Examples of projects for museum institutions. Innovative project "school museum". Russian Museum in the modern world

The most significant problems of updating material and pictorial historical sources in social, including research, practices are considered, and prospects for the development of archeography of museum objects are outlined as a current direction, without the development of which historical knowledge at the modern level is impossible. The need to expand the empirical space of historical knowledge, to competently introduce into scientific circulation, along with written sources, historical sources of other types - material, pictorial, stored mainly in museums, is substantiated. For specialists in the field of humanities, history and historical sciences, museology.

Kopatskaya S. A. In the book: Experience and prospects for the development of tourism in large coastal cities: collection of materials from the II International Scientific and Practical Conference, December 6, 2011. SPb.: Publishing house SPbGUEF, 2012. pp. 179-184.

Foreign experience in the development of coastal areas suggests that cultural potential can play the role of a driving factor in the development of coastal regions. In our country, this practice has been adopted quite recently. However, Russia's rich cultural heritage makes its coastal areas an attractive destination for tourists and investors.

The article is devoted to the exhibition of two halls of the Armory Chamber of the Moscow Kremlin, which were of exceptional importance for the formation of the representative space Russia XIX-XX centuries The author demonstrates how the choice and specific arrangement of objects in the central hall of the first building of the Armory Chamber (architect I.V. Egotov) and the Crown Hall of the modern museum building (architect K.A. Ton) became a way of expressing certain state ideas and power contexts.

Margarita Kuleva. Working Papers of the Center for German and European Studies. Center for German and European Studies, 2014. No. 7.

The paper examines social features and cultural profile of the audience of Manifesta 10, first global scaled art-event ever held in St. Petersburg and Russia as well. Based on the empirical study of 400 formalized interviews with biennale visitors (July-September 2014), this paper compares the audience of Manifesta 10 with visitors of European art-events, firstly previous edition of Manifesta. Despite the democratization of the field of contemporary art (including the elimination of the financial barrier to access to the exhibition), the research shows that the majority of visitors are people with higher education and income slightly exceeding the national average. The significant differences were also found: Russian audience is biased towards younger visitors (more than 70% is younger than 35) and gender misbalanced. The study also shows the differences between the patterns of art-tourism in Russia and Europe: European event attracts larger flows from neighboring regions, in Russia there is a long tail: small groups from many distant locations.

"Kyn - a portal to the beauties of the Ancient Urals" is an overview of the historical and cultural potential and tourist routes of the village. Kyn. Kyn is the ancient Stroganov mining center, where factory buildings have been preserved. This place impresses with the beauty and power of the Chusovsky rocks.

Ivanenko A. A. In the book: ALL-RUSSIAN FORUM OF THE RUSSIAN LANGUAGE, DEDICATED TO THE HERITAGE OF ACADEMICIAN I.I. SREZNEVSKY Collection of materials. 2016. Ryazan State University named after S.A. Yesenina (Ryazan), 2016. pp. 91-93.

The project was developed with the aim of stimulating the interest of citizens of the Asia-Pacific region (APR) in studying the cultural heritage of our country. During the project, four interactive excursions were held in science museum rare book of the Far Eastern Federal University (FEFU). The excursions were attended by foreign students from FEFU.

T. 193. St. Petersburg: SPbGUKI, 2012.

The collection includes materials from the All-Russian scientific and practical conference “The Second Life of the Museum: Revival of the Lost and the Incarnation of the Unrealized,” held at the St. Petersburg State University of Culture and Arts on October 12-13, 2006.

The materials presented in the collection are devoted to the issues of creation, reorganization and revival of museums in the 19th-20th centuries. in Russia and abroad, the role of the museum in shaping the image of an institution and enterprise, the development and use of information resources in museum activities.

Nigmatullina G. R. In the book: Innovative management: from theory to practice Collection of proceedings of the VII annual (II international) scientific and practical conference of the Faculty of Management (April 3-4, 2012). St. Petersburg: Department of Operational Printing of the National Research University Higher School of Economics - St. Petersburg, 2012. P. 231-234.

The article discusses the main issues of improving the management system in a museum, the key mechanisms for developing a development strategy and building a strategic planning system

Ivanova Yu. V. Vestnik of St. Petersburg state university. Episode 6: Philosophy. Culturology. Political science. Right. International relations. 2012. No. 2. P. 60-65.

This article is devoted to the analysis of the status of things in various cultures from antiquity to modern times. Five types of things are identified: mythological, man-made, industrial, artistic and virtual. Analysis of these types of things allows us to trace the transformation of the meanings of things into different cultural eras. The study of the status of a thing is carried out using the example of philosophical and artistic discourse.

IN modern world A completely new view of what a successful museum should be is increasingly spreading. Under certain circumstances, it can not only become a popular and visited place, but also give impetus to the development of the territory. Irina Ivanovna LASKINA, leading specialist at the North-West Center for Strategic Research

Great museums of the world such as the Louvre or British Museum, traditionally are places of attraction for the public. Museums of this level are the main attractions of their cities, as they house truly great collections. However, in recent decades the world has been experiencing what the press usually calls a museum boom. At the same time, young museums often compete worthy with great ones in terms of attendance and the impact they have on the environment. Is it only thanks to the masterpieces stored in them?

Factors that make museums influential1 include the architectural appearance of the building, developed forms of museum activity, additional services, etc. Does this mean that it is enough for a given territory to simply copy the architectural design and operating methods of one of the most popular museums in the world in order to millions of visitors flocked, and the territory itself was included in the rankings of the most popular tourist destinations? Of course not. In order to interest the modern sophisticated public, it is necessary to propose an idea for a museum that will be truly unique both in content and in material embodiment and will make the museum an example of high professionalism and creativity. The uniqueness of museums in the modern world is becoming one of the determining factors for success.

A new look at museums

According to the General Director of the State Hermitage M. B. Piotrovsky, those who believe that one cannot live in a museum are wrong: in a modern museum this is quite possible. Continuing the topic, let's try to understand what a modern museum is as a cultural and social phenomenon and one of the factors in the development of a territory, a city and an entire region.

Over a long period of history, museums in Russia were viewed primarily as institutions aimed at accumulating, preserving and studying cultural heritage, and working with audiences was one of the important, but equally important types of activities. Meanwhile, an analysis of the experience of modern foreign museums indicates that museums in Europe, the USA and other countries pay great attention to working with the audience, namely their study, marketing function, and other issues related to the popularization of their activities and ongoing initiatives. For modern Russian museum institutions, the issue of attracting visitors is also of paramount importance. In many ways it is foreign museum experience and current development trends in global world museums pushed their Russian colleagues to become noticeably more active in this direction.

An innovative approach to understanding the role of museums and their activities has been spreading in foreign countries since the 1990s. Thus, museums are now being created as cultural and educational centers that serve as platforms for dialogue wide range specialists: museum curators, designers, artists, architects, photographers, scientists, etc.

Second conceptually important distinctive feature modern museums from traditional ones lies in a change in priorities: now the emphasis is on the entertainment aspect and work with the mass visitor (without reference to his level of education and social status). The museum is currently acquiring more and more features of an attraction. This is expressed both in the appearance of buildings designed to meet the needs of new museums, and in the features of modern exhibitions, as well as in the diverse forms of museum activity, as well as the quantity and quality of related services. New museum buildings (if they are not monuments of historical and cultural heritage) themselves turn from containers for exhibition objects into objects of exhibition. And additional services, such as a themed cafe, cinema hall, children's room, allow museums to become an alternative to other leisure venues. According to the director of the Pushkin Museum. A. S. Pushkin I. A. Antonova, now it is important not to try to fill museums with masterpieces, but to look for and develop new types and forms of cultural activity. Apparently, this remark reflects the policy of most modern museums in Russia and the world.

Museum and grounds

From the point of view of studying the significance of modern museums, it is important to become familiar with the options for their influence on the development of the territory. In this regard, I would like to highlight four options for such influence and the corresponding incarnations of modern museum institutions.

The first option for the museum’s influence on the territory lies in the very fact of difference appearance the museum building from the general architectural appearance of this territory, which cannot but influence the development of both the first and the second. In this case, we can talk about the museum as a foreign element in an environment with a formed architectural style. Examples here are Center contemporary art them. J. Pompidou in Paris (France), Ozeaneum Aquarium Museum in Stralsund (Germany).

The second option for the influence of the appearance of a museum building on the urban environment is its iconicity. The museum begins to be associated with the city and becomes its symbol. Here the museum serves as the visiting card of the territory. Examples include State Hermitage Museum in St. Petersburg, S. Guggenheim Museum of Contemporary Art in Bilbao (Spain).

The third option for the influence of a museum institution on the development of the territory is the placement of exhibitions and other museum services in objects of historical and cultural heritage. Such objects can be palaces and estates, castles and kremlins. Often such structures require partial or complete restoration or reconstruction in accordance with museum needs; some of them lie in ruins. The decision to place a museum in these objects becomes an incentive for their restoration. It is obvious that the museum in this regard acts as a tool for recreating the historical appearance and cultural and historical heritage of the place. Examples of such museums are Trakai Castle (Lithuania), the Magritte Museum in Brussels (Belgium).

The fourth option is to locate the museum in unused industrial buildings, warehouses, and former military facilities (lofts). Despite a certain fashion for such projects in recent years, their preparation and subsequent implementation require comprehensive study, since only in this case can objects for one purpose perform the full range of functions of institutions for another purpose. Important feature such museums is their ability to breathe new life into objects of the urban environment that are obsolete for some reason, and also to include them in the surrounding space in an updated quality. The museum in this context acts as an instrument for preserving industrial and military heritage, although the object itself acquires completely new functions. Examples: Can Framis Museum in Barcelona (Spain), occupying two restored factory buildings, Warsaw Uprising Museum (Poland), housed in a former tram depot.

Museums of all types influence the perception of a territory by its residents, as well as by citizens of their own country and other countries. Museums organized taking into account modern world trends are in demand by visitors, who see in them not only a worthy, but also an intellectually charged alternative to traditional places to spend their free time. Such cultural sites attract flows of tourists to the region and have a positive impact on economic development indicators as a whole. In combination with the development of the territory and the development of other elements of the urban environment, such as transport and tourism infrastructure, business, hotel and retail and entertainment real estate, they change the image of the city, attracting investment and stimulating the development of new forms of economic activity. Thus, modern museums not only influence the general level of culture, but also become one of the factors of urban, economic, and social growth.

Waiting for new ideas

It is obvious that the implementation of large museum projects, especially those accompanied by infrastructural changes in the environment, is impossible without government participation. Such participation involves not only financing (or co-financing) the creation and subsequent functioning of a new institution, but also assistance in resolving the issue of rights to use a building, facility, land plot in order to accommodate a new museum, media support for the project, acceptance of its status and mission at various levels of government authorities. Practice shows that a modern museum can be a development factor as powerful as entities of a completely different order, for example those created innovation centers, objects of industrial and technological infrastructure, such as industrial and technology parks, etc. Such, for example, is the often mentioned Guggenheim Museum in Bilbao, which has turned the once important industrial center of the Basque Country into a popular tourist and cultural destination. An example from Russian reality could be museum complex « Yasnaya Polyana"in the Tula region, which is a visible stimulus for regional development.

It should be recognized that in recent years, individual examples of successful private initiatives in this area have appeared in Russia, but they still cannot compete in resources and influence with government agencies. As an illustration, the Erarta Museum of Contemporary Art in St. Petersburg and the Kolomna Pastila Museum in Kolomna are indicative. The peculiarity of these museums is that, being cultural institutions, they are organized to a large extent as businesses. This forces them to actively act and develop, offering their audience more and more diverse products and services.

A museum project that claims to be significant, in addition to various resources, also needs an active leader, or, more simply, a leader. Such a leader will be able to attract additional funds for financing, be it grants or sponsorship, will not be afraid to experiment with possible directions for the development of the museum, and will establish cooperation with domestic and foreign colleagues and partners. One of these leaders is now general manager Museum of the World Ocean in Kaliningrad2 S. G. Sivkova. Largely thanks to her active position, over the last decade the museum has grown qualitatively, become comfortable, visible in the city and regional socio-cultural space, expanded its presence by including a number of historical and cultural heritage sites that were previously in a dilapidated state. These are the restored Royal and Friedrichsburg Gates, part of the fortifications that housed the Poterna exhibition complex and a port warehouse from the mid-19th century. The Museum of the World Ocean is constantly changing, and this is perhaps the only correct strategy in the modern dynamic world.

In conclusion, let us return to the already mentioned and most important component of the success of a museum project. According to Vicente Loscertales, Secretary General of the Bureau International des Expositions, major cultural sites and events influence the perception of cities and places around the world, so now even local centers are trying to find their niche in the cultural market. It is possible to discover such a niche; you just need to propose an unusual competitive idea. And here a simple question arises: are there any ideas left in our country for creating truly successful, iconic, global museums?

Akhtyrskaya Yulia Viktorovna, Methodist, head of the information and educational center "Russian Museum: virtual branch", teacher of the highest qualification category

Sections: Working with preschoolers, Working with parents, MHC and Fine Arts

Museum pedagogy is a special type of pedagogical practice, but it began to play a significant role in preschool education only in recent decades. This form of educational organization combines the educational process with real life and provides students with familiarity with objects and phenomena through direct observation.

Initially, museum pedagogy meant, first of all, the cooperation of a kindergarten and a museum, the organization of visits and excursions to museums of various subjects. Museum staff developed special excursions for preschoolers and organized various events. Currently, two major areas are actively developing in preschool museum pedagogy:

cooperation between preschool educational institutions and museums;
creation and use of mini-museums in kindergarten.

A number of characteristic differences can be identified children's museum from traditional:

Its main task is educational, which means that any items can be collected in it, and not just originals and valuable copies.

This is a play or interactive space in which a child can do something independently, of his own choice, taking into account his own interests and capabilities.

The museum is aimed at children of a certain age, families and preschool educational institutions.

According to the opinion of A.M. Verbenets, the museum plays a special role in introducing children to art, developing creativity and subjective manifestations of the child’s personality.

Most famous on present moment and a widely tested museum-pedagogical program - “Hello Museum!”, the authors of which are A.M. Verbenets, B.A. Stolyarov, A.V. Zueva and others. Notebooks for creative works“We are entering the world of beauty” (Appendix 1), aimed at the artistic and aesthetic development of children aged 5-7 years. A system of tasks, games and exercises helps prepare the child to perceive the exhibits art museum, introduce the basics of the language of fine art, teach how to create expressive and interesting images.

Museum educators are actively developing interesting forms of working with audiences that transform passive observers into active workers:

museum lessons/classes and celebrations in the museum, creative studios and workshops (for example, in such classes, children make toys together with their parents);
role-playing excursions and game methods;
excursion days as part of the traditional festival museum programs, which is based on the idea of interactivity of the museum space (children perform various tasks, discover the “secrets” of objects);
variety of interactive programs offered largest museums Russia and the world;
multimedia programs for children created by many Russian museums.

Currently social partnership is an important aspect of the activities of kindergartens. Actively developing the ideas of museum pedagogy, the administration and teachers of GBDOU No. 62 of the Primorsky district of St. Petersburg “Golden Fish”, with the support of the Administration of the Primorsky district, analyzed alternative museum pedagogical programs offered by the State Hermitage, the State Russian Museum, the State Tretyakov Gallery, which have extensive experience working with audiences of different ages, wide exhibition opportunities, highly professional personnel and organizational and creative contacts with pedagogical institutions.

The choice was made on the project “Russian Museum: Virtual Branch”. This is massive international project, embodying the idea of accessibility to the world's largest collection of Russian art. The geography of the project is constantly expanding and covers both Russia and foreign countries. A kindergarten in St. Petersburg became the first preschool educational institution among virtual branches. To date, 100 centers “Russian Museum: Virtual Branch” have been opened (68 centers in Russia, 31 abroad and 1 at a polar station in Antarctica).

It is important to note that this form of cooperation with the Russian Museum is possible subject to a number of requirements:

the presence of a room equipped with computer equipment;
high speed Internet;
accessibility for visitors.

A very important part of the work of a museum educator is:

reporting on the work of the information and educational center “Russian Museum: virtual branch” for the previous period (Appendix 2).
planning the direct contribution of the head of the information and educational center “Russian Museum: Virtual Branch” to disseminating the experience of a museum teacher (Appendix 3).
report on activities within the framework of improving the quality of work of museum educators (Appendix 4).
clear long-term planning of the branch’s work (Appendix 5).
organization of project activities for preschoolers (Appendix 6).

Organization of project activities for preschoolers:

Project “We love to draw!” (Appendix 7).
A project to introduce children of the preparatory group to the fine arts and study children's fairy tales by A. S. Pushkin “A Journey through the Works of A. S. Pushkin” (Appendix 8).
Project “The fable is short - art is limitless” (Appendix 11).
Project “Book World” (Appendix 12).
Carrying out open classes on museum pedagogy: “Images of winter” (Appendix 9).
Summary of a lesson on the formation of universal prerequisites for the educational activities of older preschoolers, through the integration of artistic, aesthetic and cognitive-speech development “Great works of poets and artists” (Appendix 25).

Organization of children's activities on the kindergarten site:

Theme: “Let’s color everything around” (Appendix 10).
Observation of children's reactions to the exhibitions of the Russian Museum (conclusions, recommendations) (Appendix 13).
Recording observations of children's reactions during classes in a computer class (Appendix 14).
Formation forward planning on the work of the information and educational center “Russian Museum: virtual branch” (Appendix 15).

Carrying out diagnostics at the beginning of the year:

Identification of features of the development of artistic perception in preschoolers at the beginning of the year (entry level) (Appendix 17).
Observation in a museum setting (monitoring results at the beginning of the year) (Appendix 18).
Observation of the manifestation of an aesthetic attitude towards the surrounding world in children to school age at the beginning of the year (initial level) (Appendix 19).

Diagnostics at the end of the year:

Identification of features of the development of artistic perception in preschool children (monitoring results at the end of the year) (Appendix 20).
Observation in a museum setting (monitoring results at the end of the year) (Appendix 21).
Observation of the manifestation of an aesthetic attitude towards the surrounding world in preschool children (monitoring results at the end of the year) (Appendix 22).
Preparation of a summary table comparing the diagnostics performed (Appendix 23).
Design of a summary histogram for the diagnosis of children of senior preschool age according to the program “We are entering the world of beauty” (Appendix 24).

Improving the pedagogical level: writing articles, participating in competitions, conferences, round tables.

The kindergarten has a conference room for master classes and classes, an equipped computer room with a separate entrance, a ramp and a special elevator for visitors with disabilities. There is every reason to believe that the new virtual branch of the Russian Museum will become an educational center for many residents of the Primorsky district.

Opening virtual branch The Russian Museum on the basis of a kindergarten promotes the education of the younger generation, is an instrument for the successful socialization and development of children and helps to strengthen continuity between preschool and educational institutions of the Primorsky region.

Article “Use of gaming pedagogical technologies in the work of a museum teacher in conditions of the preschool educational institution"(Appendix 16).

Literature:

Verbenets A.M. Development of creative manifestations in older preschoolers using museum pedagogy // Kindergarten from A to Z. 2010, No. 6.

Garkusha S. Hello, museum! Work with parents on the museum pedagogical program // Preschool education. 2012, №2.

We are entering the world of beauty: a notebook for creative works of children 6-7 years old: museum and pedagogical program “Hello Museum!” /Auth. comp. : A. M. Verbenets, A. V. Zueva, M. A. Zudina and others - St. Petersburg, 2010.

Ryzhova N.A. Mini-museum in kindergarten as a form of work with children and parents. – M., 2010.

Churakova N.A. In the museum with Krontilda. – M., 2011.

Churakova N.A. Krontik in the museum. The story of the magic wand. – M., 2009.

Churakova N.A. Krontik in the museum. What's it like inside the paintings? – M., 2010.

One of the expressive trends modern culture is the ideology of design. A project, as a discrete form of organizing activities aimed at achieving a predetermined result, is in wide demand today. The word “project” itself has gained great popularity, used to designate virtually everything.

The project is a widespread phenomenon of modern museum culture in Russia. “Project” refers to the opening of a new museum, a museum building, a large-scale re-exposition, and individual events, exhibitions, screenings, and lunch in the halls of the museum, and advertising hanging of photographs of exhibits on the streets of the city... The meaning of the term is extremely broad and vague.

In theory, a project is always characterized by the presence of a clear time frame, boundaries of its beginning and completion. In practice, the project has a complex relationship with time.

The financial side of the issue plays key role in modern design activities. Strict planning and accounting of resources is important for the project. “Assimilation of money” occurs precisely during the implementation of the project, and not at its completion. Therefore, museums are interested in its continuation and repetition.

In the system artistic culture museum is an institution whose activities are regulated and controlled by law. According to official documents, the project is a special form of organizing activities that allows cultural institutions to attract alternative resources, carry out decentralized cultural contacts, and establish partnerships between government agencies and non-governmental organizations. The project is legislatively supported as an effective modern management model in the field of culture.

Work on projects is designed to actively complement the existing museum management system and provide an opportunity to implement various creative ideas in the process of cooperation.

The reason for state attention to project activities is associated with the realization that “in the process of decentralization, some key areas of museum activity, previously supported by the state, found themselves in a situation of crisis.” The state did not promptly formulate a system of extra-budgetary financing and conditions for investment from private capital. Today, hopes are pinned on project-oriented management as a universal mechanism for attracting the necessary resources to the cultural sphere. It is expected that it will attract funds both from budgets of different levels and from private investors, promote the development of commercial activities of museums, and ensure control over the expenditure of funds.

In Russia, museum design has been successfully developing for several years now, moving in all main directions. A typology of museum projects can also be outlined.

A transmuseum project is a large art forum that attracts the participation of a museum or several museums along with other institutions (libraries, concert and exhibition halls, educational institutions, commercial structures, etc.). As a rule, these kinds of projects are dedicated to significant anniversaries, public holidays or the “theme of the year”, and are carried out under the patronage of government agencies. In transmuseum projects, the museum acts as one of many platforms on which a large state business is carried out.

An inter-museum project is an event that brings together a number of museums and is aimed at supporting museum culture, adapting the museum to new social conditions, and forming an inter-museum dialogue. Some of them are also coordinated by the authorities. These are the largest projects in Russia: organizational (All-Russian Museum Festival "Intermuseum") and informational (portal "Museums of Russia"). Domestic events of this series: the “Changing Museum in a Changing World” competition, the “Contemporary Art in a Traditional Museum” and “Children’s Days in St. Petersburg” festivals, the “Night of Museums” event. The named museum projects differ in scale and resources and are focused on different aspects museum life and certainly have an active influence on it.

Museum as a project. The opening of a new “own” museum is a particularly attractive and ambitious project. The current Russian economic situation in recent years has given active development to such initiatives. The basis of such new museum creativity can be a personal collection, the work of an artist, or simply the desire, the “will to a museum” of a private individual. There are many examples; a personal museum is actually a trend in modern culture. Particularly indicative project? lifetime museum of the artist. Such a museum becomes a kind of new genre of spatial arts, essentially replacing the self-portrait or the artist’s workshop genre, which lost its independence in the last century.

Project in a museum. This is the main share of museum projects carried out today. As a rule, within the framework of in-museum projects, traditional forms of museum work are updated and expanded. When to normal museum affairs Are new technologies, methods and organizational formats being added? this activity is conceptualized as a project. Also, a “project” arises when new, unfamiliar art is exhibited in the museum space.

Of course, large projects of the country's leading museums, with bold designs, attract special attention. The most discussed project was “Hermitage 20/21”. Is it actually a separate type of project? "museum within a museum". Today, as part of the Hermitage 20/21 project, a number of controversial, controversial, but also very significant exhibitions are being shown.

The hierarchy of museum projects is completed by “The Exhibit as a Project”. Exhibit? museum unit. When an exhibit becomes a “project,” this connection is broken. The “Exhibit Project” does not strive for structural unity with the museum; on the contrary, it actively violates and alters the museum space. So, over the last ten years in Russia a fairly significant number of socio-cultural projects have been officially carried out with the participation of museums, for museums, in museums. Large project initiatives over many years of work have actually turned into sustainable institutions, more stable and wealthy than the museums themselves, which they were called upon to support.

The Museum of London was opened in 1976 and during its existence has become one of the main educational institutions, dealing with the history of the city from ancient times to the present. Perhaps he would have continued to be ordinary state museum, if in September 2012 Sharon Ament had not taken over as director, proposing to reorganize the familiar museum complex.

The strategic development plan of the Museum of London published below(Museum of London) is a description of the actual actions of the museum team for the next five years. A clear understanding of the original context, awareness of all the complexities of implementation of the plan and a desire to change should help the Museum of London achieve its goals and, through its example, inspire other government agencies to change.

OUR VISION

Our passion for exploring London is contagious and born from the ever-changing history of this great city. We want to awaken the same feeling in every Londoner with early years life and teach him to think about London in new ways.

The strategic plan, published below, determines the vector of our development for the next five years. It is a map of what we do, with different outputs, but ensuring that the Museum of London delivers the best to its visitors.

Like London itself, our ambitions are great . The volatility of today's world requires us to have a clear vision for the future that will capture the imagination of our partners, supporters and associates who share our courage and determination. With the ongoing support of the Greater London Authority), City of London Corporation) and other government organizations, the Museum of London will take a leap forward into a 'long and secure' future by 2018.

OUR STRATEGIC GOALS:

1. Attract more visitors
2. Become more recognizable
3. Expand your thinking
4. Involve every schoolchild in the museum
5. Stand strong on your feet

BY 2018 WE WILL:

We will welcome 1.5 million visitors annually to our two museums: the Museum of London at London Wall and the Museum of London Docklands
Let's enter the top ten current 'projects' in London - more people will know who we are, where we are and what our mission is
We will increase the number of studies that focus on exhibits from our collections and expand our research activities
We will bring over 850 thousand schoolchildren to the museum and inspire them to explore
Let's increase our total revenue to £100 million

GREAT PLACE TO START

We are building a new strategic development plan based on rich and successful experience. In recent years, we have been able to increase the museum's visibility, expand content, create a range of professionally recognized training programs and, as a result, make a real contribution to the economy and social environment of London.

Planned coverage:

600 thousand visitors per year
5 million views per year Collections Online
17 thousand friends on Facebook and 29 thousand followers on Twitter
400 thousand downloads of our Streetmuseum application

What we have:

World famous collection of over one million items
Galleries of Modern London− the museum's most ambitious project, opening in 2010 and costing £20.5 million
London Archaeological Archive and Research Center (LAARC)) is the world's largest and premier resource on the early history of London
90% of all research into the early history of London is carried out with the assistance of our museum
66 thousand objects from the museum's collection are available thanks to Collections Online

Educational Resources:

Every year we accept 10 thousand preschoolers with their parents or educators and conduct special classes for them
School-age children make up a high percentage of our visitors (15%) - more than any other national museum in the UK
We cooperate with 80 universities, interacting with 12 thousand students annually
Our online educational resources receive 1.6 million views annually
Every year we process 6 thousand inquiries and 2 thousand visits for research issues related to our collection

Outside the museum walls:

As a key partner of Arts Council England, we are trying to innovate the work of the museum sector
Our Volunteer Inclusion Program helped 370 homeless Londoners develop work skills to integrate into society
We share our experience in creating the ideal model of a city museum with visiting delegations from Brazil, Korea, France and Australia
From 2010 to 2013, our commercial income doubled
Our green roofs, energy efficient lighting and rainwater harvesting have reduced our costs and impact on environment

Development of our assets

Our people, our collection, the information we share, and our buildings will be key to the success of this strategic plan. We know that with thoughtful management and smart investment, the Museum of London can make the most of all its advantages.

Our employees:

Being creative, enterprising and team-oriented, our staff and volunteers bring much needed variety to the job. They - specialists, fundraisers, curators and restorers - represent our ideas and are ready to bring them to life. Given each individual's skills and willingness to experiment, we can identify potential areas of innovation: digital, commercial, and research.

Our collections:

Our collections are officially recognized as internationally significant and form an integral part of Britain's heritage. We store over a million objects - from ancient Roman 'bikinis' to the swimming trunks of young Olympic champion Tom Daley. Thoughtful development of our collection and ensuring access to objects are important elements of our strategic plan, so we are prepared to make quite tough decisions about streamlining and providing the collection with tested standards of preservation.

Our information:

We know how to bring the value of the past into the present. This knowledge gives meaning to our collection, which should become an invaluable online resource for the modern world. We want to continue to be a center for research into the history of the capital. Investing in information Technology From our website to commercial products such as ticketing and events, we will improve our performance and ensure that the Museum of London remains relevant into the future.

Our buildings:

We have three very different buildings: the Museum of London (in the city wall building), the Docklands Museum and the Hackney Museum, each of which includes public spaces, green spaces, shops, offices and much more. Our long term goal is to vacate Mortimer Whitler House in Hackney and thereby reduce our number of buildings to two. By reducing operating costs, we will be able to expand the exhibition at the London Wall and present it in a new way for our visitors. To implement projects to improve infrastructure, we will conduct fundraising. This will help us offset costs that are not covered by funding from the City of London Corporation.

CALL

We are fully aware of the limitations we will face over the next five years. Growing public and financial pressure creates difficult conditions for the implementation of our ambitious projects. But we can successfully achieve our intended results by adhering to a clear strategy that is open to and addressed to the general public.

We accept the challenge in the social sphere:

In an era of rapid change in a society that constantly faces many challenges, we are determined to make a difference in the lives of Londoners. We will play a leading role in education in the capital; We will provide free entry to our museum; We will contribute to the process of understanding by the residents of the capital what it means to be a citizen, we will tell how our nation developed, and what impact it had on the world around.

We will contribute to the development of various skills among our visitors through a system of volunteer programs and projects. We will provide support to all London museums and archives that need it. Ultimately, we hope through our activities to strengthen social cohesion, develop creativity and improve the economic situation not only in London, but throughout the UK.

We accept the financial challenge:

In a financially constrained environment, we understand that we must maintain prudent and responsive financial policies that ensure money is handled with care and respect. We will develop the commercial component of our activities, taking an active approach to fundraising and attracting new sources of income, including grants. We will ensure strict control over the expenditure of funds and human resources. We are ready to make serious restrictions in order to stand firmly on our feet.

Infrastructure improvement opportunities:

Like most museums, our buildings require significant investment. Now we want to change the façade of the London Wall, since its current state does not correspond to the rich interior content of the museum. We want to create a single cultural center with walking routes linking the Museum of London, the Barbican and the Guildhall School of Music and Drama.

We accept the environmental challenge:

Until now, we have been pioneers in the use of environmental systems in the functioning of buildings. We strive to be a model for environmental improvement in London. Now our main task is to reduce energy consumption.

ATTRACTING VISITORS

We want people to be inspired by London, the greatest city in the world. Attracting more visitors will expand our impact both on individual Londoners and on society as a whole.

Audience:

In everything we do, we focus on our audience. Only this approach can ensure that we increase the number of visitors to 1.5 million per year by 2018. As part of We Are London's visitor engagement strategy, we will inform the public about every aspect of our business. We need an increase in traffic to achieve our goals and we will begin to build our activities by dividing the entire audience into several categories.

Program activities:

We plan to maintain and increase our audience by organizing innovative exhibitions and events related to contemporary art that could surprise the viewer. Our plans are to build a new space for temporary exhibitions, expand the permanent exhibition and develop various options collection tours. We are currently working on organizing the first showing of the Cheapside Hoard, exhibitions on Sherlock Holmes (Museum of London) and contemporary art in London (Docklands Museum).

Exhibition spaces:

In 2010 we opened the now popular Contemporary London venue. Our focus now is on transforming the space on the top floor, which represents the history of London from prehistoric times to the fire of 1666. Changing it is one of the central points of our program. The Roman hall will present the results of the latest research on the history of London during the Roman era, and the era of Shakespeare's London and the Cheapside Treasure will be presented in the halls vacated as a result of the reorganization of the exhibition space. The Docklands Museum will be expanded to include a gallery extension, which will now be the starting point for exploring the refurbished museum.

Visitor experience:

We want our visitors to have only the best impression of us, so our staff interacts with guests throughout their visit to the museum. Despite the growing audience, we will support high quality work. We will create more spaces for informal communication and improve options for our youngest visitors.

Digital platforms:

The Internet provides museums with the opportunity to reach new audiences. Our project Collections Online already attracts millions of visitors to the site, and the number of downloads of the Streetmuseum application constantly growing. One of our priorities remains to ensure online access for information about our collection. The development of a new website, support for access to our resources from mobile devices and the further development of our applications are the main points of our digital strategy.

Volunteering:

We want to give volunteers the opportunity to learn new job skills, improve their career prospects and understand the city, while making a real difference to the museum with their energy and talent. At financial support Arts Council, we will implement a new volunteer strategy, involving not only the LAARC program, but also Team London (the Mayor's volunteer program), made up of ordinary citizens.

BECOME MORE RECOGNIZABLE

We want the public to know who we are, where we are and what we do. As the only museum about London, we want to create a place where anyone can get the information they need or participate in discussions about city life.

Communication:

How to be heard in such big city How's London? We want to be more visible in the city’s vibrant cultural market: to appear in familiar and unexpected places where people are not used to seeing us. This policy will require significant investment, but it is necessary for us if we want to expand our audience.

Central London:

We want to become a center of information about the city, a place where people turn for knowledge. We will establish a dialogue with the city authorities and talk about current problems cities. We will include in this conversation all the people who live here, work here, and those who simply feel at home in London. We want to explore London and its unique ability to be an adventure and a discovery. We'll talk about who a Londoner is and what it means to be one.

Facing others:

We are physically connected to London and want to make this connection more visible. Because we are associated with the Barbican and the School of Music and Drama, we have the opportunity to provide a cultural centre. We plan to establish partnerships with St Paul's Cathedral and Farringdon Station.

Cooperation:

Working with the Greater London Authority, the City of London Corporation, Arts Council England and other city organizations will raise our profile in the cultural sector of London, the world's leading city. By establishing partnerships with all museums, we will be able to exchange skills with them, increasing the level of professionalism. This will allow us to further establish contacts with European museums, reaching the international level, and receive funding from the EU.

FLEXIBLE THINKING

We want to learn and teach to think broadly. The way we present the collection to visitors, what it includes, all our research and activities must somehow be connected to the “big” questions about London and its place in the world.

Collection value:

The new collection strategy will change our work. Since we want to primarily interact with modern London, strong and weaknesses in our collections will be clearly defined. We will be more deliberate in purchasing only those objects that can become the 'stars' of our collection in the coming years.

Scientific research:

The information we present and discuss touches on almost every aspect of London life. We want to expand our intellectual influence by opening the collections to anyone who can help us create exciting, rich, contemporary content. We need to have a much larger academic environment and find funding for research. To do this, we want to organize a highly qualified Academic Committee that will oversee research at the museum and involve more students from our partner universities in this work.

Immediate goal: strategic partnership with MOLA, a major archaeological museum, where we will explore new ways to connect people and London through archaeology.

INVOLVE EVERY SCHOOLCHILDREN

Our main social task- working with young Londoners. We go to ensure that all children are fascinated by the history and heritage of their home town.

Development of contacts with schools:

Through schools we can engage with every community in London. Our collections are real things, accessible to every child, regardless of his age and physical abilities. When interacting with them in the museum, they acquire a magic that is not found in school classrooms.

Since our main goal is to attract the younger generation to the museum, we are ready to rethink our usual model of interaction with visitors, introducing more games into our work. We want to school teachers They brought their students to us and here they taught them to understand the city and the country. With the help of the Greater London Authority we will develop syllabus Clore, and with the City of London Corporation we will develop our educational strategy.

Programs to attract families:

We want more families to come to our museum after school. To do this, we need to create a place where the child could feel comfortable and his actions would be encouraged. Our plans are to refurbish Mudlarks- a space for schoolchildren and their parents at the Docklands Museum, making it useful for children under 5 years old.

STAND STRONG ON YOUR FEET

We strive to create a self-sustaining museum, but government funding remains vital for us for now. Our goal now is to increase the museum's income through commercial expansion and grants that will enable us to implement our strategic plan.

Commercial aspect:

Our finance teams are currently focusing on allocating funds to our most critical areas of work, but we could do things differently. By introducing commercial components into all areas of our activities, including trade and public catering, we will be able to obtain new resources for the existence of the museum and create a new clientele.

Role of visitors:

We give every visitor the opportunity to contribute to the museum in various ways. Everything we offer in our stores, cafes and restaurants must exceed the expectations of our guests.

We have to explore their tastes, their desire and ability to support us. Ambitious plans for development retail, licensing and catering facilities are lined up side by side with plans to attract new visitors.

Fundraising:

Funders are critical to realizing a museum's potential, and we will not be able to put our plan into action without their support. Their love for the museum and support for our ideas inspires us and gives us a desire to expand: to involve schools, introduce digital innovations, organize new exhibitions, open new exhibition halls. We will become more flexible and our ambitious projects will be able to attract even more funds.

Stability:

Being more resilient means being less dependent on others. Working in line with initiatives from the Greater London Authority and the City of London Corporation, we have introduced green roofs and energy efficient lighting. Energy consumption remains our biggest problem today and due to negative influence on the environment and due to high costs. We want to take every opportunity to improve our buildings by making the right sustainable decisions.

Our passion for exploring London is contagious and born from the ever-changing history of this great city. We want to awaken the same feeling in every Londoner from an early age and teach them to think about London in new ways.

The Museum would like to thank the people of London, the City of London Corporation and the Greater London Authority for their support.

Translation: Polina Kasyan.