the residents an incentive to re‐appropriate the space outside their houses. To highlight C‐6 Actors in relation to the analysed creative work, their main motivation and their roles the project / activities? the front doors of the houses; To create a filter between homes and the public space. To re‐green a very "mineral" street that left no space for pedestrians. Actor(s): Residents of the town C‐13 Achievement of the targeted impact: Motivations: To transform the space outside one's house Yes/no/partly: Yes Roles: Participation in co‐design workshops. Planting plants and maintaining the structures in conjunction with the municipality Comment: Now it is about continuing to create structures in other streets in the town to extend and vary a successful experiment. Actor(s): Participation in co‐design workshops. Planting plants and maintaining the structures in conjunction with the municipality C‐14 Additional achieved impacts: Motivations: To support the project Were any additional impacts Helped to forge and strengthen ties between the residents of the street. achieved? Roles: To facilitate the implementation of the project, to liaise with residents C‐7 Description of the supporting background that existed to make the activities happen: C‐15 The main beneficiaries of the creative work in public space(s): Who were the main beneficiaries of First of all, the residents of the houses concerned, but also the inhabitants of the neighbourhood What kind of supporting The project was organised and funded by the community of municipalities and the municipality. the creative works in public and the town, with the public benches, the greening of public spaces to make the town more background existed to make the The design project was led by the Cité du design and the design manager of Saint‐Etienne spaces(s)? beautiful, the smell of flowers to enjoy as people go about their day‐to‐day business in the town. activities happen (financial, Métropole. institutional etc.) C‐16 Presence (or not) of economic benefits for the local community as a whole or any C‐8 Sectors involved in the development of the creative works with public spaces: specific actors in particular, resulting from the creative works with/in public spaces: Culture  Were there any, no matter how big Advantages measured in terms of quality of life! or small, economic benefits for the Education  local community as a whole or any specific actors in particular, Health  resulting from the creative works with/in public spaces? Sustainability  430 C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Were there any exchanges of Exchanges between the project's landscaper, the municipality's green spaces department and the knowledge or other activities residents to help choose the plants and participate in their upkeep. performed that potentially empowered the actors to prosper in their future development? C‐18 Monitoring (or not) of the impact of the project: How was the impact of the project / Positive feedback from the stakeholders in the town, direct feedback from the resident using the activities monitored? If it wasn’t – spaces. The very good appropriation since the structures were installed is the best indicator. how do you think it could be monitored? C‐19 Way in order to communicate the impact of the project: How was the impact of the project / Due to delivery during Covid, not much communication on the project so far. The inauguration activities disseminated or should take place in September 2021. communicated? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in Positive feedback from the stakeholders in the town, direct feedback from the resident using the public space(s) perceived, spaces. The very good appropriation since the structures were installed is the best indicator. evaluated, judged by the final users – what were the reactions of the general public? C‐21 The (one) main success and the (one) main failure of the project/activities Main sucess: The appropriation by residents within just a few months of delivery. Main failure: The choice of the colour grey imposed instead of white as originally planned, a failure in terms of design, but which has no effect on usage. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader not relevant conditions (e.g. the supporting state of the art in the community, infrastructure, institutional support, Picture's author: Sara de Gouy financial sources, local or "imported" know‐how etc.) for the Picture's date: 5/27/2021 12:00:00 AM main success and main failure factor Picture's source: Sara de Gouy C‐23 Provide the links to public data on the creative works Picture's caption: Genilac Frontage Link to public data to better understand the activities and actors, as well as impacts: The link: D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Sara de.Gouy, designer Organization: Email: degouysara@yahoo.fr Role: D‐2 Representative pictures Picture's caption: Genilac Frontage 431 Picture's author: Sara de Gouy Picture's author: Sara de Gouy Picture's date: 5/27/2021 12:00:00 AM Picture's date: 5/27/2021 12:00:00 AM Picture's source: Sara de Gouy Picture's source: Sara de Gouy Picture's caption: Genilac Frontage Picture's caption: Genilac_frontage_design_concertation 432 Picture's author: Sara de Gouy Picture's author: Sara de Gouy Picture's date: 1/13/2018 12:00:00 AM Picture's date: 5/27/2021 12:00:00 AM Picture's source: Sara de Gouy Picture's source: Sara de Gouy Picture's caption: Genilac_frontage_design_concertation Picture's caption: Genilac Frontage Picture's author: Sara de Gouy Picture's author: Sara de Gouy Picture's date: 1/13/2018 12:00:00 AM Picture's date: 5/27/2021 12:00:00 AM Picture's source: Sara de Gouy Picture's source: Sara de Gouy Picture's caption: Genilac frontage D‐3 Additional information Additional information: Link: D‐4 Optional final remark 433 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Rock to Heavens Trail +5 Le Chemin des Roches à Cieux +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): France ‐1 Region name (in local language): Auvergne‐Rhône‐Alpes ‐2 Place name (in local language): Sainte‐Croix en Jarez ‐3 Country name (in english): France ‐4 Region name (in english): Auvergne‐Rhône‐Alpes  ‐5 Place name (in english): Sainte‐Croix en Jarez Open landscape Sainte-Croix-en-Jarez is a French commune located in the Loire department in the Auvergne-Rhône-Alpes region. Located in the Comment: foothills of the Pilat massif, in the heart of the Regional Natural Park, the village of Sainte-Croix-en-Jarez is set in a former Carthusian monastery, the various parts of which have been transformed into dwellings. Difficult terrain +5 +4 +3 +2 Map of the network of public spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4  ‐5 Caption of the map: Map of Sainte‐Croix en Jarez Effortless terrain Legend of the map: Comment: 434 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing  ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1  +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 3 +3 Explanation: +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority   ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Sainte‐Croix en Jarez is not connected to a public transport network. characterise this case as a remote place: Low population density rank: 2 Geographical barrier/allocation rank: No good transportation links rank: 1 Difficulties in accessing daily‐life‐ 3 support facilities rank: Social specifics and/or divisions rank: 435 Economic inferiority rank: Subjective criteria (e.g. community’s B‐1 Name(s) of the public space(s) self‐perception of being remote etc) rank: Name(s) of the public space(s) (in Sainte‐Croix en Jarez local language): Other rank: Name(s) of the public space(s) (in Sainte‐Croix en Jarez A‐5 Provide the links to public data English): Links to public data on the remote Latitude of the public space(s): 45.4802778 place Longitude of the public space(s): 4.64777778 The link: https://en.wikipedia.org/wiki/Sainte‐Croix‐en‐Jarez (https://en.wikipedia.org/wiki/Sainte‐Croix‐en‐ Jarez) Links to public data on the remote place The link: https://www.pilat‐tourisme.fr/planifier/decouverte‐et‐gastronomie/patrimoine‐culturel/la‐ chartreuse‐de‐sainte‐croix‐en‐jarez‐1645114 (https://www.pilat‐tourisme.fr/planifier/decouverte‐et‐ gastronomie/patrimoine‐culturel/la‐chartreuse‐de‐sainte‐croix‐en‐jarez‐1645114) Links to public data on the remote place The link: https://chartreuse‐saintecroixenjarez.com/ (https://chartreuse‐saintecroixenjarez.com/) Ground plan showing the land use A‐7 The type of public spaces that can be found in this remote place (besides the of the public space(s): roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Caption's map of the public space: map of Sainte‐Croix en Jarez Institution‐related open‐air space/s  (e.g.University grounds) Legend's map of the public space: Watersides  Main location  Meadows  B‐2 Describe the physical environment Parking area  Physical environment description of This is the environment in the immediate vicinity of the old Chartreuse of Sainte‐Croix en Jarez. the public space(s) with creative This public space is mainly a natural space with a few houses. There are pedestrian paths and Service yard  works: roads. Other types:  Physical environment elements not enough information to complete this question Specify other types: the two courtyards of the old Chartreuse were important and/or actually "used" by creative people for their Type of indoor public spaces that Information Point activities: can be found in this remote place: The cloister and church B‐3 Describe the general functions Functions and land uses description Meadows, residential and tourist in the area of the public space: A‐8 General description of.. Functionalities of space were All three The network of roads, streets, paths Road network in good condition Hiking + biking trails Also a lot of motorbike tourists important and/or actually "used" by and alike elements that tie this creative people for their activities: remote place together: B‐4 General demographic characteristics of the area around the public space: The quantity and structure of public not enough information to complete this question space network (besides Describe the general demographic not enough information to complete this question roads/streets/paths network) in this characteristics remote place: B‐5 Type of the public space(s) with creative work A‐9 General description of the quality of public spaces in this remote place Form and function: Meadows, natural and heritage environment Answer: not enough information to complete this question 436 Ownership: mixed Access regarding entry‐control: free access Access regarding time of day/week /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this touristic public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: not enough information to complete this question B‐8_b Who are the main users of this public space(s)? Photo's author: Isabelle Daëron User: not enough information to complete this question Caption: Saint‐Croix‐en‐Jarez B‐8_c What are the users activities of this public space(s)? Users Activity Before After not enough information to not enough information to   complete this question complete this question B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the The environment near the old Chartreuse was visited more particularly. The challenge of the most attractive to people project was to get visitors to explore a little further afield and to highlight other points of view over the village. B‐10 Provide the links to public data on the public space(s) Website: Website's link: B‐11 Provide photos of the public space(s) with creative works Caption: Saint‐Croix‐en‐Jarez Photo's author: Isabelle Daëron Caption: Saint‐Croix‐en‐Jarez Photo's author: Isabelle Daëron Caption: Saint‐Croix‐en‐Jarez 437 Photo's author: Isabelle Daëron Caption: Saint‐Croix‐en‐Jarez Photo's author: Isabelle Daëron Caption: Saint‐Croix‐en‐Jarez Photo's author: Isabelle Daëron Caption: Saint‐Croix‐en‐Jarez 438 Photo's author: Isabelle Daëron C‐1 Official name of the activity/project Name in local language: Chemin des Roches à Cieux Name in English: Rock to Heavens Trail Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that In a reference to the spacing practised by the Carthusian monks, the trail emphasises the qualities took place in the analysed public of surrounding nature through installations interacting with the natural flows: water, wind, light. space(s) Stone, the material used in the construction of the Chartreuse and of the walls guiding the visitor on the trail or serving as the support for legends about the Roches de Marlin (Marlin Rocks) is the element that anchors us to the ground, which accompanies the visitor and becomes the key to understanding the site. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project – To echo the positioning of the site as a place for getting away from everyday life and recharging (activities) trying to tackle – what one's batteries, conducive to slow tourism and green tourism, and which offers a journey through was the aim the ages. – To offer a more immersive and attractive offer in terms of heritage tourism and to bring in a new public. Project targets: ‐ Inhabitants of the village; ‐ Informed visitors with an appetite for creation and design; ‐ People who practise outdoor leisure activities or with an interest in well‐being; ‐ Families residing in the Saint‐Etienne Métropole district; ‐ Visitors passing through in the high season. C‐4 Time frequency: Photo's author: Isabelle Daëron Time Frequency One‐time activity Caption: Saint‐Croix‐en‐Jarez Other information: Design: from January to May. Duration of installations: until November 2022. C‐5 Time period Start: 1/1/2021 12:00:00 AM 439 End: 11/30/2022 12:00:00 AM Did cultural and/or natural heritage yes, the challenge in the project was to highlight this built and natural heritage with a series of play any specific role in the installations. Comment: project/activities? C‐6 Actors in relation to the analysed creative work, their main motivation and their roles C‐12 The targeted impact of the project/activity: Actor(s): Sainte‐Croix en Jarez What was the targeted impact of not enough information to complete this question the project / activities? Motivations: Roles: C‐13 Achievement of the targeted impact: Actor(s): Cité du design Yes/no/partly: Yes Motivations: Comment: not enough information to complete this question Roles: C‐14 Additional achieved impacts: Actor(s): Le Parc du Pilat nature park Were any additional impacts not enough information to complete this question achieved? Motivations: C‐15 The main beneficiaries of the creative work in public space(s): Roles: Who were the main beneficiaries of not enough information to complete this question Actor(s): Saint‐Etienne Métropole the creative works in public Motivations: spaces(s)? Roles: C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: C‐7 Description of the supporting background that existed to make the activities happen: Were there any, no matter how big not enough information to complete this question What kind of supporting Financial and institutional : Saint‐Etienne Métropole and Tourist Office This is the first experience or small, economic benefits for the background existed to make the of a designer in residence in our region. Saint‐Étienne metropolitan government wishes to install local community as a whole or any activities happen (financial, designers in residence in the communes as part of a creative, collective and participative specific actors in particular, institutional etc.) approach, to support local development and the attractiveness of the communes (economic resulting from the creative works activities, cultural activities, tourism ....). The "designer in residence in the municipalities" with/in public spaces? programme is an interesting way of activating rural, isolated or less active municipalities in order to bring out contextual projects. C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: C‐8 Sectors involved in the development of the creative works with public spaces: Were there any exchanges of not enough information to complete this question Culture  knowledge or other activities performed that potentially Education  empowered the actors to prosper in Health  their future development? Sustainability  C‐18 Monitoring (or not) of the impact of the project: Science  How was the impact of the project / not applicable activities monitored? If it wasn’t – Tourism  how do you think it could be Sport  monitored? Industry  C‐19 Way in order to communicate the impact of the project: Other:  How was the impact of the project / not yet communicated activities disseminated or Specify other: communicated? C‐9 Sector which was.. C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: ..the initiator of the activities: Culture How were the creative works in not enough information to complete this question ..the most crucial for the whole case Culture public space(s) perceived, study: evaluated, judged by the final users Comment: – what were the reactions of the general public? C‐10 How was the local community involved in the project/activities: C‐21 The (one) main success and the (one) main failure of the project/activities How was the local community The project started with about twenty interviews with villagers. This allowed us to get a grasp of involved in the project/activities? the specificities and remarkable elements of Sainte‐Croix en Jarez. Main sucess: not enough information to complete this question C‐11 The role of natural/cultural heritage in the project/activities: Main failure: not enough information to complete this question 440 C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader no answer possible conditions (e.g. the supporting state of the art in the community, infrastructure, institutional support, financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better understand the activities and actors, as well as impacts: The link: D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Isabelle Daëron Organization: designer Email: daeron.isabelle@gmail.com Role: D‐2 Representative pictures Picture's caption: Sainte‐Croix‐en‐Jarez Picture's author: Isabelle Daëron Picture's date: 5/17/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_Inauguration of the trail Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's author: Isabelle Daëron Picture's source: Isabelle Daëron Picture's date: 5/17/2021 12:00:00 AM Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_Inauguration of the trail Picture's source: Isabelle Daëron Picture's caption: Georges Geffroy, artist and inhabitant of Sainte‐Croix en Jarez, Pauline Avrillon and Floriane Roué (Studio Idaë) 441 Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_The nature trail Picture's author: Isabelle Daëron Picture's date: 4/3/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Sainte‐Croix‐en‐Jarez Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Sainte‐Croix‐en‐Jarez 442 Picture's author: Isabelle Daëron Picture's source: Isabelle Daëron Picture's date: 5/24/2021 12:00:00 AM Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_The nature trail Picture's source: Isabelle Daëron Picture's caption: Sainte‐Croix‐en‐Jarez Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_The nature trail Picture's author: Isabelle Daëron Picture's date: 5/31/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_Inauguration of the trail Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's source: Isabelle Daëron Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_The nature trail Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM 443 Picture's author: Isabelle Daëron Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's date: Picture's source: Isabelle Daëron Picture's source: Picture's caption: Chartreuse de Sainte‐Croix‐en‐Jarez_The nature trail Picture's caption: Chemin roches à cieux 0001 Picture's author: Isabelle Daëron Picture's author: Isabelle Daëron Picture's date: 7/2/2021 12:00:00 AM Picture's date: Picture's source: Isabelle Daëron Picture's source: Picture's caption: Chemin roches à cieux 0000 Picture's caption: Chemin roches à cieux 0002 444 Picture's author: Isabelle Daëron Picture's date: Picture's source: Picture's author: Isabelle Daëron D‐3 Additional information Picture's date: Additional information: Picture's source: Link: Picture's caption: Chemin roches à cieux 0003 D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Isabelle Daëron Picture's date: Picture's source: Picture's caption: Chemin roches à cieux 0004 445 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Agora Bench +5 Le banc à palabres +4 +3 +2  +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): France ‐1 Region name (in local language): Auvergne Rhone‐ Alpes ‐2 Place name (in local language): Unieux ‐3 Country name (in english): France ‐4 Region name (in english): Auvergne Rhone‐ Alpes ‐5 Place name (in english): Unieux Open landscape Unieux is a medium-sized municipality with a population of 8,400, situated on the outskirts of the town of Firminy, about fifteen Comment: kilometres from Saint-Etienne. Difficult terrain +5 +4 +3 +2 Map of the network of public spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2  ‐4 Caption of the map: Map of Unieux ‐5 Legend of the map: Unieux, geographical location of the new Nelson Mandela park and the palaver bench in the Effortless terrain centre Comment: 446 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3  +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2 ‐3  ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 2 +3 Explanation: Municipality situated on the edge of a larger town, which has advantages and disadvantages. +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0  +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: There was no major public park in the town Summary of the elements that Unieux is not a geographically remote town. However, the fact that it is situated in the suburbs of characterise this case as a remote a larger town can lead to more commuter‐type travel and the use of cars as the main form of daily place: transport. There was no park in the town, no public place where people can gather in a natural setting. The creation of Nelson Mandela Park and the installation in it of an "agora bench" (banc à palabres) was a strong project for the town. Low population density rank: Geographical barrier/allocation rank: No good transportation links rank: 1 Difficulties in accessing daily‐life‐ support facilities rank: Social specifics and/or divisions 447 rank: Economic inferiority rank: Subjective criteria (e.g. community’s self‐perception of being remote etc) rank: Other rank: 2 A‐5 Provide the links to public data Links to public data on the remote place The link: https://www.ville‐unieux.fr (https://www.ville‐unieux.fr ) Ground plan showing the land use A‐7 The type of public spaces that can be found in this remote place (besides the of the public space(s): roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  Caption's map of the public space: Parc Nelson Mandela (e.g.University grounds) Legend's map of the public space: Parc Nelson Mandela in Map (Big Bang Paysage). The agora bench is in the centre of the park. Watersides  Main location  Meadows  B‐2 Describe the physical environment Parking area  Physical environment description of The agora bench was installed as part of the creation of a new park in the town: Nelson Mandela Service yard  the public space(s) with creative park, which covers an area of almost 104 hectares. Previously there was no major public park. The Other types:  works: park furniture, the play equipment and the signage have all been specially designed for this space and contribute to forging a coherent identity for it, in particular through the use of the colour Specify other types: vermilion. Type of indoor public spaces that Physical environment elements not relevant can be found in this remote place: were important and/or actually "used" by creative people for their A‐8 General description of.. activities: The network of roads, streets, paths The town centre is 300 m away, public amenities are situated not far away. B‐3 Describe the general functions and alike elements that tie this remote place together: Functions and land uses description Nelson Mandela is an intergenerational park which lends itself to many different uses: picnicking, in the area of the public space: sport, play, relaxing, cycling, reading, playing petanque, etc. a true leisure park, which now has The quantity and structure of public The main mode of transport is the car. The park is used both by people living near the park, who many users. space network (besides walk there, and by people living in the surrounding area, who come by car. Car parks have been roads/streets/paths network) in this created near the entrances to the park. Functionalities of space were Creation of intergenerational park furniture remote place: important and/or actually "used" by creative people for their activities: A‐9 General description of the quality of public spaces in this remote place B‐4 General demographic characteristics of the area around the public space: Answer: not enough information to complete this question Describe the general demographic Unieux has a population of 8,400. The town is quite spread out with the main amenities in the B‐1 Name(s) of the public space(s) characteristics town centre, small business parks covering large areas, then residential areas with small blocks of flats and housing estates. Name(s) of the public space(s) (in Parc Nelson Mandela créé en 2014 local language): B‐5 Type of the public space(s) with creative work Name(s) of the public space(s) (in Parc Nelson Mandela created in 2014 Form and function: The agora bench is situated in Nelson Mandela Park, which comprises different areas for play, English): sport, walking and cycling. Latitude of the public space(s): 45.398975 Ownership: This is a public park. Longitude of the public space(s): 4.262070 Access regarding entry‐control: access is free 448 Access regarding time of day/week access 24/7 /year: B‐7 Kind of activity initially designed for this public space: What kind of activity has been this The park is mainly intended for leisure activities and relaxation public space designed for initially B‐8_a Which are the activities in this public space(s)? Activity: A recreational space, diversified park furniture Activity: A large local park accessible on foot. Activity: A large local park accessible by car and by bus. Activity: Few parks offering leisure activities Activity: No public‐park type facility serving the whole town, need to take the car to go to a park. B‐8_b Who are the main users of this public space(s)? User: Residents of the neighbourhood/town centre User: Inhabitants of the town and surrounding area B‐8_c What are the users activities of this public space(s)? Photo's author: Sara de gouy Users Activity Before After Caption: Unieux Residents of the A recreational space, diversified   neighbourhood/town centre park furniture Residents of the No public‐park type facility serving   neighbourhood/town centre the whole town, need to take the car to go to a park. Inhabitants of the town and A recreational space, diversified   surrounding area park furniture Residents of the A large local park accessible on foot.   neighbourhood/town centre Inhabitants of the town and Few parks offering leisure activities   surrounding area Inhabitants of the town and A large local park accessible by car   surrounding area and by bus. B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the Parc Nelson Mandela comprises several areas offering different uses. The agora bench is installed most attractive to people in the centre where several paths cross, constituting a meeting place. B‐10 Provide the links to public data on the public space(s) Photo's author: Sara de gouy Website: site of the bench designer Caption: Unieux_banc à palabres Website's link: https://www.saradegouy.com/projet/le‐banc‐a‐palabres (https://www.saradegouy.com/projet/le‐ banc‐a‐palabres) Website: site that lists unique social design projects Website's link: https://plateforme‐socialdesign.net/fr/decouvrir/le‐banc‐palabres (https://plateforme‐ socialdesign.net/fr/decouvrir/le‐banc‐palabres) B‐11 Provide photos of the public space(s) with creative works Caption: Unieux 449 Photo's author: Sara de gouy C‐1 Official name of the activity/project Name in local language: Le banc à palabres Photo's author: Sara de gouy Name in English: Agora bench Caption: Unieux_banc à palabres Nickname: Overall name:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Describe the project (activities) that The Agora Bench was designed as part of the creation of the new town park for Unieux, which took place in the analysed public wanted an "intergenerational park", suitable for all, and which would encourage encounters and space(s) exchanges. It was with this in mind that the "agora bench", a monumental circular bench nine metres across was installed. It is situated at a point where footpaths and cycle ways cross at the centre of the park and on a small agora, which acts as an invitation to stop and pause a while. The bench also encircles a fine tree, a sculptural Catalpa whose dense foliage provides shade. Suitable for all types of users thanks to its seats at different heights ‐ less than 30 cm for the little ones and a standard height of 45 cm ‐ and the different postural possibilities it offers, the bench serves as a catalyst for multigenerational encounters. The circular shape, highly geometric when seen from above, unwinds like a ribbon offering a variety of sitting possibilities. Lean comfortably against a backrest, slouch in a hollow section, stretch out to sunbathe, sit in staggered formation ‐ the bench is designed to accommodate all the different possible postures. The agora bench not only forms a meeting place, it also offers a 360° opening onto the entire park. Depending on where you sit, the scenery you can see is different: meadow, playground, petanque courts, so many Photo's author: Sara de gouy options to choose as the mood takes you. The project summarises the aspirations behind the park; it translates the multiple usages driving the diversification of practices and postures with Caption: Unieux_banc à palabres the public space. It symbolises the diversity of its users and the wishes of a town that wants to open up new possibilities. To transform, stimulate, question our relation to others and to singularity. C‐3 Challenge that the project (activities) tried/is trying to tackle: What challenge was the project The furniture becomes a catalyst for encounters and exchanges and adapts to the diversity of its (activities) trying to tackle – what users. was the aim C‐4 Time frequency: Time Frequency A constant process Other information: The agora bench has now been in place for a number of years. It has been re‐appropriated by inhabitants, especially children, who also use it to play on (sliding) C‐5 Time period Start: Photo's author: Sara de gouy End: 7/1/2014 12:00:00 AM Caption: Unieux_banc à palabres Comment: a long‐term project delivered in 2014 450 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles C‐13 Achievement of the targeted impact: Actor(s): Municipality of Unieux Yes/no/partly: Yes Motivations: Comment: The park and its furniture have been much used since they were created a few years ago. New play equipment has also been installed since then. The agora bench is showing signs of wear on Roles: Actors in the choices, the programme the seats, proof of intense use. Actor(s): Saint‐Étienne Métropole C‐14 Additional achieved impacts: Motivations: Were any additional impacts not enough information to complete this question Roles: Coordination, contracting authority for the project achieved? Actor(s): Team that implemented the project: a multidisciplinary team, Big Bang Paysagistes for the C‐15 The main beneficiaries of the creative work in public space(s): landscaping, Studio by night for the lighting, Bureau 205 for the signage, Sara de.Gouy for the design Who were the main beneficiaries of The bench is used by local inhabitants in all their diversity, from the youngest to the oldest. the creative works in public Motivations: To create a complete, coherent project spaces(s)? Roles: Each actor was responsible for its part/skills C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: C‐7 Description of the supporting background that existed to make the activities happen: Were there any, no matter how big not relevant What kind of supporting The overall budget was managed by Saint‐Étienne Métropole, and the project was co‐funded with or small, economic benefits for the background existed to make the the municipality of Unieux. It is therefore a public project. local community as a whole or any activities happen (financial, specific actors in particular, institutional etc.) resulting from the creative works with/in public spaces? C‐8 Sectors involved in the development of the creative works with public spaces: Culture  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Education  Were there any exchanges of not enough information to complete this question Health  knowledge or other activities performed that potentially Sustainability  empowered the actors to prosper in Science  their future development? Tourism  C‐18 Monitoring (or not) of the impact of the project: Sport  How was the impact of the project / no monitoring activities monitored? If it wasn’t – Industry  how do you think it could be monitored? Other:  Specify other: A natural space dedicated to relaxation and leisure. C‐19 Way in order to communicate the impact of the project: How was the impact of the project / The agora bench project has been the subject of several publications. C‐9 Sector which was.. activities disseminated or ..the initiator of the activities: Other communicated? ..the most crucial for the whole case Other C‐20 Perception of the creative works in public space(s) by the final users and the reactions study: of the general public: Comment: How were the creative works in not enough information to complete this question public space(s) perceived, C‐10 How was the local community involved in the project/activities: evaluated, judged by the final users – what were the reactions of the How was the local community A large number of consultation meetings and workshops were held to refine the landscaping general public? involved in the project/activities? project and the planned uses. A consultation process specifically aimed at young people was organised for the design side. C‐21 The (one) main success and the (one) main failure of the project/activities C‐11 The role of natural/cultural heritage in the project/activities: Main sucess: The frequent use and the acceptance of the idea of the agora‐park Did cultural and/or natural heritage not relevant Main failure: The tree situated in the centre, which seems to be diseased and has not grown and spread as play any specific role in the initially expected. project/activities? C‐22 Importance of broader conditions for the main sucess and main failure factor: C‐12 The targeted impact of the project/activity: What was the targeted impact of The agora bench provides an inter‐generationa meeting point in the park the project / activities? 451 How important were the broader already answered conditions (e.g. the supporting state of the art in the community, infrastructure, institutional support, financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works Link to public data to better understand the activities and actors, as well as impacts: The link: D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Sara de.Gouy, designer Picture's author: Sara de Gouy Organization: Picture's date: 2/9/2013 12:00:00 AM Email: degouysara@yahoo.fr Picture's source: Sara de Gouy Role: Picture's caption: Unieux_banc à palabres D‐2 Representative pictures Picture's caption: Unieux_banc à palabres Picture's author: Sara de Gouy Picture's author: Sara de Gouy Picture's date: 2/9/2013 12:00:00 AM Picture's date: 7/5/2014 12:00:00 AM Picture's source: Sara de Gouy Picture's source: Sara de Gouy Picture's caption: Unieux_banc à palabres Picture's caption: Unieux_banc à palabres 452 D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Sara de Gouy Picture's date: 9/28/2014 12:00:00 AM Picture's source: Sara de Gouy Picture's caption: Unieux_banc à palabres Picture's author: Sara de Gouy Picture's date: 5/27/2021 12:00:00 AM Picture's source: Sara de Gouy D‐3 Additional information Additional information: Link: 453 E Meditation Center Estonian Theravada Sangha Meelearenduskeskus Eesti ONIA Theravaada Sangha Ave Vita! Ave Vita! Käru Museum of Good Deeds Käru Heade Tegude Muuseum Lindi Village Society Lindi Külaselts EST There is time! Aigu on! 454 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Meditation Center Estonian Dense settlement Theravada Sangha +5 Meelearenduskeskus Eesti Theravaada +4 Sangha +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Eesti ‐1 Region name (in local language): Harjumaa ‐2 Place name (in local language): Aegna  ‐3 Country name (in english): Estonia ‐4 Region name (in english): Harjumaa ‐5 Place name (in english): Aegna Open landscape Comment:The island is fully covered with forest. Difficult terrain +5 +4 +3  Map of the network of public +2 spaces in the remote place +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: Aegna island ‐4 Legend of the map: ‐5 Effortless terrain Comment: 455 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1  ‐2 ‐2 ‐3  ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Locals are running a cafe during the tourist season in the summer. Most of the year there is not almost any economic activity. Low‐income households prevail Comment: Locals have not been used to do volunteering and participatory practicies but it has seen a little change in the past year. Daily‐life‐support facilities well developed +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 5 +3 Explanation: Aegna is a small island whitout a canalization and water supply is poor. +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions   ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that On the island of Aegna, where there are only four permanent residents, including two Buddhist characterise this case as a remote monks who are part of our study. The island does not have a water supply as well as a place: canalization. Clean water comes from the springs. The island is really remote despite the closeness to the capital. Ship traffic is not provided throughout the year, there is a little business activities and almost no cultural events on the island exept the meditation retreats organized by the monks. The island has a meditation center run by the monks. The meditation center is small but attracts people who are interested in spiritual practices and self‐development to the island. The entire enterprise of the monks relies on donations. Recently, a garbage disposal service has been organized on the island at the initiative of the locals. However, two of the four permanent residents are not actively involved in the work of the community. The active community consists of monks and people summering on the island. Low population density rank: 4 Geographical barrier/allocation rank: 3 456 No good transportation links rank: 1 Answer: There are few public spaces, but their quality is good considering the small natural island. The beaches and forests are clean and there is very little rubbish. The island has developed a proper Difficulties in accessing daily‐life‐ 2 waste management system in a short time. The meditation centre has initiated waste support facilities rank: management of the region. For hiking and summer tourists, the island has recreation and campfire areas. Being on an island, the accessibility to these places is good. Wayfinding system Social specifics and/or divisions works well, there is a large map of the island at the port and free maps with island, information is rank: also avaliable. Toilets are clean and mostly accessible. The environment is preserved and natural, Economic inferiority rank: 5 almost completely untouched by human activity. It cannot be said that the public spaces work in a way that brings people together and acts as a social stimulus, but it is not in the interests of the Subjective criteria (e.g. community’s island and its inhabitants. The shop keeper came by phone call. self‐perception of being remote etc) rank: B‐1 Name(s) of the public space(s) Other rank: Name(s) of the public space(s) (in Eesti Theravaada Sangha, Karnapi tee 10, 74021, Tallinn local language): A‐5 Provide the links to public data Name(s) of the public space(s) (in Estonian Theravada Sangha Links to public data on the remote Aegna official site English): place Latitude of the public space(s): 59.5761027 The link: https://www.tallinn.ee/est/aegna/ (https://www.tallinn.ee/est/aegna/) Longitude of the public space(s): 24.7650497 A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Ground plan showing the land use Watersides  of the public space(s): Meadows  Parking area  Service yard  Other types:  Specify other types: Type of indoor public spaces that Almost none. The meditation center is open to wider public during the retreats. The island also can be found in this remote place: has a tourist information point. A‐8 General description of.. Caption's map of the public space: The location of Estonian Theravada Sangha in Aegna, Tallinn Legend's map of the public space: Eesti Theravaada Sangha https://goo.gl/maps/bHx1VPhUCq8LJo9P7 The network of roads, streets, paths There is no possibility to move by car on the island, you can get everywhere on foot or by bike. and alike elements that tie this The roads are suitable for the forest landscape. Roads are suitable for a small island like Aegna Main location  remote place together: with low population density. They logically connect the island as a whole and its different parts. Roads lead past the island's buildings and the abandoned military facilities created at the B‐2 Describe the physical environment beginning of the last century. The road network is also likely to be around a century old. Physical environment description of The surrounding nature and landscape is almost untouched. The island is completely covered with The quantity and structure of public The island lacks public spaces and the structure of it does not respond to the needs of permanent the public space(s) with creative forest. There are both primeval forest as well as stunted trees growing on sandy grounds. The space network (besides neither temporary residents. Some public bathing areas, campfire sites and one guest house open works: island is surrounded by beaches, some of which are sandy and others rocky. Due to the small roads/streets/paths network) in this in summer are the only public areas beside the road network. The island also has a voluntary number of tourists and inhabitants, the ancient environment is very well preserved and clean. remote place: rescue unit. The island has uncovered basic needs such as food purchasing opportunities and no medical care. In a critical situation, a helicopter or speedboat flies to the island to provide aid. Physical environment elements The untouched natural environment is healing and supportive for the meditation practice. The were important and/or actually environment is calm and quiet. In fine weather, people have been meditating on the beach, A‐9 General description of the quality of public spaces in this remote place "used" by creative people for their because the sound of the sea is relaxing, and there are not too many mosquitoes by the side. activities: 457 B‐3 Describe the general functions Functions and land uses description It is a non‐profit organization that develops and brings meditative and spiritual practices to in the area of the public space: people interested in spiritual growth. It is a cultural institution. Monks does not possess anything directly. The association owns a house, which is about 80 years old, which they are constantly renovating and where they both live and teach. Functionalities of space were They are only using the building desicribed in the previous chapter. important and/or actually "used" by creative people for their activities: B‐4 General demographic characteristics of the area around the public space: Describe the general demographic The island has a total of four permanent residents, two of whom are monks who run the characteristics meditation center. The other two residents are art dealers and have lived on the island for longer. Unfortunately, they are not very receptive to the new and do not welcome the monks' initiative on the island. B‐5 Type of the public space(s) with creative work Form and function: The building is built before the Second World War and used by Estonian officers. During the Soviet regime, the building had a collective farm recreation center. When Andrus Kahn began to create the meditation center to there, the building was virtually abandoned and in poor condition. It is surrounded by primeval forests, watersides and meadows. Ownership: Private. It belongs to the Estonian Theravaada Sangha. Access regarding entry‐control: Visiting is free and everyone is welcome if the monks are present. Preferably the visit is by arrangement. Access regarding time of day/week Monks are usually present throughout the year and therefore there are not any strict limitations /year: regarding the time. there are no direct restrictions. Must take into account that the monks also live there. B‐7 Kind of activity initially designed for this public space: What kind of activity has been this It was originally a living and working building for officers. Today, the institution operating in the public space designed for initially building is focused on recreation and relaxation. B‐8_a Which are the activities in this public space(s)? Activity: Meditation Activity: Relaxing Activity: Researching Photo's author: Kirke Tatar Activity: Teaching Caption: The space for practice and prayer B‐8_b Who are the main users of this public space(s)? User: People interested in Buddhism and meditation B‐8_c What are the users activities of this public space(s)? Users Activity Before After People interested in Buddhism and Meditation   meditation B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: Describe what parts seem to be the In a meditation center, people stay in the building practicing either alone or in small groups or most attractive to people walk on the surrounding forest trails. In general, there are no such places that people seemingly would avoid. The whole island can be reached on foot in about an hour. B‐10 Provide the links to public data on the public space(s) Website: Site of the meditation center Website's link: https://www.sangha.ee/ (https://www.sangha.ee/) B‐11 Provide photos of the public space(s) with creative works Caption: Estonian Theravada Sangha in Aegna 458 C‐4 Time frequency: Time Frequency A constant process Other information: C‐5 Time period Start: 7/1/2014 12:00:00 AM End: Comment: C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Actor(s): Venerable Ṭhitañāṇa (Dr. Andrus Kahn) Motivations: to develop the teaching of mediation and Buddhism in Estonia Roles: Monk C‐7 Description of the supporting background that existed to make the activities happen: What kind of supporting The center was established with the sponsorship and support of Thai Buddhist monks. Andrus background existed to make the Kahn had the opportunity to choose a place and area that could have been developed. Thus, both activities happen (financial, institutional and donation‐based financial support played an important role in the establishment institutional etc.) of the center. Local support was rather lacking, if not non‐existent. It is said that the original Buddhist teaching was not taught in Estonia then or now. The center was started from scratch and was hoped for by small but constantly growing Buddhist enthusiasts in Estonia. However, the growing interest in meditation plays the most role. C‐8 Sectors involved in the development of the creative works with public spaces: Culture  Education  Health  Sustainability  Science  Tourism  Photo's author: Kirke Tatar Sport  C‐1 Official name of the activity/project Industry  Name in local language: Meelearenduskeskus Eesti Theravaada Sangha Other:  Name in English: Meditation Center Estonian Theravada Sangha Specify other: Nickname: Meditation Center C‐9 Sector which was.. Overall name:  ..the initiator of the activities: Education C‐2 Description of the project (activities) that took place in the analysed public space(s): ..the most crucial for the whole case Health study: Describe the project (activities) that On the island of Aegna, where there are almost no permanent residents, two Buddhist Monks took place in the analysed public established a Buddhist meditation center. After obtaining his doctorate, Andrus Kahn decided to Comment: space(s) start conveying his knowledge through spiritual practice. The meditation center is small but attracts people who are interested in spiritual practices and self‐development to the island. The C‐10 How was the local community involved in the project/activities: entire enterprise of the monks relies on donations. Their mission is to support people not only in Aegna, but to teach people healthy lifestyles while respecting and preserving the delicate nature How was the local community Before the monks settled on the island, the local community consisted of only two people who, of the small island. involved in the project/activities? unfortunately, were not receptive and willing to accept the changes on the island. Nor were the locals satisfied that people were moving permanently to the island (at first only one person, C‐3 Challenge that the project (activities) tried/is trying to tackle: because another, younger monk became to live there later). Unwilling locals have written slander letters to the city government and their complaints have reached even major local newspapers. What challenge was the project From the early years until today, the building has been constantly renovated. At the beginning, However, the city government has also realized that the initiative of these people is selfish and (activities) trying to tackle – what however, the building was in a very poor condition and in some places the building did not even cruel, not constructive and deliberative. Nevertheless, the summer residents of the island are very was the aim have windows. At one point the continuity of its operation was questionable. However, thanks to supportive. Together with them the island environment has been tidied up, a waste management the sponsorship of a Thai Buddhist scholar, it was possible to create basic vital functions in the system has been created and life in Aegna has been promoted. center. 459 C‐11 The role of natural/cultural heritage in the project/activities: How was the impact of the project / Dr. Andrus Kahn has written books about Buddism theory, ocational meditation retreats for activities monitored? If it wasn’t – adults and “thinking camps” for teenagers. Local newspapers have also written about their Did cultural and/or natural heritage Certainly the natural untouched environment played a role in the choice of location. Practicing how do you think it could be project and mission. play any specific role in the mediation requires a calm and slow‐paced environment, for which Aegna is very good. Aegna is monitored? project/activities? also close to the capital, which makes it easier to access different services. C‐19 Way in order to communicate the impact of the project: C‐12 The targeted impact of the project/activity: How was the impact of the project / Mostly via internet and social media platforms. Facebook has had an important role in spreading What was the targeted impact of The intended goal or desire that the project sought to achieve was and still is to teach Buddhism activities disseminated or the message. the project / activities? and meditation. In terms of their operation and activities, they are unique in Estonia. The teaching communicated? of Buddhism is not limited to the teaching of the Buddhist dhamma, but also includes the organization of conferences, the publication of literature and translation work. One of the major C‐20 Perception of the creative works in public space(s) by the final users and the reactions goals of the center is to publish a Pāḷi ‐ Estonian dictionary and to establish an international of the general public: Buddhist institute in Estonia. They have described their goals on their website as these: In order to develop the Sangha and Buddha’s teaching in Estonia, the ETS has set Four Noble Goals: to How were the creative works in Those to whom it is addressed have welcomed their undertaking. There has been no similar built up the first Buddhist temple in Estonia. to translate Pāḷi Tipiṭaka into Estonian language to public space(s) perceived, establishment in Estonia in this form. The monks have complained that several registrants for reconstruct the house in Aegna and establish an WDS Aegna International Meditation Center. to evaluated, judged by the final users their retreat have not arrived. There are many reasons, whether the beautiful weather, which built up an International Buddhist Dhamma‐Vinaya Institute in Estonia. – what were the reactions of the attracts rather to the beach, the relentless drive to the island or other. The local two‐person general public? permanent population did not accept their venture well because they did not love change. C‐13 Achievement of the targeted impact: C‐21 The (one) main success and the (one) main failure of the project/activities Yes/no/partly: Partly Main sucess: Filling the gap can be considered a success. There has never been such an institution in Estonia Comment: Targets are yet not fully achieved. The goals are big, but you have to dream big. The center has before, the principles of conscious development are communicated at such a wide range. Also only been in operation for a few years, and only on the basis of donations from people visiting the filling the gap in sharing the teachings of Buddhist Dhamma. center, permanent donors or supporters from different Buddhist circles in various countries, mostly in Asia. At present, various books on the topic have been published and events have been Main failure: The building in which the operation takes place may be considered a failure or a hindrance to the organized, the context of which has been academic as well as informal. At the center, they operation of the center. The building has been constantly renovated, but in the early days the organize reflection camps for young people, meditation retreats for adults and also offer various building was almost uninhabitable. The work of the center was temporarily suspended because it trainings and coachings. Great emphasis has been placed on tidying up and renovating the was no longer possible to live in the building. building. Recently, the center has received new windows and new door at the main entrance. The rooms have been repainted. Villen Künnapu, a renowed Estonian architect who has put a great C‐22 Importance of broader conditions for the main sucess and main failure factor: interest in Buddhism, is supervising the renovation work. How important were the broader The work of the center would not be possible without a financial support, all kinds of donations C‐14 Additional achieved impacts: conditions (e.g. the supporting are important in this regard. Institutional support is also important, which comes mostly from state of the art in the community, Asian universities, especially Thailand, as well as from Estonia, from the University of Tartu. Were any additional impacts The island gained an active and educated population, which also contributes to the revitalization infrastructure, institutional support, achieved? and improvement of the environment. financial sources, local or "imported" know‐how etc.) for the C‐15 The main beneficiaries of the creative work in public space(s): main success and main failure factor Who were the main beneficiaries of Certainly all these sectors benefited from moving to the island and setting up a center there. The C‐23 Provide the links to public data on the creative works the creative works in public small shopkeeper gained more customers in the form of visitors to the center. The local cultural spaces(s)? life also won, because thanks to them, the island is becoming a point that preserves and transmits Link to public data to better https://www.sangha.ee/about‐us (https://www.sangha.ee/about‐us) spiritual values for the whole of Estonia. The local community, which is mostly made up of understand the activities and actors, summer residents, also won. Together as active, liberal and kind people, they help to improve the as well as impacts: life of the island. The link: C‐16 Presence (or not) of economic benefits for the local community as a whole or any D‐1 Main editor in charge of this entry and potential other authors of this case study specific actors in particular, resulting from the creative works with/in public spaces: description Were there any, no matter how big Certainly there were. There is a small shop on the island, which is open only seasonally, but thanks Name and surname: Karl Joonas Alamaa or small, economic benefits for the to the visitors of the center, the shop also has more customers. The shipping company that local community as a whole or any transports people between the island and the capital gets more passangers. Some visitors to the Organization: Estonian Association of Designers specific actors in particular, center also stay on the island for a longer period of time, using the services of local campsites and resulting from the creative works holiday homes. For a small coastal island like Aegna, such small contributions are vital. Email: Karlj.alamaa@gmail.com with/in public spaces? Role: Author C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: D‐2 Representative pictures Picture's caption: Estonian Theravada Sangha monks Were there any exchanges of Not sure but they have participated at professional conferences and researches at universities knowledge or other activities that have had an impact. performed that potentially empowered the actors to prosper in their future development? C‐18 Monitoring (or not) of the impact of the project: 460 Picture's author: Kirke Tatar Picture's author: Kirke Tatar Picture's date: 6/3/2021 12:00:00 AM Picture's date: 6/3/2021 12:00:00 AM Picture's source: Estonian Association of Designers Picture's source: Estonian Association of Designers Picture's caption: The meditation center is surrounded by forest Picture's caption: Shared bedroom for the guests 461 Picture's author: Kirke Tatar Picture's author: Kirke Tatar Picture's date: 6/3/2021 12:00:00 AM Picture's date: 6/3/2021 12:00:00 AM Picture's source: Estonian Association of Designers Picture's source: Estonian Association of Designers Picture's caption: Space for practice and prayer Picture's caption: The meditation center is close to the seaside 462 Picture's author: Kirke Tatar Picture's author: Kirke Tatar Picture's date: 6/3/2021 12:00:00 AM Picture's date: Picture's source: Estonian Association of Designers Picture's source: Picture's caption: A window at the temple Picture's caption: Monk doing the dishes 463 Picture's author: Kirke Tatar Picture's date: Picture's source: Picture's caption: People on the shore Picture's author: Kirke Tatar Picture's date: Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 464 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Dense settlement Ave Vita! +5 Ave Vita! +4 +3  +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Eesti ‐1 Region name (in local language): Hiiumaa ‐2 Place name (in local language): Kärdla ‐3 Country name (in english): Estonia ‐4 Region name (in english): Hiiumaa ‐5 Place name (in english): Kärdla Open landscape Comment: Difficult terrain +5 +4  +3 +2 Map of the network of public +1 spaces in the remote place Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 ‐4 Caption of the map: Map of Kärdla ‐5 Legend of the map: Effortless terrain Comment: 465 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3  +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1  ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 2  +3 Explanation: Not enough information to complete this question. +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation  structure structure No good transportation links  ‐1 Difficulties in accessing daily‐life‐  ‐2 support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Specify subjective criteria (e.g. Comment: community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Hiiumaa is one of the biggest islands in Estonia by territory, however the population is just under characterise this case as a remote 10000 people. People of the island is ageing and decreasing. There is not much to do for young place: people, after school afctivities are limited. Being on the island, this case study is different to other Estonian case studies. People of Hiiumaa have felt secondary to the larger, neighboring island of Saaremaa. For example this summer, one of the two ferries sailing between Saaremaa and the mainland went out of service due to a breakdown. In order to maintain the connection between the biggest isalnd of the country and the mainland with the two ships, one ferry was taken from Hiiumaa, despite of the resentment of people of Hiiumaa. Low population density rank: 3 Geographical barrier/allocation rank: No good transportation links rank: 466 Difficulties in accessing daily‐life‐ Answer: Kärdla is, in fact, a small town, one of the smallest in Estonia, located on the island of Hiiumaa. support facilities rank: Hiiumaa is the second largest island in Estonia, but the population of the island is quite sparse. Kärdla is the main center of the island, where there is avaliable primary medical care, but in case Social specifics and/or divisions 1 of more serious problems, a helicopter is sent to the island, which takes the person in need to the rank: mainland. Shops, a small department store and cultural institutions are also available in the town. There are no theaters or large cultural institutions. The town also has schools, kindergartens and Economic inferiority rank: 2 sports facilities. In general, the quality of the public spaces is good. The town is by the sea, having Subjective criteria (e.g. community’s a sandy beach near to it. Due to these small town characteristics, being also the center of the self‐perception of being remote etc) island, this place is different from the other Estonian studies. Nevertheless, the island's rank: population is aging and decreasing. Other rank: B‐1 Name(s) of the public space(s) A‐5 Provide the links to public data Name(s) of the public space(s) (in Ave Vita! Tiigi 21, Kärdla, Hiiumaa local language): Links to public data on the remote place Name(s) of the public space(s) (in Ave Vita! English): The link: Latitude of the public space(s): 58° 59' 52.01" N Links to public data on the remote Official site of Hiiumaa parish place Longitude of the public space(s): 22° 44' 57.01" E The link: https://vald.hiiumaa.ee/ (https://vald.hiiumaa.ee/) A‐7 The type of public spaces that can be found in this remote place (besides the roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Ground plan showing the land use Market space/s  of the public space(s): Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Caption's map of the public space: The location of Ave Vita! in Kärdla Watersides  Legend's map of the public space: https://goo.gl/maps/i23KLJUhsqk5YMdR8 Meadows  Main location  Parking area  B‐2 Describe the physical environment Service yard  Physical environment description of By its nature, Kärdla is a car park town: there is a lot of tall greenery, the buildings are mostly Other types:  the public space(s) with creative small, there are a lot of gardens. There are artesian springs in the western part of the city. works: Excellent example of residential architecture in Kärdla: flat sloping roof structure, attic with Specify other types: articulated wall. Presence of original preserved elements on the facades and in the interior: rich saw‐cut decor on the facades, profiled boarding, windows with partitions. Ceilings, table floors, Type of indoor public spaces that Grocery stores, Cultural institutions, shops, schools and kindergardens, restaurants, cafes, pubs wooden panel doors made of profiled boards in the interior. The building has preserved chimneys can be found in this remote place: with beautiful profiling. The most prominent parts of the house are the windows on the street‐ side facades of the building. The windows of the street facade, their border boards and wooden A‐8 General description of.. decor are original and well preserved. Of note is the cast iron skylight from above, which illuminates the staircase from the time the building was built. The internal layout of the building The network of roads, streets, paths There is not much car traffic. There is public transport. Buses, both urban and county bus lines, has probably remained original. and alike elements that tie this leave from the local bus station. Near the town there is also a small airport which connects the remote place together: island with the capital Tallinn. There are not many walking paths, but considering the sparse Physical environment elements The wooden house at 21 Tiigi Street in Kärdla, originally built as a house, dates from the beginning traffic, people can go to most of the places either on foot or by bike. In recent years, pedestrian were important and/or actually of the 20th century. In the early years of the house, a shop operated here. The Kärdla courthouse roads and bicycle paths suitable for sports have been developed. "used" by creative people for their was located here for decades. The building stands out among the older wooden houses in Kärdla activities: with its rich wooden decoration made with sawing techniques and the unusual roof solution for The quantity and structure of public As it is a county center, most of the public spaces are avaliable and responding to different needs us. MTÜ Ave Vita has been operating in the house for the last ten years. The 2 storyes house is space network (besides of the people. Everything is near in the town. However the situation is more complicated with the divided into: 2 public rooms+veranda and private rooms with kitchen for living. The public events roads/streets/paths network) in this more remote places of the island, from where buses rarely leave, the population is very sparse such as: theatre, poetry evenings, concerts and other events to raise cultural knowledge are held remote place: and the essential institutions are mostly in Kärdla. mostly in the biggest room of the house and in the courtyard. The collection of art is distributed all around the building. The house is under heritage protection from 2010. A‐9 General description of the quality of public spaces in this remote place B‐3 Describe the general functions 467 Functions and land uses description The aim of this centre at first was to give possibility for youth for cultural entertainment. Local youth Socialising events   in the area of the public space: Especially for the youth with criminal tendencies. It was even called the House of Bad Boys. As   there are more places dedicated to young people free time from 2001, now the centre is meant Local youth Theatre for adult poetry and theatre and general cultural self‐improvement. The hall or the biggest room Local youth Garden party   in the building has a small stage for plays and performances; there is seating for ca 50‐60 people. The walls are covered with paintings and drawings of famous artists and there is also a shelf for Ave Alavainu Theatre   books. The courtyard is spacy and suitable for concerts and other events. Ave Alavainu Poetry events   Functionalities of space were As one of the main activity is school theatre, the young people are using the stage for rehearsals. important and/or actually "used" by Ave Alavainu is their mentor. The hall is used for different events, also the catering (usually from Ave Alavainu Charity concert   creative people for their activities: local makers) is part of the events. The food and the drinks (non alcoholic) are free. The courtyard with nice garden is for concerts and poetry evenings. The fire place is in the middle. The location B‐9 Parts/sections/spots seem most attractive within the public space (location and has been used also for garden café days, which is popular in this city. duration) ‐ Parts/sections/spots at people seem to avoid: B‐4 General demographic characteristics of the area around the public space: Describe what parts seem to be the The favourite places are the hall and the courtyard.Also veranda is cosy but not many people fit. most attractive to people Describe the general demographic The biggest age group is 44‐64. Population Density: 7.08 / km². More and more people from the characteristics capital are moving or having summer cottages in Hiiumaa. These are addition to local audience B‐10 Provide the links to public data on the public space(s) the main visitors of the creative centre. Also tourist groups visit the place and friends of the writer Website: non profit organisation AVE‐VITA! all over the world. Website's link: https://www.teatmik.ee/et/personlegal/80004124‐Mittetulundusühing‐AVE‐VITA! B‐5 Type of the public space(s) with creative work (https://www.teatmik.ee/et/personlegal/80004124‐Mittetulundusühing‐AVE‐VITA!) Form and function: Public building with open‐air space belonging to municipality is rented to Ave Vita! non profit B‐11 Provide photos of the public space(s) with creative works organisation. Caption: Ave Vita! 21 Tiigi Street. Kärdla, Hiiumaa. Ownership: Public *** Access regarding entry‐control: Controlled ‐ registration preferred as the writer Ave Vita is nowadays with disabilities. Photo's author: archive Access regarding time of day/week Limited access at night. /year: C‐1 Official name of the activity/project B‐7 Kind of activity initially designed for this public space: Name in local language: Ave Vita! What kind of activity has been this Ave Vita! was founded in 1997. Socialisation, relaxation, theatre (rehearsals), poetry evenings, Name in English: public space designed for initially concerts and other events to raise cultural knowledge. To meet the writer and listen to her poetry and interesting stories. Nickname: B‐8_a Which are the activities in this public space(s)? Overall name:  Activity: Theatre C‐2 Description of the project (activities) that took place in the analysed public space(s): Activity: Concerts Describe the project (activities) that Ave Vita! was founded by famous Estonian writer Ave Vita! in 1997 with the aim to host young took place in the analysed public people (mostly boys with criminal tendencies) with a space where they had educational activities Activity: Poetry events space(s) and culture around. In 2001, as the official youth centre was established, Ave Vita! was focusing in socialisation, relaxation, theatre (rehearsals), poetry evenings, concerts and other events to raise Activity: Garden party cultural knowledge. For more than a decade the tradition of celebrating the beginning of summer Activity: Movie nights at the exact date and time (even at nighttime); poetry festivals, garden cafés and other cultural events very well known on the island and guests arrived all over Estonia to meet the writer and Activity: Charity concert listen to her poetry and interesting stories. Local people participated in different activities like catering, transportation, design of the event etc. Soft drinks and coffee with pretzel were always Activity: Socialising events offered. B‐8_b Who are the main users of this public space(s)? C‐3 Challenge that the project (activities) tried/is trying to tackle: User: Local youth What challenge was the project The main purpose of Ave Vita! was and is to activate the local cultural life, bring love for theatre, User: People interested in literature, poetry, theatre (activities) trying to tackle – what literature, music and art to the small place. Many young people got motivation to learn was the aim humanitarian field further. User: Ave Alavainu C‐4 Time frequency: B‐8_c What are the users activities of this public space(s)? Time Frequency Periodical activity Users Activity Before After Other information: People interested in literature, Concerts   poetry, theatre C‐5 Time period People interested in literature, Poetry events   Start: 6/1/1997 12:00:00 AM poetry, theatre End: Local youth Movie nights   Comment: 468 C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Were any additional impacts To keep youth away from criminal activities. To help people to diminish stress by offering quality achieved? cultural events (not entertainment). Actor(s): Ave Alavainu C‐15 The main beneficiaries of the creative work in public space(s): Motivations: To raise cultural awareness Who were the main beneficiaries of Local community, local creative sector (also non‐local ‐ people who are on holidays), local Roles: Initiator and manager the creative works in public authorities spaces(s)? C‐7 Description of the supporting background that existed to make the activities happen: C‐16 Presence (or not) of economic benefits for the local community as a whole or any What kind of supporting The support for the projects has been applied from Cultural Endowment and local government. background existed to make the The restoring of the old house was made with the help of EU and local volunteers. Most of the specific actors in particular, resulting from the creative works with/in public spaces: activities happen (financial, everyday work, like heating, chop the trees, restoring was made by Ave Alavainu and her Were there any, no matter how big Free events, meals and drinks at Ave Vita! institutional etc.) network. or small, economic benefits for the local community as a whole or any C‐8 Sectors involved in the development of the creative works with public spaces: specific actors in particular, Culture  resulting from the creative works with/in public spaces? Education  C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Health  potentially empowered the actors to prosper in their future development: Sustainability  Were there any exchanges of Interesting discussions with writers, musicians, actors and other people around the fireplace. knowledge or other activities Some interesting cooperation projects have grown from there. Science  performed that potentially Tourism  empowered the actors to prosper in their future development? Sport  C‐18 Monitoring (or not) of the impact of the project: Industry  How was the impact of the project / Ave Alavainu writes periodically in the local newspaper, publishes books ‐ a lot of events are Other:  activities monitored? If it wasn’t – archived with stories and photos. Specify other: how do you think it could be monitored? C‐9 Sector which was.. C‐19 Way in order to communicate the impact of the project: ..the initiator of the activities: Culture How was the impact of the project / Through local media ‐ newspaper and local radio + interviews in national TV and radio. ..the most crucial for the whole case Culture activities disseminated or study: communicated? Comment: Cannot be answered. C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: C‐10 How was the local community involved in the project/activities: How were the creative works in As the house is under the heritage protection, not many changes can be done. People love the How was the local community Local community, neighbours and other friends were involved in restoring the house and public space(s) perceived, house because it is authentic. In front of the house there is a bus stop sign Ave Vita! erected by involved in the project/activities? courtyard, in preparation of the events, making food and drinks, transportation aid, designing the evaluated, judged by the final users Ave Alavainu herself. Also a bench dedicated to Ave Alavainu have been presented to her because signs and advertisements, publishing stories in media etc. – what were the reactions of the of her talent and activities. general public? C‐11 The role of natural/cultural heritage in the project/activities: C‐21 The (one) main success and the (one) main failure of the project/activities Did cultural and/or natural heritage The house were Ave Vita! is located is under heritage protection. play any specific role in the Main sucess: Several thousands of people have enjoyed cultural events and socialising. Young people have got project/activities? the motivation to continue education. C‐12 The targeted impact of the project/activity: Main failure: Lack of financial support What was the targeted impact of The youth of the island have had possibilities for alternative education, smart mentoring and C‐22 Importance of broader conditions for the main sucess and main failure factor: the project / activities? cultural events. Ave Vita! has been one of the most popular places in Kärdla thanks to the extraordinary events and diversity. It has involved talented people from the whole country who How important were the broader Local community and institutions were very supporting (not always with finances) but with are always eager to come there and perform. The citizen based initiative is competing with official conditions (e.g. the supporting psychological support and good advice. public events. state of the art in the community, infrastructure, institutional support, C‐13 Achievement of the targeted impact: financial sources, local or "imported" know‐how etc.) for the Yes/no/partly: Yes main success and main failure factor Comment: C‐23 Provide the links to public data on the creative works C‐14 Additional achieved impacts: Link to public data to better http://www.hiiuleht.ee/2014/01/ave‐alavainu‐aastast‐ilmselt‐paasu‐pole/ (http://www.hiiuleht.ee understand the activities and actors, /2014/01/ave‐alavainu‐aastast‐ilmselt‐paasu‐pole/) 469 as well as impacts: The link: An article by Ave Alavainu at Hiiuleht (local newspaper) D‐1 Main editor in charge of this entry and potential other authors of this case study description Name and surname: Karl Joonas Alamaa Organization: Estonian Association of Designers Email: Karlj.alamaa@gmail.com Role: Editor Name and surname: Ilona Gurjanova Organization: Estonian Association of Designers Email: edl@edl.ee Role: Author D‐2 Representative pictures Picture's caption: Concert in the garden of Ave Vita! Picture's author: Toomas Kokovkin Picture's date: 6/21/2016 12:00:00 AM Picture's source: Private Picture's caption: Poetry festival Picture's author: Teet Malsroos Picture's date: 7/13/2018 12:00:00 AM Picture's source: Õhtuleht (newspaper) internet Picture's caption: Ave Vita! Garden café Picture's author: Ilona Gurjanova Picture's date: 7/12/2013 12:00:00 AM Picture's source: Private Picture's caption: Garden party 470 Picture's author: Toomas Kokovkin Picture's date: Picture's author: Toomas Kokovkin Picture's source: private Picture's date: 5/1/2016 12:00:00 AM D‐3 Additional information Picture's source: private Additional information: The article about Ave Vita! event in Õhtuleht newspaper Picture's caption: Gathering of Estonian language teachers Link: https://elu.ohtuleht.ee/883792/ave‐alavainu‐puhendas‐oma‐traditsioonilise‐suvealgusepeo‐juhan‐ viidingu‐malestusele (https://elu.ohtuleht.ee/883792/ave‐alavainu‐puhendas‐oma‐traditsioonilise‐ suvealgusepeo‐juhan‐viidingu‐malestusele) D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template Picture's author: Harda Roosna Picture's date: 8/31/2018 12:00:00 AM Picture's source: Hiiu Leht ‐ newspaper Picture's caption: Ave Vita! Centre for cultural activities 471 Legend of the map: Käru Museum of Good Deeds Käru Heade Tegude Muuseum A‐1 General information about the location of the remote place Country name (in local language): Eesti Region name (in local language): Järvamaa Place name (in local language): Käru Country name (in english): Estonia Region name (in english): Järvamaa Place name (in english): Käru Map of the network of public spaces in the remote place Caption of the map: Map of Käru and its surroundings 472 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Diversified economic activities Dense settlement +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed creative sector creative sector Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character ‐1   ‐2 ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Absence of economic activity Open landscape Comment: Comment: Daily‐life‐support facilities well developed Difficult terrain +5 +5 +4 +4 +3 +3 +2 +2 +1  +1 Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good demographic demographic (infrastructure (infrastructure structure structure for) access for) access ‐1 ‐1 ‐2  ‐2 ‐3 ‐3 ‐4 ‐4 ‐5 ‐5 Daily‐life‐support facilities none‐existing Effortless terrain Comment: Comment: 473 High‐income households prevail No good transportation links rank: +5 Difficulties in accessing daily‐life‐ 4 support facilities rank: +4 Social specifics and/or divisions 3 +3 rank: +2 Economic inferiority rank: 1 +1 Subjective criteria (e.g. community’s Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory self‐perception of being remote etc) practices none‐ practices well rank: existing developed Other rank:  ‐1 A‐5 Provide the links to public data ‐2 Links to public data on the remote Official site of Türi parish ‐3 place ‐4 The link: https://www.tyri.ee/web/english (https://www.tyri.ee/web/english) ‐5 Links to public data on the remote place Low‐income households prevail Comment: The link: A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote A‐7 The type of public spaces that can be found in this remote place (besides the at all) to 5 (extremely remote) roads/streets/path network) Estimation: 3 Square/s, Plaza/s  Explanation: We believe, people of Käru feel more isolated than before and mainly because of administrative Park/s, Garden/s  reform which took place few years ago. That resulted with the amalgamation of Käru into a larger municipality where their voice is not so well heard. Despite that Käru is not too far from larger Market space/s  cities and many active locals have enriched local life. Playground/s  A‐4 Elements that characterise the remoteness of the place: Recreational space/s, Sport‐field/s  Low population density  Community open‐air space/s  Geographical barrier/allocation  Institution‐related open‐air space/s  (e.g.University grounds) No good transportation links  Watersides  Difficulties in accessing daily‐life‐  support facilities Meadows  Social specifics and/or divisions  Parking area  Economic inferiority  Service yard  Subjective criteria  Other types:  Specify subjective criteria (e.g. Specify other types: community’s self‐perception of being remote etc): Type of indoor public spaces that Gorcery stores, shops, a school, a kindergarden, a library, can be found in this remote place: Other  Specify other: A‐8 General description of.. Summary of the elements that It is a small borough with about 10‐15 active community members. It has a railway line going The network of roads, streets, paths The quality of the roads are described to be good. The borough is tied well together. The Tallinn-characterise this case as a remote through the borough. The railway connects it with the capital city Tallinn and with a city of Viljandi and alike elements that tie this Türi and Tallinn‐Viljandi train stops in Käru and runs eight times a day which connects the borough place: in the Southern part of the country. There is also an active church, a school, a kindergarden and a remote place together: with larger towns and cities. If the express trains would stop in Käru, there would be 10 stops per small library. Nevertheless, there are a lot of people in the village who do not see a bigger day. On weekends, the Tartu‐Tallinn bus also stos in Käru twice a day. By car it is very easy to get prospect in their lives. Locals are not used to volunteering and there are few joint activities. The to Käru. Few years ago Käru got a new canalisation and repaired roads. Unfortuantely smaller concern is local teenagers as well as alcoholics, who does not feel as part of the community. Most places near Käru are running out of people because of the worser condition of roads, buses are of the parents are working in the farms for long hours, children are left alone or with their friends not leaving there anymore as well. and due to that many feel left aside.. The quantity and structure of public Yes, there are enough public space in Käru that responds to different needs of the locals. The Low population density rank: 2 space network (besides most vital conditions have been created. roads/streets/paths network) in this Geographical barrier/allocation rank: remote place: 474 A‐9 General description of the quality of public spaces in this remote place Functionalities of space were Important and actually used by the locals and creatives has been the museum. It can be described important and/or actually "used" by as civic cultural space. They are near to the railway station and a road connecting two bigger Answer: The overall rating could be good. Shops, a railway and main cultural institutions are repsresented creative people for their activities: Estonian towns also goes trough Käru. in the borough which is quite remarkable for a remote place like Käru. Recently, a village‐square was created in the borough. However, it seems rather difficult to attract locals to make more use B‐4 General demographic characteristics of the area around the public space: of these opportunities and how to get locals to contribute more to their community. As our partner from Käru said, there are only approximately 10‐15 active local community members, the Describe the general demographic The locals are rather elderly and the area around the public space is not different from many other majority are either not interesed in community work or do not consider it necessary to contibute, characteristics places in Estonia. The population has declined in recent decades. Young people have few especially for free. opportunities to improve themselves. Our partner sees the high proportion of alcoholics in the population as a major problem. They are not dealt with and do not appear to exist for either the B‐1 Name(s) of the public space(s) municipality or the state. No one deals with them and so many working age people are wasting their lives. The low level of education is also a problem, i.e. few have traveled and met different Name(s) of the public space(s) (in Rahvamaja 1, Käru, 79201 Järva maakond people and cultures. Culture is not important to the daily lives of many. Going to the theater, for local language): example, is something elitist for many and it is not important when you have to work hard for the living. Therefore, the museum, which operates on the basis of private initiative, is an important Name(s) of the public space(s) (in Rahvamaja street 1, Käru borough, 79201 Järva county stimulator of cultural life in this place. English): B‐5 Type of the public space(s) with creative work Latitude of the public space(s): 58.8340 Form and function: This was an abandoned space which is now a public building and is constantly being renovated. Longitude of the public space(s): 25.1441 Ownership: The ownership of the public space is private. Fully based and run on private investments and donations. Access regarding entry‐control: The access is controlled which means it is opened only by previously made agreement, except if there is a public event. Access regarding time of day/week It is opened throughout the year but only by appointment. /year: B‐7 Kind of activity initially designed for this public space: Ground plan showing the land use What kind of activity has been this The museum has acquired a role representing the small borough, because there are no similar of the public space(s): public space designed for initially cultural institutions in the area. It is also a community place, a good place to socialize. B‐8_a Which are the activities in this public space(s)? Activity: Enrich local cultural scene Activity: Connecting the community Activity: Organizing events Activity: Preserving local history Caption's map of the public space: Käru Museum satelite photo B‐8_b Who are the main users of this public space(s)? Legend's map of the public space: User: Families Main location  User: Tourists B‐2 Describe the physical environment User: Locals Physical environment description of The whole Estonian mainland is quite flat. Käru is also surrounded by a flat landscape with B‐8_c What are the users activities of this public space(s)? the public space(s) with creative alternating forests, fields and meadows. The public space with creative works under works: consideration is an old building in which the museum operates. There are two houses from the Users Activity Before After pre‐war era near Käru railway station on Jaama Street, which have been empty for years. The windows were clogged because the glass had broken over time. On June 22, 2018, the Käru Locals Enrich local cultural scene   Museum acquired these buildings to put them in order. Locals Organizing events   Physical environment elements The museum has been constantly renovating the surroundings and buildings. The main activities were important and/or actually have taken place in the museum house. B‐9 Parts/sections/spots seem most attractive within the public space (location and "used" by creative people for their duration) ‐ Parts/sections/spots at people seem to avoid: activities: Describe what parts seem to be the However, the most attractive is the museum of carts, which attracts locals and people from B‐3 Describe the general functions most attractive to people further afield. There are tourist farms and guest houses in the area, where guests can stay if needed. People probably avoid abandoned and neglected places in the area, but certainly not the Functions and land uses description The museum is only open at agreed times. Because a lot of people do not live in the village and a museum to be seen. Also nearby is Toosikannu Holiday Center, which is a camping in the area of the public space: lot of tourists do not visit, especially due to the corona. There is no point in keeping the museum accommodation and recreational facility. open on a daily basis. The museum is small, there are some rooms. the museum collection is constantly being updated. B‐10 Provide the links to public data on the public space(s) Website: Käru Museum 475 Website's link: http://karumuuseum.ee/ (http://karumuuseum.ee/) Culture  Website: Toosikannu Holiday Center Education  Website's link: https://toosikannu.ee/en/ (https://toosikannu.ee/en/) Health  B‐11 Provide photos of the public space(s) with creative works Sustainability  Caption: Science  *** Tourism  Photo's author: Sport  C‐1 Official name of the activity/project Industry  Other:  Name in local language: Käru Heade Tegude Muuseum Specify other: Name in English: Käru Museum of Good Deeds Nickname: Museum of barrows C‐9 Sector which was.. Overall name:  ..the initiator of the activities: Culture C‐2 Description of the project (activities) that took place in the analysed public space(s): ..the most crucial for the whole case Tourism study: Describe the project (activities) that Käru Museum of Good Deeds is a museum of local history, which was created on the private Comment: took place in the analysed public initiative and whose main goal is to preserve, introduce and raise awareness of Estonia's 20th space(s) century history through various exhibitions, art and social projects, camps and conferences. After C‐10 How was the local community involved in the project/activities: the acquisition of the buildings which were out of use for years before, an active discussion began in the Käru community on how to restore the buildings and what should be done there. The idea How was the local community The local community is actively involved in the work of the museum. The locals are becoming to create a museum of barrows and trolleys in Käru (Käru can be translated as a barrow or cart in involved in the project/activities? more active year by year. Today, the museum already has nine local volunteers who work in the English) was born and a campaign to collect carts was launched. At the moment, more than 60 museum every week, take excursions, clean and repair. There are more and more people active trolleys have been collected, the oldest of which dates back to the 19th century. There is also a and people are more understanding about volunteering. There was only one volunteer in the first trolley from the 1930s and several others from later decades. year, four in the second year of operation and now nine. The pandemic year has had a unifying effect. Children and men are also helpful, especially during bigger events. The aim is to involve C‐3 Challenge that the project (activities) tried/is trying to tackle: more people who would otherwise remain invisible, but it is more difficult with them because they are not used to joint activities. Nevertheless, they will also come to share their concerns and What challenge was the project The idea of the project was to bring more active cultural life to the countryside, to involve the get involved. There are also a number of free events each year that everyone can take part in. (activities) trying to tackle – what locals and to show the liveability in the countryside in the 21st century. There was no similar People also come there to share their general concerns and ask help, for example people ask for was the aim institution in Käru before and many could not consider culture and cultural education necessary in old logs from the restoration, old clothes etc. The leader of the museum said that they are also a their daily life. bit like a social assistance point in a good way. People know they can rely on them. C‐4 Time frequency: C‐11 The role of natural/cultural heritage in the project/activities: Time Frequency A constant process Did cultural and/or natural heritage We do not believe, rather it was a desire and an interest to promote local culture. Other information: play any specific role in the project/activities? C‐5 Time period C‐12 The targeted impact of the project/activity: Start: 6/22/2018 12:00:00 AM What was the targeted impact of The project is still ongoing and operational and some results have already been achieved. The goal End: the project / activities? was and is to involve the community and activate life in the countryside. Through effective inclusive work, a number of local people have already been reached to volunteer to keep the Comment: museum running. The leader of the museum has spoken about the activities both on television and in the press, in order to show the various aspects of developing rural and remote places and C‐6 Actors in relation to the analysed creative work, their main motivation and their roles the importance of culture in society. Actor(s): Aljona Suržikova C‐13 Achievement of the targeted impact: Motivations: To promote culture and connect the community Yes/no/partly: Yes Roles: Leader Comment: Yes, it can be said that they have achived the target already, although a lot is to be done. The aim C‐7 Description of the supporting background that existed to make the activities happen: was to bring different people of the community closer to each other through culture. What kind of supporting There was little support. It all started purely on initiative. Almost all the money to keep the project C‐14 Additional achieved impacts: background existed to make the running has came from the initiators' own funds. Support has also been received from the local activities happen (financial, municipality and the Ministry of Culture. In addition, the non‐profit museum has received Were any additional impacts institutional etc.) donations. Unfortunately, these additional funds cover only a small part of the running costs. The achieved? buildings where the museum and its exhibitions and events take place have been independently C‐15 The main beneficiaries of the creative work in public space(s): supplemented and restored. C‐8 Sectors involved in the development of the creative works with public spaces: 476 Who were the main beneficiaries of The main beneficiary is the local community. It was also a aim of the project to promote and Link to public data to better the creative works in public connect the community through culture. Local entrepreneurs and businesses have also received understand the activities and actors, spaces(s)? additional work through the museum's visitors. as well as impacts: C‐16 Presence (or not) of economic benefits for the local community as a whole or any The link: specific actors in particular, resulting from the creative works with/in public spaces: D‐1 Main editor in charge of this entry and potential other authors of this case study Were there any, no matter how big There are economic benefits in any case, even if it is a non‐profit organization. Visitors stay at local description or small, economic benefits for the guest houses, dine at local restaurants and support small producers. The importance of tourism local community as a whole or any as one of the stimulators of the economy has been repeatedly emphasized. Name and surname: Karl Joonas Alamaa specific actors in particular, Organization: Estonian Association of Designers resulting from the creative works with/in public spaces? Email: karlj.alamaa@gmail.com C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that Role: Author potentially empowered the actors to prosper in their future development: D‐2 Representative pictures Were there any exchanges of Interesting and inspiring discussions with different creatives not only from Estonia but from knowledge or other activities abroad as well. They have been organising creative workshops for adults and children. Local Picture's caption: Käru Museum Open Day performed that potentially cooperation projects have grown from there. empowered the actors to prosper in their future development? C‐18 Monitoring (or not) of the impact of the project: How was the impact of the project / The impact of the activities has been monitored on the basis of the leaders' descriptions. The activities monitored? If it wasn’t – photographic material also proves and shows the development. how do you think it could be monitored? C‐19 Way in order to communicate the impact of the project: How was the impact of the project / They have been on television as well as in the press explaining the aims and contxt of the project. activities disseminated or communicated? C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in The initiative was well received by locals, especially by active community members. The museum public space(s) perceived, has a strong binding effect on the whole community and is an inspiration to many. More and more evaluated, judged by the final users locals are also ready to take part in the work of the museum, and there has been significant Picture's author: Sergei Trofimov – what were the reactions of the growth in this aspect. general public? Picture's date: 7/24/2021 12:00:00 AM C‐21 The (one) main success and the (one) main failure of the project/activities Picture's source: Käru Museum Main sucess: Quite rapid growth in a few years. Visitor numbers have been growing year by year, they also Picture's caption: Exhibition provide guided tours in different languages. Several locals are being included into the creative works related to the museum. Main failure: Working with limited opportunities can be difficult. Some good ideas and projects have not found so warm welcoming by the locals. Mostly conservative people from the countryside are sometimes tricky to involve into joint activities. The local government is quite relentless and does not understand the importance of the museum's activities. The funding they receive from them is small. C‐22 Importance of broader conditions for the main sucess and main failure factor: How important were the broader There was no wider active arts and culture conscious audience and community that existed conditions (e.g. the supporting before. All funds have come from the initiators’ finances, and in smaller amounts from donations state of the art in the community, and grants. infrastructure, institutional support, financial sources, local or "imported" know‐how etc.) for the main success and main failure factor C‐23 Provide the links to public data on the creative works 477 Picture's author: Sergei Trofimov Picture's date: 8/20/2021 12:00:00 AM Optional final remarks: is there any additional information that was not Picture's source: Käru Museum communicated through the template Picture's caption: Exhibition Picture's author: Sergei Trofimov Picture's date: 6/15/2021 12:00:00 AM Picture's source: Käru Museum Picture's caption: Käru Museum and volunteers Picture's author: Sergei Trofimov Picture's date: 8/20/2021 12:00:00 AM Picture's source: Käru Museum D‐3 Additional information Additional information: Link: D‐4 Optional final remark 478 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) Lindi Village Society Dense settlement Lindi Külaselts +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Eesti ‐1 Region name (in local language): Pärnumaa  ‐2 Place name (in local language): Lindi ‐3 Country name (in english): Estonia ‐4 Region name (in english): Pärnumaa ‐5 Place name (in english): Lindi Open landscape Comment: Difficult terrain +5 +4 +3 +2 +1 Poor ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access Map of the network of public spaces in the remote place  ‐1 ‐2 ‐3 ‐4 ‐5 Effortless terrain Comment: Caption of the map: Map of Lindi and its surroundings Legend of the map: 479 Diversified economic activities A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote +5 at all) to 5 (extremely remote) +4 Estimation: 3 +3 Explanation: Similarly to Käru, Lindi also was afected by the adminstrative reform and Lindi was merged with a larger municipality. It is difficult to be heard. +2 A‐4 Elements that characterise the remoteness of the place: +1 Low population density  None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed creative sector creative sector Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐   support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Absence of economic activity Comment: Specify subjective criteria (e.g. community’s self‐perception of Daily‐life‐support facilities well developed being remote etc): +5 Other  +4 Specify other: +3 Summary of the elements that Altough Lindi is near to city of Pärnu (in fact, after the administrative reform Lindi became part of +2  characterise this case as a remote city of Pärnu), they feel their voice is not so well heard. People dream of well developed network place: of roads for cycling, running and walking. People are ageing and moving to bigger municipalities. +1 Low population density rank: 3 Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound demographic demographic Geographical barrier/allocation rank: structure structure No good transportation links rank: 2 ‐1 Difficulties in accessing daily‐life‐ ‐2 support facilities rank: ‐3 Social specifics and/or divisions rank: ‐4 Economic inferiority rank: 1 ‐5 Subjective criteria (e.g. community’s Daily‐life‐support facilities none‐existing self‐perception of being remote etc) Comment: rank: High‐income households prevail Other rank: +5 A‐5 Provide the links to public data +4 Links to public data on the remote Official site of Lindi +3 place +2 The link: http://www.lindi.ee/ (http://www.lindi.ee/) +1 A‐7 The type of public spaces that can be found in this remote place (besides the Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory roads/streets/path network) practices none‐ practices well Square/s, Plaza/s  existing developed Park/s, Garden/s  ‐1   Market space/s Playground/s  ‐3 Recreational space/s, Sport‐field/s  ‐4 Community open‐air space/s  ‐5 Institution‐related open‐air space/s  Low‐income households prevail (e.g.University grounds) Comment: Watersides  480 Meadows  Parking area  Service yard  Other types:  Specify other types: Type of indoor public spaces that Grocery stores, Cultural institutions, School can be found in this remote place: Ground plan showing the land use of the public space(s): A‐8 General description of.. The network of roads, streets, paths Local road network (infrastructure) is not directly in the worst condition. Virtually all roads have and alike elements that tie this been renewed, i.e. there are minimal dusty sections. Yet the locals are not fully pleased with the remote place together: road network. There are missing pedestrian streets, cycling paths and running trails. The street lighting is also not enough. Lighting is aging or missing in some places. It has been complained that the speed limit on the roads is too high and should be reduced. The overall quality of the infrastucture is not good. As a result of surveys conducted in the area, the main complaint is that there are no pedestrian and cycling paths ‐ children cannot ride their bikes to school because they cannot ride independently on public roads, people cannot move safely to a shop by the big road, etc. There is also a longing for a paved forest trail for sports with street lighting. Although local Caption's map of the public space: Location of the community center roads are limited in some parts to a speed limit of 50 km, there are places where the speed limits are higher and it is dangerous and disturbing for the people living there, and negotiations to set Legend's map of the public space: speed limits lower have begun. The road towards Audru, small borough and Pärnu city is partly in  good condition but partly outdated, narrow, winding and dangerous. Main location The quantity and structure of public Beside the disadvantages of the road network, the public spaces and vital public institutions are in B‐2 Describe the physical environment space network (besides the nearest city, Pärnu. Near to Lindi there are a school, a kindergarden and a civic center. Small Physical environment description of Lindi village is located on the coast of southwestern Estonia, which has a flat landscape. The sea roads/streets/paths network) in this grocery store is also in the village. The population is aging in most of rural places in the country, the public space(s) with creative and beautiful sandy beaches are nearby. Pärnu County is known in Estonia for its beautiful remote place: therefore the distance to medical care makes life difficult for many elderly people. This is works: beaches and resorts. There is also a beach near Lindi but the conditions are not satisfactory. The inevitable and prevalent in most rural and remote areas in Estonia. The area consists of the man‐made environment is rather characterized by low, one‐ or two‐storey buildings. The village several different villages. Lindi village has an old school building property with a village square, society operates in the Lindi community center. Lindi community center can be considered as a about one kilometer from Tõstamaa there is a food and consumer goods store, three kilometers complex of services. In terms of houses, there are two of them ‐ a new school building (Lindi towards the beach there is Lindi Kindergarten‐Primary School and Port of Lindi, as well as a Kindergarten‐Primary School) and, from 2020, an old school building will be used for trainings and seaside recreation area. Bus traffic is satisfactory, but still not enough (about 10 buses a day), that circular activities. Activities are taking place in the new house in the afternoon because it is means usually have to travel by personal transport. The infrastructure of high quality Internet has primarily a school building during the day. The old house was given in the use of the local been transferred to a broadband (fiber‐optic) connection, but only in densely populated areas. community for an initial period of ten years by the City of Pärnu for ‐ just to promote local life. Despite that Lindi is located near the sea there are a lack of proper swimming conditions. Now there is a permanent Old School café, a guest house and other services are coming in a row. A‐9 General description of the quality of public spaces in this remote place There will be a disc golf course on the same property as the old school building. Physical environment elements They are using mainly two buildings, both a school buildings. School as an establishment is also a Answer: The overall assessment of public areas could be satisfactory. There are major cultural institutions were important and/or actually symbol of unity and progress. and a grocery store. The existence of a grocery store has been assessed as very important from "used" by creative people for their the point of view of the sustainability of life in Estonian countryside. It is a meeting place for locals activities: and the center of remote settlements. There is also a school and a kindergarten in the village. Many Estonian remote areas are concerned because schools are being closed due to low student B‐3 Describe the general functions numbers. Functions and land uses description As the Lindi village society operates more widely, involving several different small villages in the B‐1 Name(s) of the public space(s) in the area of the public space: vicinity, the area they use is general and comprehensive. The buildings in which they operate, however, are private buildings, former and current educational institutions. The advantage of Name(s) of the public space(s) (in Lindi Külaselts, Lindi Rahvamaja school buildings is that they have the necessary functions, rooms and facilities for the operation local language): of the village society. Name(s) of the public space(s) (in Lindi Village Society, Lindi community center Functionalities of space were The schoolhouses where the main action and meetings take place. English): important and/or actually "used" by Latitude of the public space(s): 58.3355049 creative people for their activities: Longitude of the public space(s): 24.2561133 B‐4 General demographic characteristics of the area around the public space: Describe the general demographic After the reform of local governments, Lindi village is now de facto part of the city of Pärnu. characteristics Several munitsipalities were taken under the governance of the city of Pärnu which made the city one of the biggest in Europe by territory. Lindi village has a population of 307. B‐5 Type of the public space(s) with creative work Form and function: The school houses are indoor public spaces that are surrounded by beaches, meadows and open‐ air community places. There is a village square nearby and a disc‐golf ground is coming soon. Ownership: This is a non‐profit organisation and can be considered by that as a private organisation focused on the development and progress of the community. Access regarding entry‐control: The school houses are opened weekly. During the working days there are school lessons taking place in the newer building and in the older house, there are a cafe and accomodation establishment. 481 Access regarding time of day/week Opened in the working days (depending on the events or appointments it is also opened in the Describe the project (activities) that Lindi Village Society is an active community located in the seaside area of Pärnu County, including /year: weekends). took place in the analysed public both Lindi village and surrounding villages. The village society is the only broad‐based association space(s) that works for the development of the region and wants to continue with it. The mission of the B‐7 Kind of activity initially designed for this public space: village society is to contribute with its organizational and material resources to the preservation of the village of Lindi, to the support of economic, social and cultural development, and to the What kind of activity has been this It mainly has a representative role. It is also unifying and bringing people together and protection of the interests and needs of the villagers. Under the leadership of the village society a public space designed for initially representing their needs and concerns. beautiful sound chamber and a village swing have been built there and a beautiful bridge has been completed. The traditional co‐organized annual Midsummer celebrations take place every B‐8_a Which are the activities in this public space(s)? year. Together with the community they work to make Lindi area an open community where each Activity: Organizing events member feels the impact of their thoughts, concerns and words, appreciates the power of unity and values a pleasant environment. Activity: Representing the needs and concerns of the locals (was not present before) C‐3 Challenge that the project (activities) tried/is trying to tackle: Activity: Regular meetings (was not present before) What challenge was the project The aim of their project, which is still ongoing, is to make the voices of the community louder and Activity: Involvement of the locals in the different projects (not present before) (activities) trying to tackle – what to bring attention to the concerns of the people. was the aim B‐8_b Who are the main users of this public space(s)? C‐4 Time frequency: User: Villagers Time Frequency A constant process User: Municipal government Other information: B‐8_c What are the users activities of this public space(s)? C‐5 Time period Users Activity Before After Start: 6/1/2003 12:00:00 AM Villagers Regular meetings (was not present   before) End: Villagers Involvement of the locals in the   Comment: different projects (not present before) C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Villagers Representing the needs and concerns   of the locals (was not present before) Actor(s): Taavi Tamberg Municipal government Regular meetings (was not present   Motivations: before) Roles: Leader Municipal government Organizing events   C‐7 Description of the supporting background that existed to make the activities happen: B‐9 Parts/sections/spots seem most attractive within the public space (location and duration) ‐ Parts/sections/spots at people seem to avoid: What kind of supporting In the beginning there was no support. At that time, there was also a local community center background existed to make the financed by Audru Parish, which organized cultural life. However, the first years of the village Describe what parts seem to be the Most attractive places, if it can be said that way, are the school houses as the regular meeting activities happen (financial, society prepared the ground that it was possible to delegate the community centers to be most attractive to people places, hobby and activity centers. institutional etc.) liquidated to local NGOs, then financing them to a minimal extent (not enough to hire anyone, but a small surcharge could be set for organizing some events and rounds). At present, the city of B‐10 Provide the links to public data on the public space(s) Pärnu must be asked for support every year to maintain the community center. So far, fortunately, it has been given. These amounts of support are still such that it is not possible to Website: Official site of Lindi village society offer work to anyone on a permanent basis. Website's link: https://www.lindi.ee/lindi‐kulaselts/ (https://www.lindi.ee/lindi‐kulaselts/) C‐8 Sectors involved in the development of the creative works with public spaces: B‐11 Provide photos of the public space(s) with creative works Culture  Caption: Education  *** Health  Photo's author: Sustainability  C‐1 Official name of the activity/project Science  Name in local language: Lindi Külaselts Tourism  Name in English: Lindi Village Society Sport  Nickname: Industry  Overall name:  Other:  C‐2 Description of the project (activities) that took place in the analysed public space(s): Specify other: C‐9 Sector which was.. ..the initiator of the activities: Sustainability ..the most crucial for the whole case Sustainability study: Comment: Sustainability of the community 482 C‐10 How was the local community involved in the project/activities: Main sucess: Through the years many have enjoyed cultural events and people's concerns, thoughts and ideas have been upheld, listened to and tried to be implemented together. How was the local community Local community is actively participating in different activities. They are co‐organizing, taking part involved in the project/activities? and helping. The village society’s one of the core values have been to encourage community Main failure: Lack of finances and financial support. At present, they have asked for support from the city of members to actively participate and share thoughts. Pärnu every year to maintain the community center. So far, fortunately, it has been given. These amounts of support are still small that it is not possible to offer work to anyone on a permanent C‐11 The role of natural/cultural heritage in the project/activities: basis. Did cultural and/or natural heritage The indoor public space in which they operate is ca a century old building, once a local school it C‐22 Importance of broader conditions for the main sucess and main failure factor: play any specific role in the has a great meaning to the locals. project/activities? How important were the broader Local community and institutions were very supportive with good advice. conditions (e.g. the supporting C‐12 The targeted impact of the project/activity: state of the art in the community, infrastructure, institutional support, What was the targeted impact of Targeted impact was to make the voice of a small community stand out. Their constant, years financial sources, local or the project / activities? long work has already given good results as many other village communities beside Lindi has "imported" know‐how etc.) for the decided to join with the activities. main success and main failure factor C‐13 Achievement of the targeted impact: C‐23 Provide the links to public data on the creative works Yes/no/partly: Yes Link to public data to better https://parnu.postimees.ee/6747132/lindikad‐avavad‐kontsertidega‐oma‐ understand the activities and actors, koduoued#_ga=2.240849603.1195551177.1625577913‐431715057.1625577913 Comment: as well as impacts: (https://parnu.postimees.ee/6747132/lindikad‐avavad‐kontsertidega‐oma‐ koduoued#_ga=2.240849603.1195551177.1625577913‐431715057.1625577913) C‐14 Additional achieved impacts: The link: About Lindi in the local newspaper Were any additional impacts To help people to diminish stress by offering cultural events and different joint activities. achieved? D‐1 Main editor in charge of this entry and potential other authors of this case study C‐15 The main beneficiaries of the creative work in public space(s): description Name and surname: Karl Joonas Alamaa Who were the main beneficiaries of Local community and local creative sector. Their work is very community‐centered and the the creative works in public initiators of the creative works are also strongly related to the region. Organization: Estonian Association of Designers spaces(s)? Email: karlj.alamaa@gmail.com C‐16 Presence (or not) of economic benefits for the local community as a whole or any specific actors in particular, resulting from the creative works with/in public spaces: Role: Author Were there any, no matter how big Different events, like bringing there to perform different theater collectives, singers etc. They D‐2 Representative pictures or small, economic benefits for the have organized very diverse range of events that brings people together, not only locals. This Picture's caption: Joint activity local community as a whole or any benefits the tourism sector, restaurant businesses, local farmers and producers of goods etc. specific actors in particular, resulting from the creative works with/in public spaces? C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Were there any exchanges of In 2012, Lindi was honored to participate in the nationwide Open Village Gates project, through knowledge or other activities which they also introduced the village to people from different parts of the country. They were performed that potentially visited by the Speaker of the Riigikogu Ene Ergma within the framework of this event. empowered the actors to prosper in their future development? C‐18 Monitoring (or not) of the impact of the project: How was the impact of the project / Local press writes about the achivements of the community and lots of information has been activities monitored? If it wasn’t – archived as photo and story materials. how do you think it could be monitored? Picture's author: Taavi Tamberg C‐19 Way in order to communicate the impact of the project: Picture's date: 5/6/2017 12:00:00 AM How was the impact of the project / Through press releases. Picture's source: Lindi Village Society activities disseminated or communicated? Picture's caption: Joint activity C‐20 Perception of the creative works in public space(s) by the final users and the reactions of the general public: How were the creative works in The creative work was preceived well by the locals. Their job is vital for the community. public space(s) perceived, evaluated, judged by the final users – what were the reactions of the general public? C‐21 The (one) main success and the (one) main failure of the project/activities 483 Picture's author: Taavi Tamberg Picture's date: 10/23/2021 12:00:00 AM Picture's author: Taavi Tamberg Picture's source: Lindi Village Society Picture's date: 5/6/2017 12:00:00 AM Picture's caption: Picture's source: Lindi Village Society Picture's caption: Old school of Lindi, now in use of Village Society Picture's author: Venda Vinni Picture's date: Picture's source: Picture's caption: Old school, now a community center/village society Picture's author: Taavi Tamberg Picture's author: Taavi Tamberg Picture's date: 7/19/2020 12:00:00 AM Picture's date: 12/19/2020 12:00:00 AM Picture's source: Lindi Village Society Picture's source: Lindi Village Society Picture's caption: Sign of old elementary school, now a village society D‐3 Additional information Additional Photos from the communal work day in Spring 2021 information: 484 Link: https://photos.google.com/u/1/share /AF1QipODzNEjOIMW_JVmkugFAH0NBwOWy_jMBjZX1T1o58VQhDtw0L5dk7puv3HzVHtXDg?key=a1dCVTM4UElUOHZSVXBSMmwwUGJqUmZxbVl3c3p3 (https://photos.google.com/u/1/share /AF1QipODzNEjOIMW_JVmkugFAH0NBwOWy_jMBjZX1T1o58VQhDtw0L5dk7puv3HzVHtXDg?key=a1dCVTM4UElUOHZSVXBSMmwwUGJqUmZxbVl3c3p3) D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 485 A‐2 Elements that characterise the remoteness of the place (from ‐5 to 5) There is time! Dense settlement Aigu on! +5 +4 +3 +2 +1 A‐1 General information about the location of the remote place Rural character ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Urban character Country name (in local language): Eesti ‐1 Region name (in local language): Võrumaa ‐2 Place name (in local language): Viitina kõrtsi küün  ‐3 Country name (in english): Estonia ‐4 Region name (in english): Võrumaa ‐5 Place name (in english): Viitina Open landscape Comment: Difficult terrain +5 +4 +3 +2 Map of the network of public spaces in the remote place +1 Poor ‐5 ‐4  ‐2 ‐1 0 +1 +2 +3 +4 +5 Good (infrastructure (infrastructure for) access for) access ‐1 ‐2 ‐3 Caption of the map: Location of the creative works in Viitina ‐4 Legend of the map: ‐5 Effortless terrain Comment: 486 Diversified economic activities High‐income households prevail +5 +5 +4 +4 +3 +3 +2 +2 +1 +1 None‐existing ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Well‐developed Participatory ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Participatory creative sector creative sector practices none‐ practices well existing developed ‐1 ‐1 ‐2 ‐2  ‐3 ‐3 ‐4  ‐4 ‐5 ‐5 Absence of economic activity Comment: Low‐income households prevail Daily‐life‐support facilities well developed Comment: +5 A‐3 Estimation of how residents perceive the remoteness of this place, from 0 (not remote at all) to 5 (extremely remote) +4 Estimation: 5 +3 Explanation: This public space is relatively far from bigger towns and cities. There are no good transportation +2 links and people are ageing and the youth is leaving for better life in the cities. +1 A‐4 Elements that characterise the remoteness of the place: Aged ‐5 ‐4 ‐3 ‐2 ‐1 0 +1 +2 +3 +4 +5 Sound Low population density  demographic demographic structure structure Geographical barrier/allocation  ‐1 No good transportation links  ‐2 Difficulties in accessing daily‐life‐   support facilities ‐3 Social specifics and/or divisions  ‐4 Economic inferiority  ‐5 Subjective criteria  Daily‐life‐support facilities none‐existing Comment: Specify subjective criteria (e.g. community’s self‐perception of being remote etc): Other  Specify other: Summary of the elements that Not enough information. characterise this case as a remote place: Low population density rank: 6 Geographical barrier/allocation rank: 5 No good transportation links rank: 2 Difficulties in accessing daily‐life‐ 3 support facilities rank: Social specifics and/or divisions 4 rank: 487 Economic inferiority rank: 1 Subjective criteria (e.g. community’s self‐perception of being remote etc) rank: Other rank: A‐5 Provide the links to public data Links to public data on the remote Official site of Rõuge parish place The link: https://rouge.kovtp.ee/ (https://rouge.kovtp.ee/) Ground plan showing the land use A‐7 The type of public spaces that can be found in this remote place (besides the of the public space(s): roads/streets/path network) Square/s, Plaza/s  Park/s, Garden/s  Market space/s  Playground/s  Recreational space/s, Sport‐field/s  Community open‐air space/s  Institution‐related open‐air space/s  (e.g.University grounds) Caption's map of the public space: Viitina kõrtsi küün Watersides  Legend's map of the public space: Meadows  Main location  Parking area  B‐2 Describe the physical environment Service yard  Physical environment description of It's located in a quiet village Viitina, only few houses near. This old barn is located the intersection the public space(s) with creative of two roads. The surroundings are quite bushy. Other types:  works: Specify other types: Physical environment elements This old building was romantic and mystical for the founder and she imagined how special cultural Type of indoor public spaces that Old manor building, now a museum. were important and/or actually events could succeed there. can be found in this remote place: "used" by creative people for their activities: A‐8 General description of.. B‐3 Describe the general functions The network of roads, streets, paths There is a road front of the house. And a bus stop. Functions and land uses description The house was tavern before. And later also barn. and alike elements that tie this in the area of the public space: remote place together: Functionalities of space were Now its creative space for concerts and workshops. I's big open space and very cozy. The quantity and structure of public A big garden behind the house, outdoor area. important and/or actually "used" by space network (besides creative people for their activities: roads/streets/paths network) in this remote place: B‐4 General demographic characteristics of the area around the public space: A‐9 General description of the quality of public spaces in this remote place Describe the general demographic All year round 154 habitants total. (2011). During summertime many summer visitors. Median Age characteristics 41.9 years old Population change from 2000 to 2015 ‐29.3% Female Population 53% / Male 47% Area Answer: Underwood around the house and the road, so at the moment no quality public space in this of Viitina, Rõuge 0.195 km² remote plase. B‐5 Type of the public space(s) with creative work B‐1 Name(s) of the public space(s) Form and function: Nothing near the house. A lake and a mansion abound 1 km away. There is opened public space Name(s) of the public space(s) (in Viitina Kõrtsi Küün and a park. local language): Ownership: Its private space, belongs to a famous Estonian folk singer Mari Kalkun. Name(s) of the public space(s) (in Viitina’s tavern barn English): Access regarding entry‐control: At the moment only opened during the events. Some events are with tickets some are for free. Latitude of the public space(s): 57.6837283 Access regarding time of day/week Hopefully soon it will be opened every day or at least during the summertime. /year: Longitude of the public space(s): 26.9502767 488 B‐7 Kind of activity initially designed for this public space: Describe the project (activities) that Mari Kalkun is a famous Estonian folk musician and an ambassador of Võro culture. An old tavern took place in the analysed public house that she got as a family heritage is becoming a local cultural hotspot. Local people, her What kind of activity has been this culture: workshops, concerts, private events space(s) friends with different backgrounds and students of the school orchestra from the capital have public space designed for initially helped her with the restoration of the building. Many Estonian creatives are from Võromaa (Võro Land) or have moved there recently, so Mari has thought of establishing a “creative village” one B‐8_a Which are the activities in this public space(s)? day. Mari has organized a lot of concerts and events that are popular not only among the locals but are loved all over Estonia. Activity: Concerts C‐3 Challenge that the project (activities) tried/is trying to tackle: Activity: Workshops What challenge was the project To awaken the local culture and social life. To organize events that bring together locals and invite Activity: Poetry nights (activities) trying to tackle – what people from outside. Create activities and excitement to remote place. Activity: Communal workdays was the aim Activity: Parties C‐4 Time frequency: B‐8_b Who are the main users of this public space(s)? Time Frequency A constant process User: Locals Other information: User: Tourists C‐5 Time period B‐8_c What are the users activities of this public space(s)? Start: 7/11/2018 12:00:00 AM Users Activity Before After End: Tourists Concerts   Comment: Tourists Workshops   C‐6 Actors in relation to the analysed creative work, their main motivation and their roles Tourists Parties   Actor(s): Mari Kalkun Locals Concerts   Motivations: introduction of Estonian culture and music Locals Communal workdays   Roles: Founder and Owner Locals Workshops   C‐7 Description of the supporting background that existed to make the activities happen: B‐9 Parts/sections/spots seem most attractive within the public space (location and What kind of supporting At the moment no noteworthy support from others. From the Ministry of Culture only 5 % for cost duration) ‐ Parts/sections/spots at people seem to avoid: background existed to make the cover. activities happen (financial, Describe what parts seem to be the This place alues the local rich traditional culture, local people, stories and unique natural institutional etc.) most attractive to people environment and carries the message of a slower and closer life to nature. It emphasis not only size, but rather on the special cozy, small ventures that unite the community and the people C‐8 Sectors involved in the development of the creative works with public spaces: involved. The selected performers are also connected with this area in one way or another. Culture  B‐10 Provide the links to public data on the public space(s) Education  Website: Festivals homepage Health  Website's link: https://www.aiguom.ee/ (https://www.aiguom.ee/) Sustainability  B‐11 Provide photos of the public space(s) with creative works Science  Caption: Tourism  *** Sport  Photo's author: Industry  C‐1 Official name of the activity/project Other:  Name in local language: Aigu on! Specify other: Name in English: There is time! C‐9 Sector which was.. Nickname: ..the initiator of the activities: Culture Overall name:  ..the most crucial for the whole case Culture study: C‐2 Description of the project (activities) that took place in the analysed public space(s): Comment: Culture and Tourism are both important sectors for this project C‐10 How was the local community involved in the project/activities: 489 How was the local community Local culture people and vacationers are helped to clean and prepare the building and helped to C‐21 The (one) main success and the (one) main failure of the project/activities involved in the project/activities? but together the program. Main sucess: high quality culture and meeting place were created C‐11 The role of natural/cultural heritage in the project/activities: Main failure: budget and lack of finances Did cultural and/or natural heritage Yes, this house belonged to a Mari Kalkunś great‐uncle Ernst Kalkun. play any specific role in the C‐22 Importance of broader conditions for the main sucess and main failure factor: project/activities? How important were the broader any financial support would have helped the idea to grow faster and bigger. Unfortunately, there C‐12 The targeted impact of the project/activity: conditions (e.g. the supporting is a very high risk for the "citizens' initiative" that the founder get tired and all the work done will state of the art in the community, be wasted without stable support and assistance. What was the targeted impact of Meeting place, exchange ideas and cultural experiences. infrastructure, institutional support, the project / activities? financial sources, local or "imported" know‐how etc.) for the C‐13 Achievement of the targeted impact: main success and main failure factor Yes/no/partly: Partly C‐23 Provide the links to public data on the creative works Comment: The place is gaining notoriety, even after covid‐19 situation it's slowly growing. Link to public data to better https://www.facebook.com/viitinak6rtsikyyn (https://www.facebook.com/viitinak6rtsikyyn) understand the activities and actors, C‐14 Additional achieved impacts: as well as impacts: Were any additional impacts Not only tourism, but also cultural tourism helps to raise the profile of the region. Only thanks to The link: Facebook page achieved? one persons energy and ideas. D‐1 Main editor in charge of this entry and potential other authors of this case study C‐15 The main beneficiaries of the creative work in public space(s): description Who were the main beneficiaries of Local community, local businesses and the owner Name and surname: Kirke Tatar the creative works in public spaces(s)? Organization: Estonian Association of Designers C‐16 Presence (or not) of economic benefits for the local community as a whole or any Email: kirke@estoniandesignhouse.com specific actors in particular, resulting from the creative works with/in public spaces: Role: Author Were there any, no matter how big In the future it will hopefully create jobs and bring more guests to stay and eat in the region. or small, economic benefits for the Interest is already visible. D‐2 Representative pictures local community as a whole or any Picture's caption: specific actors in particular, resulting from the creative works with/in public spaces? C‐17 Presence (or not) of any exchanges of knowledge or other activities performed that potentially empowered the actors to prosper in their future development: Were there any exchanges of Local culture people (film makers, writers and so on) came together and made brainstorms how knowledge or other activities to develop the region, everybody shared their knowledge performed that potentially empowered the actors to prosper in their future development? C‐18 Monitoring (or not) of the impact of the project: How was the impact of the project / ‐ by number of visitors ‐ by the number of Facebook page in the future it would be could to activities monitored? If it wasn’t – compare the number of overnight stays during last years and also google analysis about the how do you think it could be search statistics. monitored? C‐19 Way in order to communicate the impact of the project: How was the impact of the project / It was on local news (web) and also infomation on Facebook and in tickets sale online portal. activities disseminated or Picture's author: Mari Kalkun communicated? Picture's date: C‐20 Perception of the creative works in public space(s) by the final users and the reactions Picture's source: of the general public: Picture's caption: How were the creative works in they were very surprised, grateful and happy public space(s) perceived, evaluated, judged by the final users – what were the reactions of the general public? 490 Picture's author: Picture's date: Picture's source: Picture's caption: Picture's author: Mari Kalkun Picture's date: Picture's source: Picture's caption: 491 Picture's author: Picture's date: Picture's source: Picture's caption: Picture's author: Picture's date: Picture's source: D‐3 Additional information Additional information: Link: D‐4 Optional final remark Optional final remarks: is there any additional information that was not communicated through the template 492 Publisher: Initial graphical layout : Authors and Contributors Kyproula Bartzoka, Spyros Urbanistični inštitut Republike Bettina Gjecaj, FH JOANNEUM (alphabetical order): Bofylatos, Helen Charoupia / Slovenije / Urban Planning University of Applied Sciences, University of Aegean, Department Institute of the Republic of Graz Anke Strittmatter, Erika Thümmel of Product and Systems Design Slovenia (UIRS) / FH JOANNEUM University of Engineering, Ermoupoli Applied Sciences, Graz Cartography : Karl Joonas Alamaa, Ilona Annalinda De Rosa, Manuel Maria Gurjanova / Estonian Association Representative, Director: Simon Koblar, Urban Planning Ruas Costa, Paola Russo / of Designers, Tallinn Igor Bizjak Institute of the Republic of Slovenia, Ljubljana Department of Design, Politecnico di Milano, Milan Josie King, Kristin Luke / Clear The team of Politecnico would like Village, London Book Series: to thank Professor Anna Mazzanti Urbani izziv – publikacije and Beatriz Bonilla Berrocal for their precious support in the research of Editors and leading authors: Polimi case studies Matej Nikšič, Nina Goršič / Elisabet Bjarnadottir, Dagný Urban Planning Institute of the Harðardóttir, Astrid Lelarge, Republic of Slovenia, Ljubljana Páll Jakob Líndal, Marjolein E. Overtoom, Arna Rut Þorleifsdóttir Methodological direction: / Alternance slf, Reykjavik Urban Planning Institute of the Republic of Slovenia, Ljubljana Magdalena Chorąży-Suchy , Ewa (Slovenia) in cooperation with Gołębiowska, Małgorzata Jarema, Beata Mońka / Zamek Cieszyn, Alternance slf, Reykjavik (Iceland); Cieszyn Clear Village, London (United Kingdom); Department of Design, Nathalie Arnould, Isabelle Daëron, Politecnico di Milano, Milan (Italy). Josyane Franc, Juliana Gotilla, Sara de Gouy, Pierre Hanau, Costanza The contributions to this book Matteucci / Cité du design, Saint- have been peer reviewed Étienne Technical coordination : Sara Patricia Abreu, Elisa Gurvan Séïté, Urban Planning Bertolotti, Susana Gonzaga / Institute of the Republic of Madeira University, Funchal Slovenia, Ljubljana Thomas Delfini, Nina Goršič, Juliette Lambeaux, Grégoire Nicolleau, Matej Nikšič, Gurvan Graphic design : Séïté / Urban Planning Institute of Nastja Utroša the Republic of Slovenia, Ljubljana 493 Photography : JOANNEUM University of Applied Sciences], Sergei The partners of the project thank Adhoc architecture, Associazione Arte Continua, Tzoumakers, Urban Planning Institute of the Republic all the structures and individuals Associazione L TORION, Associazione Vincenzo De of Slovenia, Biała Piska commune office, Vestfirðir, who contributed to the production Luca, Maria Auer, Austurbrú, Ela Bialkowska, Eric Rota Vicentina, Uli Vonbank, Spyros Vosinakis of this publication by providing Biberich [Stadtgemeinde Trofaiach], Andromachi [Mouseion Topos], Julia Wagner, Walk&Talk - Festival their inputs. Special thanks go to: Boliou [Stray Art Festival], Pasquale Campanella, de Artes, Iwan Williams [Clear Village] Brezovar Ženja, Dimc Zala, Novak Lovro, Veber Jaka. Hadriana Casla, Pavlos Chatzigrigoriou [Mouseion Topos], Lindsey Colbourne [Utopias Bach], Mario Illustrations and schemes : Cristiani, Isabelle Daëron, Martin David Clark, Sara Pavlos Chatzigrigoriou [Mouseion Topos], Labros All the pictures published were submitted to copyright de Gouy, Energie Munderfing, Benjamin Fernandes Fragkedis, [Mouseion Topos], Panayiotis Koutsabasis research. In case of errors or [Typotopy], Labros Fragkedis [Mouseion Topos], [Mouseion Topos], Flora Mammana [Forno missing copyrights, the publisher Fabio Franz, Foto Freisinger [Stadtgemeinde Vagabondo], Vasiliki Nikolakopoulou [Mouseion apologizes and can be contacted Trofaiach], Tropy Przyrody, Mark Gahan [Utopias Topos], Lovro Novak [Urban Planning institute by the copyright holders. Bach], Anita Galler, Nicolas Garnier, Georgia of the Republic of Slovenia], Modestos Stavrakis Gavriiloglou [Stray Art Festival], Juliana Gotilla [Mouseion Topos], Anke Strittmatter [FH JOANNEUM This publication reflects the [Atelier Captain Ludd], Ilona Gurjanova, Emma Howe, University of Applied Sciences], Jaka Veber [Urban views only of the authors, and Katja Hrobat Virloget, Regína Hrönn Ragnarsdóttir, Planning institute of the Republic of Slovenia], Michał the Commission cannot be held IEM programmation urbaine, Marie Kalkun, Tatiana Moniuszko, Waldemar Rudyk, Bożena Szroeder, responsible for any use which Kasimati [Stray Art Festival], Astrid Knie [Gemeinde Paweł Waligóra [Biała Piska commune office], Spyros may be made of the information Munderfing], Toomas Kokovkin, Silver Köster, Vosinakis [Mouseion Topos]. contained therein. Barbara Karolina Kotowska, Panayiotis Koutsabasis [Mouseion Topos], Christina Kragl [nonconform Human cities - SMOTIES: creative ideenwerkstatt GmbH], Rebekka Krieger [Gemeinde works with small and remote places Munderfing], KulturSpielRäume, Jakob Líndal Páll co-funded by the Creative Europe [Alternance slf], Kristin Luke [Clear Village], Theresa Programme of the European Mai [WW Wohnwagon GmbH & Dorfschmiede für Union. nachhaltige Lebensräume eG], Flora Mammana [Forno Vagabondo], Costanza Matteucci [Typotopy], Agnieszka Mocarska [Zamek], Vasiliki Nikolakopoulou [Mouseion Topos], NOVÆ Architecture et Ingénierie, Denis Oblak [Društvo za ustno zgodovino], Alekos Pantazis, Sara Patrícia Abreu [Madeira University], Caroline Pauchant [Typotopy], Gunilla Plank, Porta 33, Prostorož, Agnieszka Prymon, Quinta Pedagógica dos Prazeres, Špela Rakun [Društvo za ustno zgodovino], Sylvain Reymondon [Typotopy], Rodik Mitsi Park, Harda Roosna, Barlas Sahinoglu, Mireya Samper, Mirosław Saternus, Urška Sešek [Društvo za ustno zgodovino], Andreas Staudinger, Modestos Stavrakis [Mouseion Topos], Anke Strittmatter [FH This is an appendix to the publi- JOANNEUM University of Applied Sciences], Janez cation Creative works in small and Strojan [Društvo za ustno zgodovino], Wiesław remote places: European best Szumiński, Taavi Tamberg [Lindi Village Society], Kirke practices exploration accessible at Tatar [Estonian Association of Designers], Teatro LINK Metaphora, The High Mountains, Erika Thümmel [FH 494 Partners : Alternance slf [Reykjavik] Cité du Design [Saint-Étienne] Clear Village [London] Department of Design, Politecnico di Milano, Milan [Milan] – lead partner Estonian Association of Designers [Tallinn] FH JOANNEUM University of Applied Sciences [Graz] Madeira University [Funchal] University of Aegean, Department of Product and Systems Design Engineering [Ermoupoli] Urban Planning Institute of the Republic of Slovenia [Ljubljana] Zamek Cieszyn [Cieszyn] CIP AND ISBN: Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID 142631427 ISBN 978-961-6390-66-8 (PDF) This publication is licensed under a Creative Com- mons Attribution-ShareAlike Licence 4.0 International (CC BY-SA 4.0). The text is available on the Internet at www.creativecommons.si. Publication is accessible on-line free of charge at www.uirs.si/sl-si/Publikacije Ljubljana, June 2022 495 Document Outline HUMANCITIES_book_final.pdf Appendix_new_2.pdf REPORT1 REPORT1 REPORT1 REPORT1 REPORT1 REPORT1 REPORT1 REPORT1 REPORT1 REPORT1