Common set of standards for implementing the Sagittarius Roving

Transcription

SEE TCP SAGITTARIUS
LAUNCHING
(G)LOCAL
LEVEL
HERITAGE
ENTREPRENEUSHIP:
PRIORITY 4: Development of Transnational Synergies for
Sustainable Growth Areas
AREA OF INTERVENTION 3: Promote the use of cultural values for
development
WP7: HERITAINMENT: COMMUNICATE CULTURAL VALUES AND
DELIVER THE EXPERIENCE VIA THEMATIC TRAILS AND A ROVING
MUSEUM Act. 7.1: “GOLDEN ARROW” Production of Materials for the Transnational
Heritage Trail”
STRATEGIES
Output 1:
Specifications for the Production of Materials for the Transnational
Heritage Trail (Activity 7.3) and the Roving Museum (Activity 7.2)
AND
TOOLS
SPECIFICATIONS FOR THE
INFORMATION LAYERING
AND THE
QUALITY OF CONTENTS
FOR THE
TRANSNATIONAL HERITAGE TRAIL
AND THE
ROVING MUSEUM
TO
UNITE
FORCES,
SAFEGUARD
THE
PLACE,
DELIVER
THE
EXPERIENCE
1
| Act. 7.1: PRODUCTION OF MATERIALS
This document entails guidelines for
the physical object of the SEE TCP
Project SAGITTARIUS. It is co
financed
by
the
European
Commission.
The
SEE
TCP
Project
SAGITTARIUS includes partners
from 8 countries: Italy, Greece,
Hungary,
Slovenia,
Romania,
Bulgaria, Croatia, Moldova funded
by the ERDF, and IPA Instruments
and
the
respective
national
contributions (15% of the Project
budget). The overall project budget
is
2.489.980,00
€
(ERDF
contribution: 2.012.783,00 €; IPA
contribution: 103.700,00 €).
SAGITTARIUS is dedicated to the
development and promotion of
heritage entrepreneurships in the
area of South East Europe. The
Transnational Project will be
implemented in 42 months and be
finalized by May 2014.
This document does not necessarily
reflect the opinion of the members of
the European Commission and the
Team Leader of the SEE TCP .
Information on the SEE TCP Project
SAGITTARIUS PROJECT and
projects
can
be
found
at
http://www.southeastrope.net/en/projects/approved_projec
ts/?id=136. The web side provides
the possibility to download and
examine the most recent information
produced by finalised
2
CONTRIBUTORS:
NAME
ParisTsartas
DorotheaPapathanasiou‐Zuhrt
POSITION /INSTITUTION
Rector,UniversityoftheAegean
Scientific Supervisors of the SEE TCP
SAGITTARIUS
HeritageExpert
UniversityoftheAegean
3 CONTRIBUTORS: | Act. 7.1: PRODUCTION OF MATERIALS
CONTENTS
CONTRIBUTORS: ............................................................................................................................ 3
CONTENTS ....................................................................................................................................... 4
SAGITTARIUS: PROJECT SUMMARY ......................................................................................... 6
SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW .................................... 7
1
INTRODUCTION ....................................................................................................................12
2 INTERPRETIVE TRAILS ........................................................................................................14
3 GOLDEN ARROW: GENERAL RQUIREMENTS FOR THE TRANSNATIONAL
HERITAGE TRAIL ...........................................................................................................................21
4. ROVING MUSEUM: SPECIFIC REQUIREMENTS .............................................................. 22
3.1
Gamification .................................................................................................................. 22
3.2
Contextual information.............................................................................................. 22
3.3
Co-creation of Contents ............................................................................................. 22
3.4
Advancing Cultural Heritage Entrepreneurship ................................................. 23
3.5
Cross Cultural Consumption ...................................................................................... 23
3.6
Geo-location and real-time accessibility ............................................................... 23
3.7
Viral Dissemination ......................................................................................................23
3.8
Interactivity and interpretive context ....................................................................24
3.9
Design and Delivery of a Prototype for the Roving Exhibition ......................24
3.10 Mobile Telephony Applications ................................................................................ 25
3.11
Technical Parameters ................................................................................................. 25
4 WRITING FOR INTERPRETIVE PRESENTATIONS ...................................................... 27
4.1
Lay out of the written word ..................................................................................... 34
4.2
Interpretive Message ................................................................................................... 34
4.3
Narrative Structure and Story Telling ................................................................... 35
4.3.1
Identify intangible meanings and connect to the tangible structures.. 35
4.3.2
Present the tangible structure in a hierarchical logical order.................39
4.3.3
Write a theme statement presenting a universal concept ......................39
4.3.4
Writing Style ........................................................................................................ 40
4.3.5
Story Plots ...............................................................................................................41
4.3.6
Illustration of theme statements ......................................................................41
4.3.7
Opportunities for Connections ..........................................................................41
4.3.8
Picture Text Correlation ....................................................................................42
5 PANEL PRODUCTION ....................................................................................................... 43
5.1
Lay out and Design .....................................................................................................44
5.2
Proof Reading ...............................................................................................................45
5.3
Construction Materials ................................................................................................45
5.4
Mounting ....................................................................................................................... 49
6 PRAXIS VALIDATED GUIDELINES FOR THE ROVING MUSEUM......................... 50
6.1
GUIDELINES FOR PANELS AND SIGNS .............................................................. 60
6.2
GUIDELINES FOR OBJECTS DISPLAYS AND EXHIBITS .................................. 60
6.3
GUIDELINES FOR SEATING .................................................................................... 60
6.4
GUIDELINES FOR SOUND ........................................................................................ 61
6.5
Guidelines for Individuals with disabilities ............................................................62
7 GUIDELINES FOR FACILITATING IMNFORMATION PROCCESSING AND
UNDERSTANDING ...................................................................................................................... 64
7.1
Practical Guidelines to facilitate attention...........................................................65
7.2
Practical Guidlines to facilitate cognitive chains ................................................ 67
7.3
Practical Guidelines to facilitate comprehension................................................ 68
7.4
Practical Guidelines to decongest working memory ........................................ 69
7.5
Practical Guidelines to activate prior knowledge ............................................... 71
4 CONTENTS | Act. 7.1: PRODUCTION OF MATERIALS
8 CATCHY ELEMENTS ........................................................................................................... 73
9 MAINTENANCE .................................................................................................................... 75
This page is intentionally left blank ......................................................................................... 77
5 CONTENTS | Act. 7.1: PRODUCTION OF MATERIALS
SAGITTARIUS:PROJECTSUMMARY
Cultural consumption is a knowledge based activity: cultural products and services
are viable, only if they possess widely recognized values.
SAGITTARIUS
advances cultural consumption by communicating cultural
values: from natural monuments and ecosystems to sites and collections, from the
arts to traditions and handicrafts. Thus values of tangible-intangible, movableimmovable and spiritual heritage assets become catalysts for regeneration and
development by being revealed and communicated.
Given the diversity and complexity of heritage, the use of cultural values for
development is feasible, only if multilateral interactions are understood and
reflected in policy and delivery. Required is a multivalent and flexible nexus at
local-global level to mitigate the protection-use conflict reconciling national and
international strategies.
SAGITTARIUS
provides the Cooperation Area with an activity mix to fully
realize the socioeconomic potential of culture: put into practice is an integrative
management system to classify and signify natural, man made and spiritual
heritage assets and communicate their values to different audiences across the SEE
to promote entrepreneurial culture in the heritage sector.
SAGITTARIUS
encourages the formation of heritage entrepreneurs: a
participatory knowledge platform transfers advanced tools among multilevel actors
to protect and use heritage assets by identifying their environmental, social, historic,
aesthetic, spiritual and special values; domain specific training certifies individuals
with increased capacities certifying professional skills. Implemented pilot actions on
a social inclusion basis, provide for cultural experience diversity connecting thus local
cultural production to international markets.
By activating public-private-third sector alliances, heritage entrepreneurship is
established at transnational level, exemplifying, how heritage is valued, protected,
communicated and used with ecologic, economic and social profit.
6 SAGITTARIUS: PROJECT SUMMARY | Act. 7.1: PRODUCTION OF
MATERIALS
SAGITTARIUS:WORKPACKAGESANDACTIVITIESOVERVIEW
WP 0:
PREPARATION ACTIVITIES
WP LEAD: LP
ACTIVITY Act. 01 Act. 02 Act. 03 Act. 04 TITLE Development of a Project Idea and a Transnational Network Responsible Partner LP Submission of the Expression of Interest Responsible Partner LP Participation at Seminars and Info Days organized by the JTS and NCPs Responsible Partner LP Submission of the Project Proposal – Final Application Form Responsible Partner LP TIME PERIOD 01/11/2009 ‐20/12/2009 TOTAL BUDGET (ERDF) 4,000.00 EUR 01/11/2009 ‐ 20/12/2009 5,500.00 EUR 01/11/2009 ‐ 15/06/2010 1,000.00 EUR 01/11/2009 ‐ 15/06/2010 11,000.00 EUR WP1:
TRANSNATIONAL PROJECT & FINANCIAL MANAGEMENT AND PROJECT MONITORING
WP LEAD: LP
Act. 1.1 Act. 1.2 Act. 1.3 Transnational Project Administration, Management and Coordination Responsible Partner LP Transnational Project Monitoring Responsible Partner LP Administrative Project Closeout Responsible Partner LP 01/03/2011 ‐ 28/02/2014 156,300.00 EUR 01/03/2011 ‐ 28/02/2014 216,100.00 EUR 01/06/2013 ‐ 28/02/2014 29,600.00 EUR WP2:
TRANSNATIONAL PROJECT COMMUNICATION
WP LEAD: LP
Act. 2.1 Delivering the Project’s Main Public Medium and Permanent Information and 01/06/2011 ‐ 28/02/2014 39,300.00 EUR Transparency Source Responsible Partner ERDF PP6 7 SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW
Act. 2.2 Act. 2.3 Act. 2.4 Act. 2.5 Communication with the JTS and Programme Management Structures Responsible Partner LP Communication Plan and Project Branding at global level Responsible Partner LP Internal Communication Strategy Responsible Partner LP External Communication Strategy to disseminate Project results to different target publics Responsible Partner ERDF PP1 01/03/2011 ‐ 28/02/2014 4,900.00 EUR 01/03/2011 ‐ 30/11/2013 113,700.00 EUR 01/06/2011 ‐ 28/02/2014 14,000.00 EUR 01/06/2011 ‐ 28/02/2014 215,200.00 EUR WP3 HERINEXUS:
TRANSNATIONAL ALLIANCES TO PROMOTE HERITAGE ENTREPRENEURSHIP
WP LEAD ERDF PP3 Act. 3.1 Act. 3.2 Act. 3.3 Act. 3.4 Act. 3.5 Activation of the Transnational Network Responsible Partner LP Developing a vision for key stakeholders and players from the Public, Private and Third Sector to embrace and support heritage entrepreneurship at transnational level Responsible Partner LP Establishing a Partnership led Collaborative Network to promote Project Scope Responsible Partner ERDF PP4 Transnational Non statutory Co operation Agreement with the Public‐Private‐
Third Sector Responsible Partner ERDF PP3 SAGITTARIUS: Foundation of an Open Collaborative Network to guarantee viability of Project results Responsible Partner ERDF PP2 01/06/201‐ 30/06/2011 77,200.00 EUR 01/06/2011 ‐ 30/11/2011 17,300.00 EUR 01/09/2011 ‐ 31/03/2012 43,900.00 EUR 01/09/2011 ‐ 31/03/2012 142,600.00 EUR 01/09/2011 ‐ 28/02/2014 27,000.00 EUR WP4 HERIDUCATOR:
USING A PARTICIPATORY KNOWLEDGE PLATFORM TO GUIDE HERITAGE ENTREPRENEURS UNLOCK THE VALUES OF HERITAGE
RESOURCES
8 SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW
WP LEAD: LP
Act. 4.1 Act. 4.2 Act. 4.3 Act. 4.4 Act. 4.5 Transnational Experience Exchange, Good Practice Transfer Responsible Partner ERDF PP2 Development of Professional Skills in Heritage Interpretation to unlock cultural values (eCourse) Responsible Partner LP Creation of professionals with increased capacities in Heritage Interpretation Responsible Partner LP Transnational Pooling of Expertise. Good Practice Database in Heritage Planning and Management Responsible Partner LP Using Natural and Cultural Heritage as a Recreational Learning Resource Responsible Partner LP 01/06/2012 ‐ 30/11/2012 220,080.00 EUR 01/06/2011 ‐ 31/05/2012 32,500.00 EUR 01/04/2012 ‐ 30/11/2012 13,100.00 EUR 01/03/2012 ‐ 30/11/2012 26,000.00 EUR 01/06/2012 ‐ 30/11/2012 30,200.00 EUR WP5 HERIBUILDER:
STRATEGIES & TOOLS TO DESIGN HIGH ADDED VALUE CULTURAL PRODUCTS & SERVICES
WP LEAD: ERDF PP7 Act. 5.1 Act. 5.2 Act. 5.3 Act. 5.4 Act. 5.5 The Transnational Heritage Register Responsible Partner ERDF PP7 The Transnational Significance Assessment Tool Responsible Partner ERDF PP7 Typology of Heritage Products and Services to promote value‐driven Cultural Consumption Responsible Partner ERDF PP7 The Collaborative Planning Process for Design and Delivery of Place Driven Cultural Products and Services Responsible Partner ERDF PP1 Design and Delivery of a high added value Cultural Heritage Consumption Mix Responsible Partner LP 9 SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW
01/12/2011 ‐ 31/05/2012 01/01/2012 ‐ 28/02/2014 01/04/2012 ‐ 30/09/2012 17,000.00 EUR 16,000.00 EUR 22,500.00 EUR 01/10/2012 ‐ 30/04/2013 52,800.00 EUR 01/05/2013 ‐ 31/08/2013 22,200.00 EUR WP6 HERICARE:
PARTICIPATORY PRACTICES IN THE PLANNING & MANAGEMENT OF HERITAGe
WP LEAD: ERDF PP1 Act. 6.1 Act. 6.2 Act. 6.3 Act. 6.4 Act. 6.5 Involving and Engaging Communities to unlock cultural values and formulate local cultural offers Responsible Partner ERDF PP5 YOUNG ARCHERS: Involving and Engaging Young Audiences into the Caring of Heritage Responsible Partner LP Involving and Engaging Entrepreneurs in the Heritage Business Responsible Partner ERDF PP8 Putting Theory into Practice: Local Interpretive Project Area Selection Responsible Partner ERDF PP8 Monitoring the "Heritage Business" Responsible Partner ERDF PP9 01/09/2011 ‐ 31/05/2012 15,000.00 EUR 01/09/2012 ‐ 30/11/2012 30,240.00 EUR 01/11/2011 ‐ 29/02/2012 01/03/2012 ‐ 31/05/2012 01/01/2012 ‐ 31/12/2012 25,880.00 EUR 29,880.00 EUR 30,000.00 EUR WP7 HERITAINMENT:
COMMUNICATE CULTURAL VALUES AND DELIVER THE EXPERIENCE VIA THEMATIC TRAILS AND A ROVING MUSEUM
WP LEAD ERDF PP4 Act. 7.1 Act. 7.2 Act. 7.3 Act. 7.4 Production of Materials for the Transnational Heritage Trail Responsible Partner LP THE LOCAL INTERPRETIVE PROJECTS: The Projects Roving Museum Responsible Partner ERDF PP4 THE LOCAL INTERPRETIVE PROJECTS: Design and Delivery of a Polycentric Heritage Trail Responsible Partner ERDF PP4 LOCAL INTERPRETIVE PROJECTS: The Project's Interpretive Guide Book Responsible Partner IPA PP 01/07/2012 ‐ 30/11/2012 01/09/2012 ‐ 30/11/2013 01/07/2012 ‐ 31/05/2013 01/01/2013 ‐ 31/08/2013 38,000.00 EUR WP8 HERISTAR:
SAFEGUARDING PRINCIPLES, SETTING STANDARDS, LABELING QUALITY
10 SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW
110,200.00 EUR 81,000.00 EUR 140,800.00 EUR Act. 8.1 Act. 8.2 Act. 8.3 Act. 8.4 Act. 8.5 WP LEAD: ERDF PP8 Transnational Quality Management Responsible Partner EDF PP8 Transnational Evaluation of the Local Interpretive Projects Responsible Partner EDF PP8 Transnational Quality Labelling Responsible Partner EDF PP6 Publication and Dissemination of "HERI‐JOURNEY". A Good Practice Guide in Heritage Interpretation. Experiences in South East Europe Responsible Partner EDF PP5 Project Closeout Responsible Partner LP 11 SAGITTARIUS: WORK PACKAGES AND ACTIVITIES OVERVIEW
01/03/2012 ‐ 28/02/2014 01/05/2013 ‐ 31/05/2013 01/01/2013 ‐ 31/05/2013 01/01/2013 ‐ 30/09/2013 22,500.00 EUR 119,800.00 EUR 28,700.00 EUR 22,000.00 EUR 01/01/2014 ‐ 28/02/2014 103,000.00 EUR 1 INTRODUCTION
Recent ICT advances have transformed everyday routines into a steady altering and
expansive landscape. Although not every technology is affecting the bottom line today,
elements are beginning to change the way decisions are made and how people work and
communicate with one another, share information and practice entertainment. At the very
least, the Golden Triangle of cloud, mobile, and social capital and the movement towards the
convergence of the 3 scrreens (television, telephone, computer) provides a hub to begin the
evaluation of both technology and human behavior. Policy makers and local actors shall asses
how recent ICT trends impact supply and demand in tourism and how they will influence the
behavior of connected consumers in future and develops thus new business models for the
connected people’s market of today. Needed is a local operating taskforce to:



develop a new task force to evaluate implemented technology to improve the
infrastructure and content of how local business/tourism/culture and human emotions
work in the frame of the Golden Triangle.
cultivate relationships with customers, employees, and stakeholders, designs better
products and services, and demonstrates competitive advantages in the form of project
outcomes.
social partners utilize smart business models as an agent for change to develop a process
for customer expectations and customer integrated experiences, and market direction to
prioritize development and investments in the following areas.
These areas of focus represent the trends in transformation as expressed through the
aspirations of businesses wishing to offer better services by getting closer to customers and
the expectations of the customers they hope to reach better services in real time. This is as
much about technology and vision as it is about reducing friction affecting supply and
demand. In the end, the convergence of disruptive technology, business processes, and
customer experiences forces to examine and re-examine everything. The main aim of any
effort at destination level is to delight the Highly-Social Customer by:






Mapping the Accessibility of Services and Producing the Connectivity Map of the
destination
Identifying Entreperneurial and Skill Needs to produce an New Generation of Smart
Services at Destination Level
Listening individually to the target markets and learn about their needs and requirements
for quality products and services
Enhancing customer loyalty/advocacy
Using social media to engage customers in the active participation of services acquired
Designing fully accessible services with integrated software to better manage customer
relationships and produce integrative experiences for tablet/mobile apps
Rapidly declining IT costs, rising penetration of mobile phones, and increasingly pervasive
broadband Internet access have fueled an information flood that has transformed the way
people interact with the world and with each other. But intensive networking, which has
enabled new and more powerful forms of connection and innovation, has spawned challenges
12 INTRODUCTION | Act. 7.1: PRODUCTION OF MATERIALS
of its own. The resulting “data deluge” is often not matched by a similarly rising capacity to
discern, interpret, and act effectively. More ominously, cyber-security and related questions of
privacy have become omnipresent, even existential challenges.
The Internet’s distributed architecture is designed for resilience. As information
distribution is becoming more mobile and pervasive, information networks are creating new
social capabilities and resources that governments, citizens, civil society organizations, and
businesses are already using to change the way they work, relate to their customers and
partners, and drive innovation. Rich and broad connections between different systems and
domains—businesses, universities and think tanks, social sector organizations, government
agencies—will be as important as the connections and collaboration within those domains.
The rapid digitization of a wide variety of content and data streams, their
convergence onto interoperable Internet Protocol-based networks, rising access to
increasingly pervasive connectivity, and the consumerization of technologies such as the
smartphone, laptop, and tablet have combined to provision new capabilities for collaboration
and communication that, in turn, are changing or even inventing social and economic
institutions.
Improving the way assets, infrastructure, and people work, with the least possible
waste and cost, is just as important as the push for reform and innovation. Put simply, rising
productivity fuels economic growth and enhances opportunities for citizens, while wasteful
resource use increases vulnerability to the price of materials, endangers supply chains, and
undermines the resilience of communities. ICT applications that do not produce urban solid
waste, are an added value for the network of services. Services, experiences and emotions in
the format of a foto, video, text, audio, while are ready to jump into another emotion, they do
not leave any other trash behind: it is the Cradle-to-Cradle Service.
Moreover the economy has shifted dramatically from products to services, especially
manifested in tourism and culture. More-informed, demanding, and time-scarce consumers
are looking for services that can help make their lives easier, more productive, and more
enjoyable. The decisions they make, the brands they are loyal to, the way thye spend time and
discretionary income are mostly based on the services they receive, e.g. services accessible in
real time. Business is not longer as usual, the new reality is that customers will share their
experiences in the social networks whether positive or negative and they will influence the
decisions of others. The question rises, how this influences the actual service model to shape
and steer experiences that deliver value to customers and also back to cultural businesses?
13 INTRODUCTION | Act. 7.1: PRODUCTION OF MATERIALS
2 INTERPRETIVETRAILS
Interpretive trails enable consumers gain an understanding of places and the related
effects of human activity and therefore make up a large part of the recreational learning
environment. To provide for cognitively accessible trails the sequence of interpretative
features shall be carefully planned, and a considerable amount of information has to be
distilled so that contents have a positive effect on quality of consumer experience. Brain
literacy is an indispensable parameter.
Trails may be developed on a theme basis with each trail playing a particular role in a
park’s wider interpretative program, if any. Themes may focus on different aspects of the
environment: one trail on wildlife, another on plant life, another on man’s effect on the
environment, etc. Other trails may represent various ecosystems found within national parks
ad resorts. F
i
g
TheRiver
AoosNatural
HeritageTrail
isdesigned
accordingto
topicsof
ecological
importance.
. 1: River Aoos, Greece
Natural Heritage Trail
Source: D. Papathanasiou-Zuhrt, 2008
The majority of interpretive trails consist of different stations (stops or locations) ,
which can be designed for example as information panels, numbered signs with
accompanying booklets, interactive information stations or sensorial stations. Objective of
such trails is to give descriptive, interactive and/or sensorial information about various
subjects like nature, history, geology, culture, built environment, or a combination of a place’s
assets and character. Interpretive trail have always an educational character. To facilitate
understanding in the outdoor space, information has to focus around have a common theme
(e.g. forest, river, historic topic, historic personage etc) and a consistent design. Interpretive
14 INTERPRETIVE TRAILS | Act. 7.1: PRODUCTION OF MATERIALS
trails are designed to attract a broad public as possible. Consumers are no experts, therefore
one should choose themes that interest a broader public, adults as well as children and are
comprehensible without previous knowledge. If panels should attract the consumer’s’
attention through concise headlines, a short, accurate and comprehensible
explanation/description and a good text/image design. Clear reference to an object and to
the environment is very important for the selection of the subject to be dealt with. Therefore,
it is essential to present typical objects of the area (e.g. geological formation, plants), direct
the trail close to the object and clearly relate the panel to it. Building and reconstructing trails
in natural environment should consider the following three basic aspects (that usually
overlap):



Impact on natural and built environment
o The trail must not damage the natural or built environment (in the locality it
passes through nor in neighbouring/related localities); rather it should help to
protect the assets and raise the environmental and cultural awareness of
consumers
Needs of trail users
o The trail should make it possible for the user to have positive experiences
(visual, educational, sport, etc.).
Trail maintenance
o The maintenance of the trail must not damage the natural environment and
should be effective (from the point of view of costs and the results achieved).
Experiences made during the planning process of different trails in the period 20062008 have clearly demonstrated that before making any adjustments, or before decoding to
build a new trail, it is necessary to determine the purpose of the trail, activities assumed to
take place, mode of travelling on the trail and the intensity of impact made on the trail - all
these factors have an influence on the design of the trail. In addition, the following shall be
taken into consideration as well: the carrying capacity of the given area, inherent features of
the area, required level of the environment protection, ownership relations, etc. There are
three major areas of design considerations:



Consumer and User requirements;
and environmental protection;
cultural heritage awareness raising
Trail location and design, including the structures provided along the route, should
meet the needs of the anticipated consumer and frequent user groups as much as possible.
User requirements include: an aesthetic component, which provides a measure of satisfaction
through the scenic landscape and a functional component, which provides an ease of
movement, sufficient comfort and no worries about the safety aspects of the trail and
cognitive access to the values of natural and cultural heritage.
Trails, therefore, should be designed with consideration both for their environment
and for their users. Soil erosion is one of the most frequent types of environmental
disturbance on trails. It affects the longevity and usefulness of trails, increases maintenance
costs, detracts from visual quality, degrades plant and animal habitat, and may affect safety.
Trail routing, signing and appropriate facilities can help direct users to areas hardened to
withstand the impacts, and away from areas that will show the impacts of accumulated use,
such as lake shores and alpine meadows.
TOWER ST.
NICHOAS
TOUR END
5 min
3. ST.
GEORGE
BASTIO
2.
ATHANA
SIOS
DURATION
1. GATE
AMBOIS
E
15
min
5 min
4. GM
PALACE
5 min
GATE
25
min
WALKING
TOUR
5 min
Inn of
Auverg
ne
6. KNIGHT
STREET
5 min
Inn of
Italy
20
min
12.
CASTELLA
NIA
17 INTERPRETIVE
House
Villarag
ut
Inn of
Spain
Inn of
Englan
d
13. ST.
CATHERIN
E‘S
HOSPICE
House
Cem
House
de
Melais
5 min
10
min
15. SEE
14. LADY
OF THE
BURGHO
5. ST JOHN
10
min
30
min
5 min
5 min
7. LADY OF
THE
CASTLE
15
min
8. GREAT
11.
ARMORY
DE MILLY
TRAILS
| Act. 7.1:
10. GUN
9. OLD
HOSPITAL
POWDER OF MATERIALS
PRODUCTION
MAGAZIN
HOSPITAL
Inn of
Proven
ce
15
MAP
11
10
1
2
4
5
9
6
7
8
3
15
12
13
14
SEE TCP SAGITTARIUS
20 WP 7 HERITAINMENT | Act. 7.1: PRODUCTION OF MATERIALS
3 GOLDENARROW:GENERALRQUIREMENTSFORTHE
TRANSNATIONALHERITAGETRAIL
1. GOLDEN ARROW will provide a transformation in the Project Area utilizing the capacity of
smart telephony, QR Codes and social media to virally disseminate the SEE TCP Project
SAGITTARIUS.
2. GOLDEN ARROW, described in the last approved modification of the AF as “the Project
Museum on the go”, shall constituted a new cultural service per se with the people and by
the people, enabling the co-creation of content and exchanges of views for the wisdest
possible audiences across the SEE.
3. GOLDEN ARROW will become the Project Ambassador creating a recreational learning
environment and the opportunity to interact at a human scale at SEE LEVEL and promote
cross cultural consumption in everyday life.
4. GOLDEN ARROW shall consider the global transformations in the Smart City and the
changing socio-economic conditions that affect the EU and more specifically the Project
Area as a whole. The aim of GOLDEN ARROW is to influence the actual cultural
consumption model by shaping and steering new integrative experiences able to deliver
value to cultural heritage consumers spreading local and regional boundaries with the use
of mobile technologies.
5. GOLDEN ARROW shall be become an instrument to facilitate and stimulate the
development of attractive services and applications, hence, fostering consumer demand.
GOLDEN ARROW shall supports the implementation of new products and services in the
Smart City and the uptake of innovation in cultural heritage consumption not only as the
Project highly recognized ID, but also a the proactive promoter of each participating
region, addressing the needs of both cultural heritage consumers and cultural heritage
operators in situ.
6. GOLDEN ARROW shall become an Agent for Change by developing smart business
models for cultural heritage products and services that are not yet in place, but are
needed in the context of revarolization of the territory towards the use of cultural values
for development, the Smart Heritage .
4.ROVINGMUSEUM:SPECIFICREQUIREMENTS
Criteria to be met for the creation of the interactive exhibition space for the SEE TCP
SAGITTARIUS Roving Museum (Act. 7.2) are:
3.1 Gamification
The Roving MUSEUM shall employ the component of gamification, to guarantee the
desired participatory environment and behaviour among users and visitors. Gamification in
this context shall refer to both the outdoor and indoor experiences offered by the 110 objects
of the Transnational Heritage Trail of the SEE TCP Project SAGITTARIUS.
It shall communicate to end users the values of places, objects, sites and collections, oral
histories and narratives from the cooperating regions’ rich culture. It shall secure and promote
cultural wealth, diversity and values at transnational level by offering dislocated audiences the
chance to create their personal place-bonding at a time. It shall renegote local identities, where
necessary and shall promote civic pride, sustain protection and conservation initiatives and
revaluate cultural heritage.
3.2 Contextualinformation
GOLDEN ARROW” is a portable communication tool which secures and promotes the
Project’s Identity attracting a transnational audience. The main lever to inform and sensitize
end users, is a cognitive process: linguistic, visual, auditory, and interactive material designed,
serves best human cognitive architecture motivating visitors interact with contents. Contextual
information shall consider the following paramemetsr:
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make the messages attractive, compelling, and relevant is portable for off-site use
capture realism and provide emotional impact
incorporate artifacts, artwork, or mixed media to produce desired atmosphere and effects
3.3 Co‐creationofContents
The concept of co-creation shall consider the connected consumer market and real-time
accessibility parameters. Prosumers are to be thought as seekers of personalized, useful
information and/or recipients inclined to purchase the product or the service in question. The
Roving Museum shall enable:
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ease of access to services and goods
possibility to create and share personalized information
document personalized experiences
create the enabling environment for viral information dissemination and viral direct
marketing of local businesses
GOLDEN ARROW shall to play a new role at local level through the design and delivery of
the authentic local experiences by mapping how connected markets are engaging Social
Media Tools and how these tools can complement marketing strategies to create different
connection points in the Project Area through a network of QR codes.
3.4 AdvancingCulturalHeritageEntrepreneurship
The role of local heritage entrepreneurship is the key for the further development and
economic and social cohesion across the SEE. GOLDEN ARROW shall assists the Partnership
and local actors to increase foresight, innovation, and agility in the way they develop and
adapt new services in a constantly changing globalized market with more skillful
entrepreneurs, who may in turn encourage investment and action across markets and
communities. GOLDEN ARROW shall spark new thinking and new practices at local level by
offering a new cultural heritage business model: heritage to be consumed anytime anywhere,
via the smart phone and web applications. GOLDEN ARROW shall involves connected
consumers in the creation place production by offering highly customized services with high
adaptability degree in the constantly evolving business environment and the prevailing
economic and social challenges in the territory.
3.5 CrossCulturalConsumption
GOLDEN ARROW shall redesign and individualizes the Project’s Heritage Journey so as
to avoid practicing mass production organized by mass place operators in place generating
countries without participation of the local actors.
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GOLDEN ARROW shall be accessible anytime from anywhere and shall operate as a
speaking object, which stimulates the creation, provision and use of innovative digital
services building on and interoperating with existing infrastructures.
GOLDEN ARROW shall enable visitors to play an active role through the design and
delivery of the authentic local experience. Therefore the design shall reconsider and
individualize the cultural journey, so as to avoid practicing mass production organized by
without participation of local actors. Required is a scenario of 110 objects enabling
consumers to select desired objects in the locations of interest.
3.6 Geo‐locationandreal‐timeaccessibility
GOLDEN ARROW shall implement a 110 geo-location Connectivity Map with the
immaterial assets of a given place and the services attached around them. GOLDEN ARROW
shall enables Project Partners and trainees to learn how to create personal codes so that they
can transform personal experiences into digital content, connecting themselves with the
assets and services of interest across the Project Area. Implementation shall ensure that
assets and services selected become fully accessible by the online platform, via computers or
mobile phones, with the streetscape playing protagonist roles in the experience framework.
3.7 ViralDissemination
Recognizing the importance of a social dissemination and visibility strategy within the
EU 2020 Sustainable Development Strategy and more specifiacaly in regards to the Inclusive
Growth, the Roving Museum shall be disseminated in a "Horizontal Way" reached via social
networks and their tools. External expertise is sought to utilize innovative methods –
including social media tools, video, conferences, drama, and event exhibitions to shape the
public impact. The Roving Museum shall be a dissemination HUB developer per se and a
transmitter with multiplier effects being maintained by the Partnership and the realted
organizations.
The concept of dissemination of the Roving Museum shall adapt adaptable to the ICT
state of the art as pro-sumer information means to consume/interact/create quality
information " anywhere and anytime". It is therefore needed that dissemination be customized
for multiple online platforms eg. mobile (3G, EDGE, WIFI). The whole dissemination system
shall generate new information in real time through multiple networks, multiple devices, and
multiple mobility.
3.8 Interactivityandinterpretivecontext
GOLDEN ARROW shall e ensure that its “Collection” identifies and presents the diverse
intangible and universal meanings inspired at various audiences; shows multiple perspectives
and the relationships of events, encouraging visitors to derive personal meanings; and
provides guidance on the artistic achievements allowing readers to understand causal and
functional relationships, alternative hypotheses, and the nature of evidence.The interactivity
parameter and the interpretive nature of the Museum Collection shall reflect:
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goals and objectives of cultural operators: the extended Partnership (Act.3.1);
knowledge of audiences; potential users of Pilot Projects after the completion of
SAGITTARIUS (Act.4.2);
impetus of social consensus (Activity 6.1, 6.2, 6.3,);
subject matter knowledge: documented knowledge of heritage resources in the host area
of each Pilot Project (Act.5.1);
Cultural Values and Statements of Significance (Activity 5.1, 5.2);
media selection: connected to message, audience and resources allocated, the decision
varies accordingly (Act. 7.1);
implementation: Activity (7.2);
evaluation of Pilot Project Plans (Act. 8.2)
3.9 DesignandDeliveryofaPrototypefortheRovingExhibition
Selected experts shall provide for a Prototype of the Exhibition in written form no less
than 15 A4 pages. Components of the Prototype shall be:
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Core of the Prototype is the Local Pilot Project (ERDF PP4) with 20 locations to be
used as a reference framework for the ERDF and IPA Pilot Projects.
The Prototype shall work as follows:
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selected objects shall be integratetad in the wider social community and the
territory by including and involving people (specific interest groups) and by
activating the respective geolocations
producing the local stakeholder map and ensure long term viability of the
operations
include gamification aspects connected to the stakeholder map and the
geolocations
3.10 MobileTelephonyApplications
The expert shall provide for applications enabling the transfer from graphical user
interface to experience user interface. Contents related to the services and products shall
create a clear image of each local ID (each local Pilot Project), as each one is a clear part of the
common ID SAGITTARIUS.
3.11 TechnicalParameters
1.
2.
GOLDEN ARROW shall include 110 QR Codes in order to correspond to 110 selected
geolocations and/or object of the Transnational Heritage Trail of the SEE TCP Project
SAGiTTARIUS (Activity 7.3 ) (For reasons of facilitating understanding hereafter the
word “object” refers to either an object or a location marked by the respective QR
Code.)
The QRC Inventory shall be retrieved via
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3.
4.
5.
6.
Smart Phones
Tablets and mini Tablets
iPads and mini iPads
The contents of 110 geolocations (texts, images, and video formats ) shall be
retrieved through Social Media Channels
To enhance end-user experience given narrative contents shall be adapted to
gamification components (see design and deliver of the Project Prototype)
Design and delivery of a mobile web with the content of the QRC Inventory
Design and delivery of a downloadable App for IOs operating System
DepictionoftheComponentsfortheRovingMuseum
Pilot Project3 Pilot Project4 Pilot Project5 Pilot Project6 Pilot Project7 IT BG SI HR RO HU 20 QRC 20 QRC 20 QRC 10 QRC 10 QRC 20 QRC 10 QRC (LP) (PP2 and PP33) (PP4 and PP5)
(PP6) (IPA) (PP7 and (PP9) PP8)
7
Pilot Project1 Pilot Project2 GR GAME
1
2
COMMON METHODOLOGY 3
4
5
6
COMMON TOOLKIT
FILM
EXHIBITION
4 WRITINGFORINTERPRETIVEPRESENTATIONS
The mission of any interpretation is to grab an audience’s interest quickly by
provocation and keep vivid; to relate to the essence of the subject chosen through a unique
viewpoint; to reveal hidden connections and fit the subject into a bigger picture; to show the
logical significance of a particular object or feature to a higher level concept or story by
addressing the whole. Last but not least, the main interpretive message should be kept unified
revealing why both the written content and context shall matter to the audiences matter.
Therefore the interpreter should be able to convey resource meanings effectively through the
use of interpretive techniques and organizational structure applied to written products.
Effectively written interpretation will facilitate opportunities for the audience to make
their own intellectual and emotional connections to the meanings/significance of the resource
through the cohesive development of a relevant idea or ideas, rather than relying primarily on
chronological narrative or a series of related facts.The interrelations of story context and
reading preferences is still being inverstigated by cognitive scientists, however the prevailing
rules seems to be a balance between the prior knowledge and the contextual information
Good written interpretations means the production of context that interrelates to former
audience experiences,- thus appropriate for a series of different audiences-, and provides a
clear focus for their connection with the resources(s) by demonstrating the cohesive
development of a relevant idea or ideas, rather than relying primarily on chronological
narrative or a series of related facts. Main advantages are:
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Communicates an appropriate depth and amount of relevant information
Communicates an understanding of resources/park story/national significance
Provides a balanced treatment and acknowledges multiple points of view
Is presented in an engaging style appropriate to the audience and medium
Demonstrates creativity
Encourages or moves audience toward higher-level concepts, such as resource protection,
Stewardship, and global issues as appropriate
Incorporates thematic structure and organization
Avoids spelling, grammatical, typographical, and stylistic errors which impede
understanding and interpretive effectiveness
The interpretive elements and interpretive writing methods/techniques of the product
are the focus of this writing style. A product that is primarily informational, no matter how well
written, and though its subject may be important to tourism operations, will not meet this
interpretation standard. Creative writing is not necessarily interpretive writing.
Although interpretive writing should incorporate creative elements, its purpose is
unique (connecting the interests of the readers to the meanings of the resources). The use of
creative elements and literary techniques should contribute to the interpretive objectives.
The product must be an original work, and developed for a written medium, and not
intended to serve another format, such as a narrative script or program that would be spoken.
Examples of writing products are:
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Interpretive brochure or site bulletin
Interpretive wayside (more challenging format)
Park newspaper interpretive article (not an information article)
Interpretive article for staff paper
Interpretive article for a local publication (not an information article)
Indoor interpretive exhibit text
Interpretive trail guide
Interpretive guidebook
Web site (stand-alone interpretive section only, more challenging format)
Writing for Interpretive Media
Practical applications conducted in the framework of the research have lead to the
position that interpretive writing, because it has to convey so much information, evoke images
or create so much feeling in just a few words, is some of the most difficult. However by
applying a cognitive load management some basic interpretive rules have been developed:
BASIC INTERPRETING RULES
1.
Topic Research and Profound Subject Matter Knowledge
The interpreter should know as much about the subject as possible. Read, talk to people, and
study what's already been done.
2. Knowledge of the Audience
Interpreters should discuss with the agencies, who is the audience. This is very important -- it will
save a lot of time and effort later on in the process.
3. Information Layering; Development of the Central Message
Message have to be organized and prioritized and one should have to decide ahead of time
what he/she really wants your audience to know.
4. Following rules of Cognitive Load Management
Editing is necessary, but having several people all trying to steer the creative process will make
the job much harder and the end result mediocre; therefore writings shall be entrusted with
experts
5. Interpretive messages shall be constructed with:
5.1. The fewest possible words to carry the meaning. Every word should count.
5.2. The heart of the matter and go straight to the point.
5.3. The active voice.
5.4. Simplicity.
6. Respect.
Consumers might know nothing about a site or a topic, but they are intelligent.
Experts might always be among consumers and compromise interpreters not profoundly
knowledgeably about the assets history
7. Interpreters should always avoid:
7.1. Propaganda.
People really aren’t much interested in the "mission" or "objectives" of an agency, but they
are very interested in the sites and what's happening to them.
7.2. Abbreviations, scientific jargon, or obscure and complicated messages which lead to high
cognitive loads
There's little patience for wading through extra information to get to the point. It’s a basic
rule for interpretation to take out the extra, keep it short, accurate, and direct.
Interpretive writings aim to be understood by their reader without extra painstaking.
7.3. Judgments and excessive adjectives shall be avoided.
The interpretive goal is to present a picture, situation, or concept in a clear, uncluttered way
so that the reader can react and draw judgments. Interpreters should not tell the readers
how to react and what to feel. They can figure out if a view is spectacular or a tree is
majestic or a river is mighty. Therefore the use of verbs and nouns is much more important
than the use of adjectives.
8. Review
Interpreters should listen carefully to experts on your topic and make sure your writing is
accurate, but they have to be careful during the reviews not to forget the real audience
Table 1: Basic Interpretive Rules
An application of the rules discussed above and authored for an outdoor
interpretive trail is structured as follows:
Beautiful and strong, proud, mythical. It is born and gives birth in the steep mountains
of Epirus. The Master of the Gorges, related to Capricorn, is a rarity. Just 500-600
chamois (rupicarpa) are to be found in Pindos, Central Greece, Olympus, the Sierra of
Rodopi and in the high mountains bordering to Albania.
3 million years ago the chamois used to live in Central and Eastern Asia. Glaciers (water
concentrations) have created steaks of land, which allowed immigration through natural
bridges. .After the glaciers melted down, the chamois starts looking for warmer places.
Gradually emerge isolated populations, which adapt to the environmental conditions,
building its species.
The chamois is an islander. They live in an archipelago of islands (the sierras) surrounded
by sea (innumerable low hills, valleys, rivers, mountains and human settlements). Very,
very seldom does a chamois leave its home island.
Ludic in their nature, they just love to play, to run, jump, roll themselves in the snow.
They are active in the morning and the afternoons. A good siesta is a must – they rest,
ruminate and simultaneously control the surroundings for potential enemies. The guard,
smells the air sets its eyes on the suspect and with a hissing noise warns its folks. The
chamois is active in the nights, under the moonlight. It communicated in a codified way,
which is based on kinship hierarchies and sex. Sound, movement and stamping are
communication means.
Rigid matriarchal social structure. The triptych: grandmother, mother, daughter. The
herd consists of the triptych, other females belonging to the family, and young males.
They usually fell in love and begin to reproduce themselves when the reach the fourth
year. However, because they are threatened with extinction, they try hard to defend
their own species. Occasionally the mate when they reach the second year and might
give birth to twins. The females usually gives birth to one heir in May. The chamois are
excellent mothers. Should they go some place else, the leave their babies under
supervision. Like in the kindergarten other adults take care of the youngsters.
Robust body, the head sits stilted. A white face with a dark brown profile captures the
eyesight of the observer. Its two small horns with a backward movement adorn its face.
A dark streak like a mask makes its face attractively mysterious. Its heart twice as big
in comparison to humans, its overall size 2-3 times smaller. Its coats has two types of
hairs and 3 layers in order to capture the air and protect from the icy weather. It won’t
sit for a foto session, but one may fall in love, just by glancing …
Almost black
Long coat
Steep slopes with vegetation
Light brown
Short Coat
High altitude regions
Table 2: The Chamois
Source: D. Papathanasiou-Zuhrt 2008
Interpreters should also motivate readers to make concrete suggestions. Every reader
will have an opinion. Interpreters should listen carefully to their criticisms and suggestions and
use them, if they improve the whole picture. Successful applications have demonstrated that
best text tells a story and uses a range of creative techniques to bring a site or object to life.
There is nothing more off-putting than too many words on a panel or a leaflet and therefore a
limit of 250 words per panel has been set.
Publications can contain more text, but no page should have more than half its space
taken up with writing. However decisions on length are a polyparametric one and greatly
depend on the heritage item to be interpreted and the audience-receiver.
Observations made in 2011 lead to the conclusion that it is usually the design of the
interpretive product, and the attention span of the receiver that set the limits. For each
application presented in this research a word number has been defined also according to the
medium used for presentation, so that texts are of the length appropriate for the medium
selected.
The text should be one article, section, or portion of text that is cohesive and stands.
The obligation for accuracy, topic choice and appropriateness, writing mechanics, etc., remain
the responsibility of the author. It is very important that text relates to the audience. This is
one of the key things that differentiate interpretation from consumer information.
Observations made at onsite locations lead to the formulation of a series of basic rules for a
high quality writings that directly relate to the audience:
1.
2.
3.
4.
5.
6.
7.
8.
Address the reader in the first person.
Use active rather than passive verbs.
Use metaphors, analogies and comparisons.
Use humor with care as not everyone has the same sense of humor
Ask questions and engage your audience’s imagination
Use first person narrative
Write in short sentences and paragraphs
Avoid jargon and technical terms, that confuse and alienate the
vistor
9. Illustrations are often far better at communicating than words in
certain occasions
Table 2: The Interpretive Narratives’ Rule
Interpretive Graphic Design should be presented in
layers of information for each sub-theme and storyline, going
from basic concepts to more detailed information. This helps
address the needs of both the casual reader and the subject
matter expert.
Where it facilitates learning, sub-themes and storylines
should be integrated, to provide for a more comprehensive
learning experience. The overall design should blend
harmoniously with the topic dealt and main message to be
transmitted.
It should be very eye-catching and immediately
intriguing, to quickly grasp consumers’ attention. Text should in
general avoid jargon and technical information. It should be
thought provoking but quickly read, following generally
accepted rules of interpretive writing.
The power of empty space to draw attention to your
message or a particular element on the page is not to be
underestimated. For a successful graphic design breathing
room should be left for the readers:
Reading from left to right and top to bottom is how IndoEuropeans expect to have information arranged. Readers
notice more quickly the message coming through with the
layout on the left. The layout on the right takes effort to first
figure out the order of things.
However in other non-European languages like in Arabic
this recommendation should be followed in the exactly
opposite way. Elements on a page all have a "weight" that's
created by their size, lightness or darkness, color or closeness to
each other. Fig. 3:
SEE TCP SAGITTARIUS
Drafting the Panel 33 WP 7 HERITAINMENT | Act. 7.1: PRODUCTION OF MATERIALS
4.1 Layoutofthewrittenword
Level 1
Title (including an introduction of the theme/message)
FONT TYPE BERLIN SANS FB 24 CAPITALS
Level 2
Subheadings that divide the text
FONT TYPE BERLIN SANS FB 20 Small
Level 3
Main body of text and key illustrations
Level 4:
Referalls for other related infrmation
PANEL: 350 words maximum per asset unit ( each asset separately presented)
Layer 1:200 words maximum per asset unit ( each asset separately presented in the Facebook
Timeline, Pinterest Collections, Game Units and the App)
Layers 2 & 3: More examples and information for the extended versions information on the
theme
Level 4:
Suggestions for putting new information into practice (eg. activities that can be done at the
site or once visitors return home)
4.2 InterpretiveMessage
The interpretive message is the intentional, coordinated message that the Local
Interpretive Project conveys to the audience about the heritage assets and qualities that it
promotes. The massage has t be closely realted to the statement of significance (Activity 5.2)
The message shall communicate an appropriate depth and amount of relevant information as
follows:
communicate an understanding of resources/park story/national significance
provide a balanced treatment and acknowledges multiple points of view
is presented in an engaging style appropriate to the audience and medium
demonstrates creativity
encourage or move the audience toward higher-level concepts, such as resource protection,
stewardship, and global issues as appropriate
incorporates thematic structure and organization
avoids spelling, grammatical, typographical, and stylistic errors which impede understanding
and interpretive effectiveness
4.3 NarrativeStructureandStoryTelling
Story telling rules shall follow the detailed description in the Project Planning Manual.
4.3.1
Identifyintangiblemeaningsandconnecttothetangiblestructures
Universal concepts are intangible meanings that are relevant to almost everybody. They are
powerful vehicles that reach many people in significant ways. Like all intangible meanings,
universal concepts can be linked to a tangible resource. However, if presented by themselves,
universal concepts can be abstract and too abrupt to assist the audience makes personal
connections to the meanings of the resource. Links that include a universal concept tend to
work best when presented with other. Universal concepts, joined with other tangible and /or
intangible links can provoke a desire to understand and appreciate intangible meanings that
might otherwise seem uninteresting.
THE KNIGHTS IN RHODES
The Christian kingdoms in the Latin East ended with the fall of Acre in 1291. The Knights of the
Hospital first fled to Cyprus, but they conquered the island of Rhodes in 1310.In Rhodes the Knights
ruled their own kingdom and defended western Europe against the expanding Ottoman Empire.
In 1480, the Knights successfully defended the city of Rhodes against a Turkish assault, but the Turks
returned and captured the island in 1522. The Knights withdrew from Rhodes looking for a new
home base. To prevent the further spread of the Ottoman Empire, the Holy Roman Emperor
Charles V gave the island of Malta to the Knights. The Order of the Knights Hospitallers comprises:
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the Knights, men of noble birth.
the Clergy, (Chaplains) in charge of the services in the churches of the Order, they visited the sick
in the hospitals, and followed the Knights Hospitallers in battle, where they also undertook
ministration to the wounded.
the Serving Brethren were not required to be of noble origin, and acted as squires of the Knights,
and assisted in the care of the sick. All the members wore the armorial bearings of the Order
and enjoyed its privileges.
As the Knights Hospitaller Order extended, it was divided into nations or Langues, those of
 Provence,
 Auvergne,
 France,
 Italy,
 Aragon,
 Castile,
 Germany
 England.
All the members wore the black dress with the white eight-pointed cross on the left side, until
Pope Innocent IV ordered that the battle dress of the Knights should be a red coat with a white
cross.
The Order of the Knights Hospitaller is governed by a Council, presided by the Grand Master.
TIMELINE OF THE KNIGHTS IN RHODES
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Foulques de Villaret (1305-1319)
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Hélion de Villeneuve (1319-1346)
Berengar (1365-1374)
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Dieudonné de Gozon (1346-1353)
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Pierre de Corneillan (1353-1355)
(1374-1376)
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Roger de Pins (1355-1365)
Raymond
Robert de Juliac
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Juan Fernández de Heredia (1376-1396)
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Riccardo Caracciolo (1383-1395) Rival
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Philibert de Naillac (1396-1421)
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Antoni Fluvià (1421-1437)
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Jean de Lastic (1437-1454)
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Jacques de Milly (1454-1461)
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Pere Ramon Sacosta (1461-1467)
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Giovanni Battista Orsini (1467-1476)
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Pierre d'Aubusson (1476-1503)
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Emery d'Amboise (1503-1512)
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Guy de Blanchefort (1512-1513)
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Fabrizio del Carretto (1513-1521)
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Philippe Villiers de L'Isle-Adam (15211534) (last Grand Master that ruled over
Rhodes, and the first to rule over Malta)
First Grand Master Foulques de VIlalaret
Last Grand Master Philippe Villiers del’ isle
Adam
4.3.2 Presentthetangiblestructureinahierarchicallogicalorder
Many heritage assest are not labeled, explained interpreted or even managed. Visitors and users miss in this way the opportunities for connections. Assets and asset unites shall be interpereted in such a way tha a visitor directly understand what is s/he visually confronted with: Example: The Great Hospital of the Knights in Rhodes
INTANGIBLE MEANINGS
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Hospital Mission
Hospitaller History
Hospital Staff
Admission of patoents and Patient Rules
ASSET
Hospital Building
ASSET UNITS
 Façade with commemoration inscription. (What does the inscription say)
 Ground Floor (Entrance, Water Tower, Store Houses)
 Upper Floor (Patient Ward, Pharmacy, Surgery, Kitchen, Refectory VIP Rooms,
Toilets)
o Patient Ward (Chapel, Fireplace,
 Hospital Garden
 House of the Grand Hospitaller
 Secret Staircases
4.3.3
Writeathemestatementpresentingauniversalconcept
Interpretive themes are single sentences that express meaning; they link a tangible resource
to its intangible meanings and they organize interpretive products. Interpretive themes are
most powerful when they link a tangible resource to a universal concept.
The Hospitals of the Knights of St. John in Rhodes is at the forefront of medical science:
it is a hospital in the modern sense. It receives patients of both sexes, including
abandoned infants and regulates the public health and the procurement of medicine.
The Hospital makes a shift from the Middle Ages to the ideals of the Renaissance:
instead of merely preparing the soul to die, it saves and cures the sick. In 1440 the
Knights start to build a much larger hospital, the Great Hospital, which was completed
in 1482 by Grand Master Pierre d’Aubusson.
No more than 5 interpretive themes should be connected around an asset, especially, if the
asset structure is unknown.
Example: The Great Hospital of the Knights in Rhodes
1. Façade with commemoration inscription. (What does the inscription say)
2. Ground Floor (Entrance, Water Tower, Store Houses)
3. Upper Floor (Patient Ward, Pharmacy, Surgery, Kitchen, Refectory VIP Rooms,
Toilets)
Patient Ward (Chapel, Fireplace,
4. Hospital Garden
5. House of the Grand Hospitaller
The Medical Ideal
The Great Hospital of the Knights in Rhodes is a model, not only for its architectural structure
and its functioning, but also for its organization which is still followed by contemporary hospitals.
The Great Hospital of the Knights in Rhodes accepts patients of both sexes including the
abandoned infants and for the first time patients having an incurable disease were put up in
separate wards. It functioned under the same regulations and customs which were dominant to
the hospital of Jerusalem, as well, and which also showed us the way of living and the duties of
the Knights towards the patients, where the patient’ s health shall be restored, contrary to the
medieval tradition, where only the soul was being prepared for death.
Rules for Staff
The medical staff of the hospital consisted of four doctors, specialized the diagnosis of several
diseases and being able to offer the proper medical treatment. The doctors should swear before
the Hospitallers and the officers of the eight languages of the Order. They visit the patients twice
a day, morning and afternoon, assisted by the Hospitallers. In addition to this, they were
accompanied by two surgeons and one pharmacist.
The beds of the patients had to be long and wide enough in order to be comfortable and it was
not allowed more than one person in each bed (something which occurred in other hospitals of
that era). Each bed should have had its own covering and its own linen sheets; it was also
protected by curtains.
Each patient should be provided with one gown made of sheep’s skin and boots, so as to go
easily to the toilets, as well as a woolen hat. Furthermore there should also exist small cradles for
the infants which were born in the hospital so that the babies would be able to sleep separately
from their mothers and not be disturbed by their broken sleep.
Special diets and serving was carried out in silver utensils, as the disinfecting quality of silver was
known to the Knights. White bread which was made especially for the needs of the hospital and
one loaf of bread was shared per two persons.
All people who worked in the hospital were under the sacred oath of Indigence - Purity –
Obedience. Acceptance of gifts was prohibited and also punished.
Rules for Patients
Immediately upon admission patients bathe, confess, receive the Communion and write their
will. Disobedience of the instructions of the doctors as well as any alteration to the given
prescription was forbidden. Noise was not allowed even to the patients who had recovered and
they were not able to play cards or dice or read aloud.
These regulations were written in a parchment and suspended from a chain in the wards of the
hospital. The Great Magister of the Hospital was personally responsible towards the Order so as
for the poor and the patients to be taken care of as it was defined by the spirit of the Knights..
We underline the enactment of the regulations for the operation and the customs of the hospital
as well as the sanitary measures (sanitary councils, quarantine, lazaretto) which were taken in
times of epidemic diseases which also indicates the high cultural level of the knights.
4.3.4
WritingStyle
The writing style shall not be not scientific, although it shall be based on scientifically
proved information. It shall be an interpretive writing style, which draws from technical,
informational, scientific, historical, and cultural sources and incorporates techniques to
balancd cognitive loads represented by novel material, while striving to preserve authenticity
and integrity of the Site in the presentation context. Narrative structures and story plote
connect readers emotionally and intellectually to the meanings and significance of the
resource(s) being interpreted, by evoking sensory impressions and images on a schema
automation basis. Highlighted textboxes may explain technical features and provides for
factual data. This kind of information architecture leads readers to accomplish a specific task
and integrate novel structures.
4.3.5
StoryPlots
Story Plots are very welcome, fictious or historically documented because they create
connections, e.g. links between visitor experience and interests and the meanings of the
resource is a crucial element for the length of stay time at the Site and the quality of visitor
satisfaction. Connections can be subtle or sublime and relate to places, things, and ideas; they
may be described as moments of intellectual and/or emotional revelation, perception, insight
or discovery related to the meanings of the resource”. The Narrator strives to offer visitors
meaningful associations embedded in personalized narrative structures, e.g. to make the
special connections that exist between the spectators and the items evident. In order to
construct meaningful associations in the given heritage context the Narrator motivates visitors
to careful, accurate, inquisitive observation and facilitates discovery and participatory activities
by helping visitors recognize that as more information is gathered, their understanding
changes and grows.
Examples:
 Anastasia, 1522
 Sailor Jervis, 1480
 The Besteller Book, 1482
 The Story of Prince Cem, 1481
 The Earthquake, 1481
 The Treason, 1522
4.3.6
Illustrationofthemestatements
Presentations shall develop tangible and intangible links that illustrate the idea or ideas
expressed in the theme statement into opportunities for connecting the audience to the
meanings of the asset. Develop those links with information and interpretive methods such as
stories, descriptive language, activities, and illustrations. To be broadly relevant, an
interpretive product must provide opportunities for both emotional and intellectual
connections to the meanings of the resource.
Examples:
 The Besteller Book, 1482
 The Story of Prince Cem, 1481
 The Earthchquake, 1481
 The Treason, 1522
 Sailor of Fortune, 1401
4.3.7
OpportunitiesforConnections
Theme statements sall organize the opportunities into a sequence that cohesively
develops the relevant idea or ideas stated in the theme. Effective transitions shall move from
one opportunity to another. Presentations shall be developed into meaningfull ideas and
narratives. A meaningful idea captures, organizes, and sustains the attention of the audience.
A meaningful idea provides opportunities for audiences to make their own connections to the
meanings of the resource. Without the cohesive development of a relevant idea or ideas,
presentations of assets are merely collections of related information or haphazard arrays of
tangible/intangible links—they are not interpretive. Opportunities for emotional and
intellectual connections to the meanings of the resource sequenced with effective transitions
and arranged to support a wellcrafted interpretive theme statement provide the architecture
for a cohesively developed idea or ideas.
Examples:
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4.3.8
Hospice St. Catherine, 1461
The Jewish Community, 1426
Queen of the Seas, 1507
Forbidden Love, 1483
Treason, 1522
Chain Tax, 1462
PictureTextCorrelation
Pictures shall connect directly to each asset unit and shall notstand a as simply arry of
elements. Pictures shall be eloquent, but in the case, where the use has altered (like in the
case of a hisoruic building, or in an non-visible natural phenomenon) shall explained with the
adequate text sequence. ictures be put on other pictures.
Text shall not be placed on pictures
5 PANELPRODUCTION
Interpretive panels are the most common form of interpretation. A well-produced
and well-sited panel can be extremely effective, whereas a badly produced and wrongly sited
panel will be counterproductive. Interpretive panels should use an imaginative combination of
text and visuals to tell a story about an object or a place. This is in contrast to an information
panel which only contains instructions or directions. The following stages demonstrate what
has been considered for the implementation of interpretive panels:
1. Research and plan the panel’s contents
2. Assess the site to locate exactly where it will be installed
3. Source pictures and / or commission illustrations
4. Write the draft text
5. Initial layout and design
6. Proof initial design
7. Final layout and design
8. Final proofing
9. Manufacture
10. Installation
11. Evaluation
12. Maintenance
Table 3: Rules for Interpretive Panels
Aseries of good practices and malprcatices have been collected, documented, classified
and evaluated in the time period 2011-2012, a set of rules has been adopted to produce
quality interpretion:
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Choose material that is appropriate to the subject.
Choose resilient materials which will be more resistant to vandalism.
Consider the extreme weather conditions to which the signs will be exposed.
Blend sign colours and materials with the site. With due regard for sign identification and
reduction of tripping hazards.
Consider construction and maintenance costs. Failure to consider maintenance and
upkeep costs during the initial planning is one of the main causes of poor signage at
venues and along path networks.
Regular inspection walks should be mad by management to check sign condition and
locations. A sign pointing in the wrong direction is less than helpful.
The base is just as important as the sign itself. Consider using stones, metal or attractive
wood framing.
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It is difficult to read signs with bright sunlight behind them - check whether outdoor
paths are best walked clockwise or anti-clockwise and whether this varies during the day.
Check that angled sign boards with Perspex protective faces are not likely to be made
unreadable by glare from reflected sun light.
Signs in bright light are easiest to read if they have light coloured lettering on dark
backgrounds, while those in darker areas are most visible if they have dark lettering on
light backgrounds.
Be careful with printing text on transparent surfaces. If the lighting creates shadows or
sun is directly visible the text will be virtually impossible to read.
Central and consistent placement of signs and labels can significantly increase the
amount of time consumers spend looking at displays and attractions.
5.1 LayoutandDesign
A number of techniques are available depending on your design preferences, budget
and desired lifespan of the panel. Most manufacturers can provide up-to-date technical
advice on each technique they offer. There are two main printing methods:
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Digital printing is a flexible process that can reproduce full colour graphics such as colour
photographs and drawings. The design is printed onto a special paper which is then
encapsulated or encased in acrylic, glass reinforced polyester (GRP) or melamine.
Screen printing involves applying each ink separately onto paper or directly onto the
panel surface. Some manufacturers offer a handpainted finish allowing illustrations to be
produced in full colour, but this is expensive.
Both techniques use inks that bleach in direct sunlight, so don’t expect the original
colours to last more than a few years. Good layout and design will unite the text and
visuals, and will ultimately dictate how well your message is put across.The graphic
designer will make skilled decisions regarding:
The graphic images and illustration style
Graphic devices to add interest
Typeface, typesize and spacing
Colours
The practicalities of the reproduction method to suit graphics, materials and quantities
It is important to identify at an early stage what materials they want to use for the
panel by considering what best will enhance the on-site experience. This may determine the
method of fabrication, which in turn can influence the kind of graphics each interpretive
product requires.
5.2 ProofReading
Careful proofing is very important. When you receive the proof for your panel from
your designer, consider the following:
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Does it grab attention?
Is the layout logical and easy to follow?
Is the text accurate and the spelling, grammar and syntax correct? (the text
you gave the designer may have been correct, but mistakes do arise when the text is
laid out)
Show the proof to someone who doesn't know the subject to see whether your
message is coming across loud and clear
5.3 ConstructionMaterials
A range of materials are available in which to produce panels. Some notes on the
main techniques followed are as follows:
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GRP: Designs are printed onto paper which is then embedded in the GRP. Alternatively
the designs are printed in gel coatings, resulting in a finish identical to a fibreglass yacht
or dinghy. GRP is fairly strong and long-lasting.
Melamine Laminates: Designs are printed onto resin-impregnated paper, which is then
encapsulated in the melamine. Melamine is especially hard wearing and vandal resistant.
Acrylic and Polycarbonate: Designs are printed onto paper and ‘sandwiched’ between
sheets of high impact acrylic or polycarbonate. Acrylic and polycarbonate are cheaper but
less durable than GRP or melamine.
Etched Stainless Steel: Monochrome artwork is photographed and the image chemically
etched into the steel. ESS is popular for viewpoint indicators, but where ink is also used
(e.g. to pick outtext), it can get scraped off. Can be difficult to read when reflecting
directly in the sun.
Photosensitised Aluminium: Designs are printed onto photosensitive aluminium plates
and the image is sealed for protection. An unusual material.
Sandblasting on Wood and Stone: Sandblasting creates a surface of raised lettering and
designs. It is not a good method for detailed pictures and text, but offers interesting
tactile surfaces.
Cast Signs: Signs can be cast in bronze or aluminium. These are very tough, but expensive.
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Enamel: Text and images are painted or screenprinted onto sheet metal which is
enamelled for protection. An old technique that was once common for advertising panels
but is now very unusual and very expensive.
There are a wide variety of sign materials available for both indoor and outdoor
interpretive sign panels. Choosing the right one is a matter of matching product needs and
desires with goal setting available budget. Below are materials collected for testing in 2011.
Technology will continue to rapidly change and new materials may become available.
Foam Board
(Gatorfoam or
Fome-cor)
Good for temporary, indoor
displays. Can be constructed inhouse.
Not very durable – has a
short (1-season) lifespan.
Can be made very large (up to
52” x over 100 feet long. Is thin
and lightweight, so can be
laminated in plastic, and then
mounted on plywood, metal,
acrylic, or other substrates.
Not very durable. Best for
temporary displays (2-3
years, although some
warranties are for 5). May
bubble in very hot climates.
Fiberglass
Embedment
(digital output
encapsulated
in clear
fiberglass)
Resistant to shattering,
weathering, fading, and graffiti.
Excellent colors and resolution.
Warranties are generally for 10
years.
May need to occasionally
buff with sandpaper or car
polish. Edges not as
attractive as high pressure
laminate.
High Pressure
Laminate
(digital output
encapsulated
in clear plastic
resin)
Resistant to shattering,
weathering, fading, and graffiti.
Excellent colors and resolution.
Warranties come anywhere
from 10-20 years.
Can be scratched or
damaged, but takes a lot of
effort. Panels .5” thick can
be mounted without
frames.
Anodized
Aluminum
(gold, bronze,
or silver-toned
etched metal)
Very durable, low maintenance,
impervious to harsh weather.
Attractive for recognition
plaques, and designs with line
drawings.
Can be scratched. Colors
are very limited (can’t
easily do photographs or
illustrations.) Can’t do really
large signs.
Very durable, impervious to
harsh weather. Can be very
compatible with outdoor
settings. Can incorporate color
and photographs.
Can be broken with heavy
objects. Engraved details
can collect dirt and debris
so require periodic
washing.
€900 - €1,500
($125 - $250 per
sq. ft.)
Outstanding color and
resolution. Often guaranteed for
25 years. Extremely weather
and vandal resistant. Requires
very little maintenance.
Can be chipped or
shattered by bullets, tire
irons, or other heavy
objects. Blowing sand can
mar the surface.
€1,500 for black
and white;
€2,500 for 4color; €3700 for
full color.
Vinyl
(usually 3M
products)
Engraved
Stone
Porcelain
Enamel
(ceramic
coating on
metal.)
€50
€165-200
(1/8” thick)
€200-300
(1/8” thick)
€300-400
(1/8” thick)
€450-600
(1/8” thick, color)
Table 4: Material Evaluation Board
A printed piece of paper is heat laminated
between two sheets of plastic that melt together
around the edges to seal the paper inside. Often
done with clear plastic on the front and colored
plastic on the back and nailed, stapled, screwed or
glued in place. Plastic laminated paper is a low cost
production and weather resistant, while it looks
good outdoors or indoors. It makes a simple paper
poster look much nicer and it is easy to replace. It
offers a good choice of finishes.
However plastic laminated paper has a
limited life, about 1-3 years when signs are placed
outdoors. Such signs can be scratched or cut and
will certainly fade and warp outdoors. They needs
support when mounting and their size is limited.
Thickness ranges from very thin and flexible to just
over 1/32 inch, however the paper itself is thick
enough to stand up on it's own. Finishes include
glossy, semi-matte, matte, satin or linen, slightly
pebbled.
Fig. 4: City of Belfort, Plastic Laminated Information
Sign
Attention
Interpretive Signage strives to attract visitor
attention by producing connections to meanings and
phenomena and is strongly related to persuasive
communication theory .
Significance
Interpretive Signage describes the sensitivity and
significance of each heritage resource and has to be
educational, accurate and narrative. Interpretive Signage
coordinates communication with the public by presenting
the mission and the values of tangible and intangible
resources. Interpretive content assists readers to develop an
awareness and understanding of local cultural heritage, to
recognize ecosystem and cultural values, to encourage
actions taken in relation to protection of natural and cultural
heritage.
Experiences
The task here it to explore the specific conditions
required to creating quality experiences for non-captive
audiences in leisure settings.
Proceesing knowledge and Understanding
Specifically prerequisites and conditions under
which successful encoding of visitor relevant messages
takes place have been exmained. By exploring the dynamics
of the human cognitive architecture and the relationships
between working and long term memory we define the
implications for managing cognitive loads in recreational
learning environments.
Fig. 5: SEE TCP SAGITTARIUS
Draftig the Introductory Panel
5.4 Mounting
There exist different types of of mountings: wood or metal lecterns, stone, brick or
concrete plinths, wooden or metal posts, roofed structures, existing walls. Only suitable
materials should be used, such as anodised aluminium and pressure treated wood. Lectern
and plinth mounted panels should be at about waist height and inclined at an angle. Panel
should be fixed between waist and shoulder height, so as to enable better visibility and direct
access for adults. Panels intended to address children must be significantly lower.
Fig. 6: Mounting Structure at the Entrance of the
Archaeological Site in Ancient Skillountia
Source D. Papathanasiou-Zuhrt, 2007
The panel structure is badly
mounted and suffers corrosion.
In addition it exceeds the
median visitor height (1, 65
meters)
6 PRAXISVALIDATEDGUIDELINESFORTHEROVINGMUSEUM
Diverse applications implemented in 20011 have produced a series of guidelines:
Many of these guidelines are applicable to other interpretive media such as booklets and
brochures as well, however the mistakes in panels in outdoor trails are much more important
than the printed ones.
 Captions for graphics can be used to meet learning objectives and capture the theme;
some consumers look only at graphics so the graphic and its caption should be a learning
opportunity on its own. In general, signs should contain 1/3 graphics, 1/3 text, and 1/3
blank space.
 Margins on text should be flush on the left side and ragged on the right.
A mounting
height of 76.2 centimetres with a 30 to 45 degree angle toward the viewers will be
accessible to most consumers. The front edge height of low profile exhibits should be 32”.
 The titles of a sign or brochure should be a statement of a theme. For example, “Salvaging
Blowdown – A Treemendous Renewable Resource” sets the stage for talking about how
trees are a renewable resource.
 It is much better to use a sans, slab, or simple serif typeface, upper and lower case, with a
minimum 18-point type size on signs. Titles: 72 – 60 point, Subtitles: 48 – 40 point, Body
Text – 24 point, Captions: 18 point. These sizes are suggested for the visually impaired by
TRANSINTERPRET II.
 To reduce the need to maintain and replace sign within the framework of interpretive
applications may consider using numbered signs keyed to an accompanying
interpretative brochure that can be updated inexpensively in the outdoor conditions. Trail
Brochures can effectively interpret the quality and extent of an area’s cultural
development, ecology or of its natural life forms, geology, hydrology, forces, and
elements.
Resources located on the trail can be interpreted through brochure
descriptions keyed to numbered posts or to recognisable landmarks. Audio versions of
brochure text, trail sign panels, consumer-activated message repeaters, or by staff. Self
guided paths have the benefit of serving large numbers of users at their own pace
without the need for continual staff attendance. Providing signage or printed guides in
Braille is encouraged, but they should not be labelled as “Braille Paths.” Some trails are
made accessible to people in wheelchairs are also convenient for consumers using baby
buggies, crutches, or walkers. Brochures do not have to be expensive to produce a trifold
A4 sheet can provide basic information.
In 2011 the hypothesis “Quality of cognitive accessibility affects quality of consumer
experience” was tested in Rhodes during the 1st Transnational Study Visit (directive,
informative and interoretiev signage) in the Medieval Town of Rhodes and Lindos. Mistakes
made during the preparation may be classified as follows:
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Texts were whether too much, or text too small. However, as nothing looks more
uninviting than big blocks of small letters on outdoor panels continuous texts have been
generally avoided. Brief text versions were adopted and layering of information included
different paragraphs, hierarchically distinct in separate text blocks, big clear letters,
captions, and subtitles.
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Poor balance of text and graphics. There have been cases where text or graphic unities
have overpowered one another resulting that the smaller part got lost and the larger part
got more emphasis than intended: Heritage Trail in Olympia.
Although many efforts have been made not to fill up all the space in some panels do exist
too much leads to a sign causing a negative impression to people before they even get
close enough to read the panel (The River Pramoritsa Heritage Trail).
Typographical errors and inaccuracies have affected some of the panels.
Wrong typefaces have been to a great extend avoided together with the use of uppercase
and italics in the sentences: Heritage Trail in Olympia.
Wrong size or orientation.
Don't use a huge sign in a small spot or a tiny sign where it needs to be noticed from the
highway. Don't use a vertical sign when you're interpreting the view behind it.
Poor graphics or graphics that just decorate rather than interpret
Wrong mount. Galvanized steel in a forest setting? Logs along a paved, urban trail?
Somehow lesser boarder than required demonstrates panels in the heritage trail of the
Aetolian Confederacy.
There are no mistakes at all in regarding to identifications of agencies and funding
sources.
Signage generally refers to one or more panels on which a resource is interpreted
through text, photographs, illustrations and/or three-dimensional components. Such signs are
mounted on displays that physically anchor them to a specific site. Designing quality
interpretation is fundamental to the on-going success of consumer attractions and
experiences. Signs and notices play an invaluable public relations role in park/path design by
identifying the feature/path, giving directions, clarifying rules of safe usage and providing
both basic and unique information relating to the path. In doing so signs provide the means
of giving the path users the full benefit of the experience of traversing the path, by allowing
them to geographically orient themselves, by protecting their safety, by enhancing their
enjoyment of the environment, by providing them with an understanding of the local history
and binfluencing their perceptions of the landscape.
Like all forms of communication, interpretation relies on a two-way flow of
information. Thus, interpreters need to build on the experiences, knowledge and interests of
their expected audiences. While face-to-face interpretation can be tailored to meet the
interests and questions of individual consumers 'on the spot', interpretive signage is relatively
inflexible. It does not allow the audience to provide immediate feedback or ask questions, and
consequently, needs to be much more exact than other types of interpretation. The best way
to ensure the interpretive sign is effective is to view the attraction/exhibit from a consumers'
viewpoint and ask:
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"What would we want to know about if we were visiting this?"
"What questions would our consumers ask us if they could?"
"What will our consumers already know, and how can we build on this?"
The answers should form the cornerstone for the design of the interpretive signage.
The signage type chosen for the Archeological Site of the City of Abdera in 2004. It provides
for site information cognitively accessible only to experts. In addition the panels are dressed
with heavy metal armor, which under 43 degrees Celsius in the summer time it is impossible
to touch the structure without being injured. In 2013 the same information style structures
have been re-selected by the site managing authorities
Fig 7: Archaeological Site of Abdera, Exhibit Panels
Fig. 8: Tourism Signposting Lindos Medieval Settlement
Propelry designed interpretive signs are constructed as follows:
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The title states the theme of the sign.
The subtitle (if there is one) further elaborates on the title.
The text explains things, a few short sentences at a time.
The graphics add to the story and don't just decorate the sign
A good interpretive sign demonstrate always:
GUIDELINES FOR INTERPRETIVE PANELS
 The title states the theme of the sign.
 The subtitle (if there is one) further elaborates on the title
 The text explains things, a few short sentences at a time.
 The graphics add to the story and don't just decorate the sign
Table 5: Guidelines for Interpretive Panels
The first rule of attracting visual attention is to ensure signs are placed where they will
be seen. To do this, you will need to have some understanding of how consumers move
through your attraction. Observations in heritage settings have revealed that the majority of
consumers turn left when they enter exhibition areas and progress through exhibits from left
to right. Regardless of which way they turn, however, it seems consumers are most likely to
stop at signs and displays that are close to the centre of their line of vision, a decision dictated
by the natural course of the eye-scan path movement. Thus, placing a sign perpendicular to a
consumer's line of approach is a better option than placing a sign parallel to consumer
pathways. Observations in heritage settings have revealed that consumers tend to ignore
signs place parallel to pathways. In the Palace of the Grand Master’s in Rhodes Old City,
warnings signs aiming to warn consumers not to tread on the mosaics placed on the walls
away from the objects to be protected and outside of the eye-scan path movement results
rather that consumers walk on the late 4th century mosaics:
Fig. 9: Grand Master’s Palace, Rhodes Medieval Town
One exception to this is when such a sign may interfere with their view of the exhibit or
attraction. Indeed, in some places (eg. scenic lookouts) it may be intrusive to place a sign in
the centre of the view, particularly if the vista is one that consumers might like to contemplate
or photograph. In these situations, signs should be placed within easy viewing distance and
the information clearly matched to the feature/s being described.
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It is difficult to read signs with bright sunlight behind them - check whether outdoor trails
are best walked clockwise or anti-clockwise and whether this varies during the day.
Signs in bright light are easiest to read if they have light coloured lettering on dark
light backgrounds.
Be careful printing text on transparent surfaces. If the indoor lighting creates shadows the
text will be virtually impossible to read.
Central placement of signs and labels can significantly increase the amount of time
consumers spend looking at displays and attractions.
The first rule of attracting consumer attention is to ensure signs are placed where
visibility is ensured as regardless of which way they turn, consumers are most likely to stop at
signs close to the centre of their line of vision (Baillie, 1996; Botterill and Crompton 1996). It is
thus suggested to place a sign perpendicular to a consumer's line of approach than placing it
parallel to consumer pathways, unless it interferes with their view of the exhibit or attraction.
In places like archaeological sites and historic city centers, scenic lookouts and byways is may
be intrusive to place a sign in the centre of the view, particularly if the vista is one that
consumers might like to contemplate or photograph and/or the aesthetic and the historic
character of the site is offended. In such situations, signs should be placed within easy viewing
distance. Experience from onsite research can be summarized as follows:
During the planning phase the following parameters have been thoroughly
considered:
 Required reviews, approvals and controls for the onsite production of interpretive sign
 Ensuring that signs fit the interpretive plan.
 Figure out if the sign needs site work to go with it (bench, parking, trail, toilet?) and do a
site plan first if it does
 Decide how to present theme and message
 Decide on the material and mounting
 Inspect implemented panels regularly
Like all forms of communication, the danger of audiences misunderstanding the
message is very real. The importance of carefully checking signs for double meanings,
culturally specific explanations, confusing sentences and unclear meanings cannot be
overstated.
This is particularly important when designing warning signs, as
misunderstandings may lead to severe injury and even death. It is critical that all warnings are
clearly stated, and that they take into account the likely experiences and knowledge of
prospective readers. That is, while locals may be very aware of potential dangers posed by
wild animals, weather conditions, environmental hazards and so on, consumers may have no
knowledge or experience of these. Thus, the function of warning signs is to be both
informative and preventative.
Outdoor interpretation takes place in a wide variety of locations but it is generally
site-based i.e. it is located where there is something of interest to interpret. Places where
interpretative signage shall be considered include national parks and natural areas, historic
sites, cemeteries, water supply installations such as dam walls and storage and zoos.
The most commonly used media include path head display signs, feature-based
interpretative signs, self guided brochures, sometimes linked to numbered stops or the
feature-based signs, and various forms of face-to-face interpretation including guides and
costumed first or third person interpreting /shows/re-enactments, common in the historic
town or pioneer village. Audio-cassettes have been developed in a few places but their use
is more common in indoor venues such as museums. Push button audio description points
could also be considered by wealthier organisations in busy locations, where subject matter
needs to change regularly at short intervals, where alternate languages are needed. These
should be able to link up with hearing aids with a ‘T’ connection.
Signs may be merely informative, some are directed at behaviour and others are
genuinely interpretative in the sense of attempting to expand and integrate the consumers
understanding of what they are seeing. This can be achieved by employing a variety of
interpretative techniques, such as investigative challenge, 3D effects to feel or, in rare
situations usually indoor, moving parts, smells and sounds.
The application or lack of it, of consumer research and evaluation in outdoor
interpretation simply reflects the general lack of planning of and for interpretation in parks
and nature reserves. Outdoors people are generally presented with a location with little or
no informational or educational input. Provision of information is a ‘value added’ method of
enriching consumer experience and encouraging return visits. Path and park managers tend
to evaluate and invest in more obvious revenue generating mechanisms such as a café or
boating lake. The fact that providing information enriches the consumer’s experience and
the increased chance of a return visit is missed.
Interpretative signage is increasingly common at outdoor sites but it is a relatively
limited and poorly understood media form.The general lack of planning of interpretation
means that development and installation of interpretative signage in outdoor venues tends
to be a series of unconnected events with little integration on the one site, let alone
between sites within the same region. Front-end and formative evaluation may be more
than running the drafts by some colleagues. Given the outdoor conditions and the everpresent threat of vandalism, signs are then designed to last, so that replacement costs are
high. This leads to an install and forget mentality –not only are there no funds for remedial
or re-evaluation, but what could we do with the results anyway?
Outdoor locations vary enormously not only in their ambience or the experience
provided but in their spatial characteristics. The intimate spaces of a forest walk where signs
may be overgrown or dimly lighted are quite different to large open moorland spaces where
signs have to be larger simply to be even noticed. Managers need to evaluate issues of sign
size, design, content & text length and illustrations in relation to these local characteristics,
as well as to the frequency of signs related to the length of the walk or features of the site.
Interpretive planners should not rely on one source or one group when designing sign and
brochure content. While for example your group is enthusiastic about restoring a canal and
you wish to share your enthusiasm the route may run through and area of special
ecological, scientific or historical interest. Providing information about these features can
enhance consumer experience and attract people who might otherwise not visit the Project
assets.
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What would we want to know about if we were visiting this? What questions would our
consumers ask us if they could?
What will our consumers already know, and how can we build on this?
Get outside opinions, do not rely on your internal group members. They are likely to have
similar opinions and perspectives, this will not always ensure that appropriate and
understandable information is provided.
Keep maps simple. Don’t get bogged down by precision.
Design for the mind’s eye to show only main path features, directions and intersections
warn of hazards and less accessible routes
include anecdotal information from long term residents, this provides an intimate
feeling for the site and enhances local opinion.
Inventory best sites for interpretative signs
Develop a brochure keyed to site locations along path networks
Encouraging/Engaging the public rather than laying strict rules and regulations will be
more effective
Educate to explain management activities and help build support for your site
Co-ordinate the local Access Forum to develop signage that uses similar symbols and
contains similar design themes and images for similar meanings.
use nationally/internationally standard symbols and signs where these exist.
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Co-ordinate with local and national area signage design. Local Access Forums could lead
the way by producing a standard for local signage.
Retain natural character by limiting signage and displays
Be aware of locating signs in tactful places
Use natural materials in construction, use colours which match natural tones of
vegetation, soils and rocks (always remaining aware of the need for people
to be able to identify the sign against it’s background)
Locate on periphery of landscape features where appropriate (e.g. on edge of meadow,
not in middle)
do not place them where they could cause congestion along routes.
Grouping of interpretative signs together, especially at path heads, rest areas, and path
facility locations. Bulletin boards or kiosks work well for this. At the start of a path into
remote country, where users need to be aware of the level of experience and equipment
required.
Maintaining adequate distance between signs to allow users time to read and respond to
the differing messages.
Where hazards may not be obvious, such as gaps in bridge planking where bicycle or
wheelchair tyres could be caught
In any situation where consumer expectations about the safety of an activity may not
match reality (for example in camping areas where tree limbs may fall without warning),
or, where incoming tides may cause a rapid change in water levels.
Legibility distances are of no use if the sign is obscured.
Signs should be placed where obstacles such as vegetation, parked cars or buildings will
not block the sign from view.
Use sign construction more resistant to vandalism
Locate signs in less vandalism prone areas (away from unsupervised path heads) cattle
can also be a problem using signs to scratch their itches and knocking the sign over.
Select sites with this in mind.
use materials which are easily cleaned and repaired.
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Once the sign has been designed it should be placed in a position that optimises the
chance of it being noticed and acted upon. For example, in tourism settings involving
animals, warning signs should be placed where consumers are most likely to look (paths,
picnic areas and viewing platforms)
warnings rarely work if consumers think the required behaviour is difficult, inconvenient,
expensive or when the risk of injury seems remote. To encourage
responsible behaviour managers should provide
facilities that make it easy for consumers to adopt the behaviour (e.g. bins for food
scraps);
information that persuades consumers that they are personally at risk;
evidence that adopting the required behaviour reduces the risk.
path route which encourage users to stay with the path rather than taking short cuts.
During the in situ experience the following checklist has been evolved:
INTERPRETIVE PANELS
1.
2.
3.
4.
1.
2.
3.
4.
ADVANTAGES
be utilized indoors or outdoors
Provide continuous information at all hours when used outside
Good at catching people’s attention
Excellent for marking specific spots of interest along a route
DISADVANTAGES
Can be expensive to design, install and maintain
Can Subject to vandalism and/or environmental deterioration
Limited space for conveying a message
Require adequate pullovers for vehicles to stop
Table 80: Interpretive Panel Design
The main benefits of providing interpretation for consumers are:
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Interpretation helps to meet the increasing demand for more educational and informative
consumer experiences.
Interpretation provides interesting and memorable experiences that ensure consumer
satisfaction, positive word-of-mouth advertising and repeat visits.
Interpretation encourages consumers to care about the places they visit.
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Interpretation helps minimise environmental and cultural damage by explaining the
impacts of various behaviours and suggesting appropriate alternatives.
Interpretation can act as a substitute experience for
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places that are very fragile and/or difficult to visit (e.g. caves, wetlnds, sacred
temples), or
topics that are impossible to experience directly (e.g. disease, medieval history).
6.1 GUIDELINESFORPANELSANDSIGNS
1. It is difficult to read signs with bright sunlight behind them.
2. Signs in bright light are easiest to read if they have light colored lettering on dark
light backgrounds; Printed text on transparent surfaces is impossible to read if the indoor
lighting creates shadows
3. Central placement of signs and labels can significantly increase the amount of time
consumers spend looking at displays and attractions
4. Lights shall be positioned so that minimise reflection from signage, displays and
protective glass shields;
5. Panel demonstrate good colour contrasts and large texts
6.2 GUIDELINESFOROBJECTSDISPLAYSANDEXHIBITS
1. Displays shall be so consumers gradually move from light to dark areas
2. Clear instructions shall be written for interactive displays
3. Displays and exhibits that are three dimensional, tactile and easy to clean are enriching
the experience
4. Exhibits shall take into account limited ability to bend down or to manipulate interactive
displays;
5. Objects are mounted against simple backgrounds and do not have sharp edges or places
where fingers can become trapped
6. Elements that stimulate the five senses are enriching the experience
6.3 GUIDELINESFORSEATING
1. Seating shall be particularly at interactive exhibits, viewing platforms and areas where
considerable time may required to read signage or view exhibits
2. At intervals along connecting routes combining seating with signage provides
engagement while resting.
6.4 GUIDELINESFORSOUND
1.
2.
3.
4.
5.
6.
Information presented audibly is also presented visually
text captioning of any audio-visual displays;
The sound from separate exhibits do not overlap or interfere with each other.
Displays which rely on sound to convey meaning are accompanied by additional graphics
Auditory information such as portable sound cassettes or 'in situ' audio presentations.
Provision of hearing loops or other hearing amplification devices (this input should be
detailed enough to provide visually impaired consumers with a detailed 'mental image' of
the items or concepts being exhibited)
7. Amplified sounds related to the exhibit are experience enriching and low cost solutionsi
Families spend longer at exhibits where there is something to do, particularly if this
requires interaction between group members. If possible, interpretation should
encourage conversation, discussion and play. Elements that particularly appeal to family
groups include:
 opportunities for physical exploration and discovery and individual reflection
 activities that stimulate intellectual reasoning and development and opportunities for
problem solving
 activities that engage all family and encourage family group interaction
 interpretation based on a range of sensory experiences a variety of colour, texture
and movement.
Many displays are too high and too complex for children, and parents have to lift the
young ones to view displays. that in some cases are too difficult to explain! Suggestions for
children in regards to contents of panels include problem solving (quizzes, puzzles, computer
simulations), stories and life histories, role plays and simulations, games and activities
requiring physical skills and coordination, art and craft work and applying ideas/knowledge
to new situations. It is usually difficult to place panels at 'child-friendly' height. However on
large boards information likely to attract children is on the lower half of the board. Viewing
platforms with solid bases may help attract children’s attention.
Display boxes in the floor are particularly good for displaying models of grounddwelling creatures, relief maps, archaeological ruins etc. As children need to move more,
agility, balance and co-ordination activities can be incorporated into or alongside paths by
building low level balance beams, swinging bridges, climbing frames and flying foxes.
Treasure hunting with hidden carvings, numbers, animal statues, fake jewels etc. along the
route for children to search for is a solid basis for success. Ensure that treasure hunting is
clearly pictured at the beginning of the trail/route so that adults as well as children know
about options offered. Varied activities such as dance, drama, mime, drawing, craft are always
welcome. Relevant illustrations to improve comprehension and reinforce messages shall
consider the cognitive abilities for each age group separately.
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Design elements that enhance children's enjoyment and stimulate learning include:
tactile displays at child height;
models/exhibits with exaggerated elements (eg. giant insects; rabbit warrens that children
can crawl into);
models of display objects for children to handle (ensure these are robust and safe for
small children);
information hidden behind flaps/sliding panels;
numbers/letters that children have to search for to answer questions or puzzles;
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quizzes, riddles, games;
'hidden' objects within displays;
audio visual displays;
exhibits with elements that respond to children's actions (eg. noises when buttons are
pressed; figures that 'pop up' when children stand on a particular spot);
humour, satire and cartoons;
displays that portray popular television/film/book characters; and
formats that 'tap into' the mindset of younger consumers (eg. traditional TV game shows).
Fig. 10: Olympia, Museum
Indoor Display Panels with restrained visibility and high cognitive loads
6.5 GuidelinesforIndividualswithdisabilities
Individuals with disabilities range from those with slight sight and hear disorders to
those temporarily on crutches or permanently confined to wheelchairs, or intellectually
impaired. The main difficulties physical disability caused is related to physical and cognitive
access to the buildings and locations, phenomena and exhibits. To provide easy access for
consumers with restricted mobility including parents with prams and elderly consumers, sites
and heritage locations should have:
 Clearly signposted ramps and lifts Paths and access corridors wide enough to
accommodate wheelchairs and prams
 Level entrances with any changes in gradients clearly delineated by a contrast in colour
 Non-slippery floor coverings, handrails and ramps
 Carpet that has a short, non-directional pile
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Signs, exhibits and interactive activities (including buttons, levers etc.) that are visible and
accessible from wheelchair height. This includes equipment linked to displays that require
consumers to speak into a specific area, listen at a specific site or view items from a
particular vantage point. Hint: Anything placed above 1015 mm will be difficult for seated
consumers to access.
As adults age, they experience mild to moderate declines in certain visual and
cognitive abilities. Many of the design features that cater for disabled consumers also help
older adults, though there are some requirements specific to this group. To offer older
audiences a enriched outdoor and/or indorr experience with panels, designers should not
ignore to:
 position lights to minimise reflection from signage, displays and protective glass shields;
 use double spaced, 12 to 14 point type for text;
 position displays so consumers gradually move from light to dark areas;
 provide seating, particularly at interactive exhibits, viewing platforms and areas where
considerable time may required to read signage or view exhibits;
 ensure exhibits take into account limited ability to bend down or to manipulate
interactive displays;
 write clear instructions for interactive displays;
 organise text into relatively short, discrete segments; and
 use relevant illustrations to improve comprehension and reinforce messages.
 displays and exhibits that are three dimensional, tactile and easy to clean;
 exhibits that have rounded edges;
 models and full-scale replicas of display items that can be handled;
 strong colour contrasts and large texts;
 easy access;
 objects that are mounted against simple backgrounds;
 no shadows on display items;
 a limited number of objects staggered from front to back;
 auditory information such as portable sound cassettes or 'in situ' audio presentations.
This input should be detailed enough to provide visually impaired consumers with a
detailed 'mental image' of the items or concepts being exhibited;
 amplified sounds related to the exhibit (eg. the "whuunh" sound of a working horse
breathing); and
 elements that stimulate other senses (eg. odours).
7 GUIDELINESFORFACILITATINGIMNFORMATION
PROCCESSINGANDUNDERSTANDING
The complexity of territorial transformation and the extension of local/global
relationship require a revision of planning methodologies and instruments, above all a
revision of knowledge and communication tools. Although at present time human brain
functions are not fully mapped, research-driven applications have tried to link causal
mechanisms of human cognitive architecture and instructional design in order to facilitate
higher cognitive results in a non-fully formative setting, being at the same time lesser timeconsuming for consumers in recreational settings. Design procedures are based on the
reduction of working memory load, reinforcing the association chain by provocative use of
schema construction and automation. The common research tool presupposes a limited
capacity working memory to deal with visual, auditory and verbal material as well as an almost
unlimited long-term memory, able to retain schemas (mental representations) that vary in
their degree of automation. Heritage presentation structured in this way will provide
consumers students with domain specific knowledge acquisition, especially designed on a
basis of hierarchical sequential segments in order to free the working memory from irrelevant
cognitive load, enabling new cognitive content to relate to prior knowledge, guaranteeing in
this way maximal consumer satisfaction in recreational settings.
Heritage and its accumulation over time – the history of its monuments, buildings,
streets, districts and residents – should be regarded as the core substance of the urban
Heritage Environment (historic places, towns and cities). This research wishes to promote
spaces for encounters and exchange that heritage assets grounded in their history,
architecture, plurality, and diversity become recreational learning resources. Partnerships are
needed to resolve problems arising from conflict between conservation and development to
elaborate appropriate strategies, policies and actions to mitigate threats. Results will also help
in addressing the need for interpretation skills training, documentation and mapping of the
Heritage. During 2011 and 20012 extensive consultations have taken place local authorities
on the development of guidelines for the interpretation of heritage adapted to protection of
the heritage utilizing verbal, visual and auditory means offered by human cognitive
architecture. The process is ongoing in 2013.
Trying to enhance consumer experiences in situ, interpretive applications developed,
follow the interpretive process model described in GOLDEN BOW, the Project’s e-Course. Each
application is supported by special features such as consideration of the human cognitive
architecture, design and delivers of information with tourism value, communication policies
for non-captive audiences and leisure time management in recreational learning
environments. Identified heritage assets have been organized in pure heritage classes, so as to
be signified and proved appropriate for tourism, if it is the case. The title if each interpretive
application reflects the specific heritage typology of the given area. Typologies are
methodological frameworks which contribute to sustainable cultural heritage consumption
mix and place mix. Typologies are also the basis for the development of a sustainable
Heritage strategy.
Applications developed manage information with tourism value by linking causal
mechanisms of human cognitive architecture and instructional design in order to facilitate
higher cognitive results in non- formative settings. Design and delivery of information with
tourism value facilitates perception of phenomena and rule with less effort in shorter time
periods. The purpose of any tourism signposting and signage is to inform consumers and
travellers of the key aspects of a regions tourism industry. They include a- natural, tangible
cultural feature signs erected to indicate the location of natural, cultural or historic features, bcommercial tourism facility signs erected to indicate the location of a commercial tourism
facility (accommodation, catering, shopping, transport, entertainment and infrastructure
possibilities). Information flows are concerned with and exterior environments, irrespectively
of the media’s nature, and aim to reduce the consumer’s needs to prepare for their visit, and
to provide them with information comfort during their stay time. Identified are two major
categories: directional which corresponds to tourist signposting and interpretive, which by
nature aims to attract the attention of non-captive audiences.
Design and delivery of information with tourism and recreation value in an consumer
centric manner enables effortless acquisition of novel items and concepts at heritage places
by providing access to the unknown through cognitively structured messages setting.
Cognitive structures support the development of verbal and non-verbal narrative tools in
order to facilitate content acquisition. Translating an expert’s technical account into an easy to
access, cognitively structured communication message that the audience can relate to, means,
to put contents into a format that attracts, interests and inspires consumers. Cognitive maps
bridge the discrepancy between novelty and familiarity allowing the Heritage Environment –
the novel entity within the travel experience- to be realized by consumers. Provocative,
attractive and coherent collocations make visit-worthy and significant heritage resources
accessible to a wider public. Research results address the the power of connections to create
sense by linking two or more, formerly separate entities into a meaningful way with one
another. Withing SAGITTARIUS interpretive presentation address 5 cognitive domains via
 Attention (28 Guidelines )
 Cognitive Chains (31 Guidelines)
 Comprehension (19 Guidelines)
 Decongestions of Working Memory (36 Guidelines)
 Activiation of Priort Knowledge (10 Guidelines)
7.1 PracticalGuidelinestofacilitateattention
1.1 All design elements of an interpretive shall fit into the overall design concept, as
otherwise the mental efforts required are too high to ensure long-term attention.
Different styles and designs within a concept results in higher mental fatigue and
disoriented consumers.
1.2 Bold and Italic type, and other means of emphasizing body text, should be used
sparingly, as they required higher attention levels.
1.3 Consumers' attention should be directed quickly to the significant features that can
be seen or perceived (at at trail stop, a heritage place, a museum collection and the
like).
1.4 Introductory panels has to be positioned and orientated towards approaching
consumers, in order to quickly capture the attentions of incoming flows
1.5 Non-linear exhibition design encourages explorative behavior as it provides for a
balance among extraneous and intrinsic cognitive loads, offering the opportunity to
realize the germane cognitive load (enable the learning process). In this way captured
attention may be maintained.
1.6 The majority of stops should be situated in the first half of a trail. At the beginning of
a trail, consumers are still fresh while towards the end they can become tired and can
suffer from information overload.
1.7 Too many stops in interpretive trails tire consumers both mentally and physically.
Mental fatigue leads to higher dropout rates and make consumers less receptive to
the interpretive product.
1.8 Written interpretation shall eliminate mental fatigue and follow information layering
according to significance of contexts and chunking of information up to 5 novel
structures, so as to free the working memory of parallel processing.
1.8.1 Texts have been proofread and contain no spelling mistakes.
1.8.2 Titles draw attention and provoke interest.
1.8.3 Long body text blocks are structured by sub-headings.
1.8.4 Longer bodies of text start with an interesting introduction ("hook").
1.8.5 Important elements of text (e.g. titles, headings) shall be visually emphasized.
1.8.6 Include a highlight in the final paragraph of a text passage.
1.8.7 Closing the text with a brief and memorable statement reactivates attention.
1.8.8 Combinations of text/image make reading more vivid and interesting, while a
higher attention rate is achieved across the learning space.
1.8.9 Providing a surprising turn of events, a new insight, a humorous punch-line at
the end revitalizes the recipients’ attention
1.8.10 Panels and labels must be mounted at a height and an angle that allows
consumers to read the text easily and comfortably.
2.1 Consumers of interpretive facilities are non-captive audiences. They pay attention
only if what is on offer is interesting and attractive to them. A significant statement
about a heritage asset, object, natural phenomenon and the like is a good reason for
consumers to spend time at a stop.
2.2 The introduction must create the conceptual framework for the whole interpretation
in order to arouse the interest of consumers in the successive parts of the
interpretation.
2.3 The entrance of an exhibition attracts attention and allows orientation.
2.4 Visuals make presentations more interesting and memorable.
2.5 Address consumers directly or indirectly at text and/or oral level. Attention increases
considerably when consumers feel addressed or when they ask themselves if they are
being addressed or not.
2.6 The choice of stops in interpretive trails shall be based on objects and stories that
may arouse consumer attention.
2.7 In the case of children, being addressed by a fairy-tale character, or even an animal,
can help to catch their attention and maintain their interest. The approach, suitably
devised, can also work for adults.
2.8 Presented objects support the message and can help catching the attention. Showing
or using an object should lead to a clear conclusion. On guided walks, present
suitable original objects, models, photographs or drawings. Consumers who cannot
see the presented object can't follow the presentation and become frustrated.
2.9 Items can help to make an interpretive presentation more dynamic: mobile objects,
tools that can be demonstrated, drawings that can be made into collages,
comparative photographs etc. and thus keep up the audiences’ attention.
2.10
Elements which don’t belong to the exhibition but which are visible draw the
consumers attention. The visual field of a viewer in a small room is filled with more
vertical areas as horizontal areas. It could be helpful to make a sketch of each wall and
fix the position of such elements previously. Tangible traces of previous exhibitions
have to be removed.
7.2 PracticalGuidlinestofacilitatecognitivechains
1.1 Young children associate primarily to the stimulus’ perceived contexts, adults to its
abstract thematic contexts: interpretation contexts have to provide for both
environments
1.2 Humans learn chunks or associations between adjacent items in sequences, therefore
interpretive contexts have to provide for layered information serving the visual and
the cognitive requirements of perception.
1.3 The strength of association between elements in semantic memory plays a critical role
in determining specific content effects on reasoning, as the latter is affected by
changes in the content of premises that reflect the structure and organization of
knowledge in long term memory. Interpretive contents shall be consistent with the
internal structure of semantic memory.
1.4 Interpretation usually has emotional objectives - it should make consumers feel as
well as think. This can be achieved by using references to intangible and universal
concepts and ideas that have a strong emotional component. These include
sentiments such as love, hate, trust and mistrust, fear, joy etc. This way is ensured the
creation of an association chain, which becomes a fulfilling experience for cultural
consumers
2.1 Metaphoric nouns affect sentence comprehension to a greater extent than do
metaphoric verbs. However there exists a comprehension deficit for anaphoric noun
metaphors even when they are preceded by context.
2.2 An analogy with a known (source) domain is a powerful device for elucidating causal
relations in a novel (target) domain: Russia is 1882 times bigger than Greece).
2.3 Schema induction is maximized when the schemas are made salient and the cognitive
system is not overloaded. Interpretive contents shall enable prominent schema
representations.
2.4 Metaphors take longer to process than the literal meanings therefore an inductive
context can shorten the processing time.
3.1 A red thread throughout the interpretive product shall link individual elements.
3.2 Props should be self-explanatory. When a new prop is shown, the audience assumes
that it relates to the presentation. When using more than one prop at the same time
or when comparing two or more props make sure that mental linkages are ensured
and as a result everyone knows what it is meant.
3.3 Objects and props that are presented have to be visible for everyone.
3.4 All interpretation has to relate to the experience of consumers: it shall be relevant and
meaningful to audiences addressed. Empirical research shows that interpretation to
which people cannot relate will seldom arouse interest and therefore will not be
internalised.
3.5 Written and oral interpretation shall foster the creation of connections for consumers
3.5.1
A linking statement, question, riddle or task can create a helpful transition
from one stop to the next.
3.5.2
A teasing link arouses curiosity and can help consumers to anticipate the next
step in the story.
3.5.3
For panels and leaflets, links have to be very brief because there is frequently
little space.
3.5.4
The principal message at a stop must relate to the key feature at the location
and reveal its significance.
3.5.5
A person or character can also contribute to the narrative structure that links
the stops
3.5.6
Use of analogies is usually a good remedy as it frees working memory from
inutile processing. If an analogy was used throughout the interpretation it
should also be rounded off.
3.6 Consumers should be encouraged to participate actively. However, as adults do not
like to be treated like children, it is essential to consider the best ways of getting them
involved
3.6.1
Involve the audience by posing questions.
3.6.2
Hands-on tasks for consumers.
3.6.3
Stimulate consumers to discover something.
3.6.4
Integrate interactive features.
3.6.5
Offer sensory experiences.
7.3 PracticalGuidelinestofacilitatecomprehension
1.1 Each interpretive unit should have only one central message
1.2 The number of interpretive units should not make unacceptable demands on
consumers.
1.3 Visual interferences or deflections like gibs, light switches, security facilities on walls
etc shall be avoided.
1.4 Audio-visual media are well comprehensible and animate consumers to think actively.
1.5 Users of non-interactive video presentations need substantially more time than users
of the interactive videos to acquire the necessary skills for tying the knots.
1.6 Interactive media that ask for solutions should address the family as a whole.
1.7 Interactives should automatically reset to initial state or be reset by staff as soon as
consumers leave them.
1.8 Computer-based exhibits are comprehensible and easy to operate even for unskilled
consumers.
1.9 Audio-visual media should only take a short time.
1.10
Consumer motivation and interest to listen or try out is limited - especially if
there is much more to discover. Apart from that other consumers wish to use the
audio-visual stop. If they have to wait for someone who is occupying a stop for a long
time, dissatisfaction will arise. Time limits may prevent consumer congestion.
1.11
Duration times of different audio-visual media types:
1.11.1 3-4 minutes for a single exhibit
1.11.2 10- 15 minutes in separate projection rooms.
1.12
Time displays counting down to the end or time displays to announce next
presentation start inform consumers who have to wait.
1.13
Avoid monotonously descriptions of what is being seen on screen which can
see consumers by themselves. Ask questions or stress some special details which
can be overlooking.
1.14
Music and sound not used without thinking or as a filling component. They
intensify the message and fits to the pictures.
1.15
The screenplay follows the conceptual principles of interpretation.
1.16
Also historic films or films which were not shot specific for the exhibition have
to be interpreted.
1.17
Language (written, spoken) should be to the point and as expressive and
concrete as possible.
1.18
A panel informs about length, start-time etc. and arouses interest.
1.19
Some consumers need to be encouraged in order to start dealing with
interactives.
1.20
Unclear formulations may cause misunderstandings and consumers might
think that the installation does not work. This causes disappointed and dissatisfied
consumers.
1.21
Exhibit labels for and inscriptions on interactive installations are encouraging,
provide clear instructions, and give hints on what should be observed.
1.22
An adequate number of headphones at an audio point helps to avoid
congestions. Take consumer numbers at peak times and the duration of the clips
into account when determined the adequate number of parallel systems.
1.23
A summary of what is shown in the audio-visual media is available without
seeing the film/presentation. Consumers who don't want to watch a film should
have the possibility to get the main messages.
1.24
The use of illustrative devices to aid comprehension of abstract concepts,
unfamiliar processes or facts.
7.4 PracticalGuidelinestodecongestworkingmemory
1.1 Every interpretive unit should be built upon one central message in order to provide
for a balance among intrinsic, extraneous and germane cognitive loads.
1.2 All representations that exceed processing capacity stay unresolved, e.g. are not
acquired.
1.3 For people to remember, interpretation must be meaningful, i.e. it must relate to their
personal knowledge, experiences and/or values.
1.4 Active involvement in finding a solution intensifies understanding and the ability to
memorize the message.
1.5 Exhibit labels for and inscriptions on interactive installations shall be encouraging,
provide clear instructions, and give hints on what should be observed.
1.6 Left side ranging of text is more readable than justification to both margins.
1.7 Texts have to be readable without problems at normal reading distance.
1.8 Reflections and dazzling effects deteriorate readability
1.9 Texts shall be proofread and shall contain no spelling or syntactic mistakes.
2.1 The number of interpretive units should not make unacceptable demands on the
cognitive capacity
2.2 Long body text blocks are structured by sub-headings.
2.3 Lines that are too long (relating to the characters) are difficult to read, as to much
punctuation is needed to separate them.
2.4 Lines that are too short without subject-verb-object development disturb the reading
flow.
2.5 Do not exceed 60 characters (including word spaces) in any line of text, as it may
prolong time required for the working memory to process contents.
2.6 Interpretive panels should not contain more than 200 words
2.7 The use of too many adverbs and adjectives require substantially more processing
time and affect reasoning negatively.Adjectives and adverbs can often be replaced by
stronger verbs and better-chosen nouns.
2.8 Avoid hyphenation wherever possible, as too much chunking is tiring the working
memory.
2.9 Avoid phrases and sentences based on nouns and noun phrases as verbs provide for
better orientation
2.10
Use recurrent elements to strengthen the continuity of the storyline
2.11
Use the passive voice sparingly and depending on the content.
2.12
Each interpretive unit should have only one central message.
2.13
Each interpretive unit should be per se understood without assuming
information or explanation presented by previous units. Expectations must be met at
the next stop, otherwise consumers will be dissatisfied. The announced message is
interesting the whole time and affords a surprising punch line. For self guided tours
this would be possible if consumers only go in one direction.
2.14
The central message of each interpretive unit stop should be expressed as a
complete sentence
2.15
The relationship between the overall interpretive topic and the central
message of each interpretive unit must be made clear.
2.16
Explanation of the central message in the introduction to support the
conceptual framework, as preparation for the remainder of the interpretation.
2.17
Providing hints towards the central message in the introduction to support
the conceptual framework, but in effect posing questions and raising curiosity in
consumers. This prepares the way for more powerful revelations throughout the rest
of the interpretation.
2.18
No more than five main ideas should support the central message.Consumers
should not be overloaded with too much content at any one stop as they will become
weary and lose interest.
2.19
The introduction describes the characteristics of the interpretive product.
2.20
The introduction must create the conceptual framework for the whole
interpretation in order to arouse the interest of consumers in the successive parts of
the interpretation.
2.21
The introduction shall create the conceptual framework for the whole
interpretation in order to arouse the interest of consumers in the successive parts of
the interpretation.
2.22
The final part of the interpretation shall round off the central message and
the principal supporting ideas
2.23
Include a highlight in the final paragraph of a text passage reactivates the
recipient’s attentions.
2.24
The concluding part of the interpretation should provide further information
and orientation, should round off the central message and the principal supporting
ideas. An interpretive unit without a conclusion leaves consumers unsatisfied and
discourages problem solving.
3.1 Avoid phrases and sentences based on nouns and noun phrases. Using noun phrases
makes text sound bureaucratic or scientific and creates an impression of aloofness,
while verbs provide for more vivid descriptions.
3.2 Actions, processes and developments should be expressed by using active verbs.
3.3 Do not use too many adjectives and adverbs. Overuse of adverbs and adjectives leads
to more complicated text and a flowery style.
7.5 PracticalGuidelinestoactivatepriorknowledge
1. Children and older audiences can't understand certain abstraction or technical tricks.
Techniques like "flashbacks" or symbolic representations shall be avoided.
The interpretive product should be devised to work across the generations in order to
capture the attention of the whole family.Finding solutions together requires all the
family to talk and work as a group. If questions are directed only to children, this may
cause stress associated with competitiveness and failure to achieve good results may
result in distress and discourage further participation. Achieving results will help the
family to remember the principal message at the stop.
2. Each interpretive unit should be comprehensible on its own without assuming
information or explanation that was presented at other units, trail stops and/or
locations.
3. Expert language and technical terms that will be unfamiliar to target audiences shall
be avoided, as they always create high cognitive demands and slow down working
memory processes. The use of technical terms alienates people who are not familiar
with the topic. Even if explained, technical terms may interrupt the flow of the
storyline.
4. If the technical term is essential for the interpretation, and there is no non-technical
equivalent, then the term should be explained.
5. Features, plants or animals presented might not be known to consumers, so provide
information on how to recognize and distinguish them from others.
6. Consumers are disappointed if they cannot identify what is being described. The text
helps to identify the plant that is described. A picture helps consumers to appreciate
the plant when it is not in flower.
7. It should always be clear to consumers from whose perspective the interpretation is
presented.
8. Variables such as age, educational and cultural background, occupation, lifestyle,
personal interests and attitudes, and circumstances of the visit etc play a role here.
9. It is important to understand who is interested in what subjects, and also why they are
interested in those subjects.
10.Known Structures (translate the language of the experts)
8 CATCHYELEMENTS
Placement alone will not attract users - content and appearance are also critical. Research
indicates that the following characteristics of signs and displays attract attention:


Extreme things (eg. displays/signs that have very large, loud or colourful elements);
Movement (eg. displays/signs with interactive sliding panels/ flaps to lift/ buttons to
press);
Fig. 11: Lake Kastoria Heritage Trail, Catchy Elements
All information about the ecosystem is presented borrowing the examples of the
coffe-shop and the bar




Hanging Out at the Bar; The Wetland at the Lake
Drinks are on me! The Lake is offering many food opportunities
Music: The Singing of the Birds
The Regulars, birds and other fauna types that are inhabiting the ecosystem

Passers, other fauna types are are crossing through the ecosystem
Fig. 12: Berlin, Mitte. Gas Company Ad. Catchy Elements
The Legend says: In the spring everything grows, but our prices.
Feel the Energy
9 MAINTENANCE
Effective maintenance of signage is essential to ensure the ongoing quality of site
usage. Signage can lose its effectiveness through normal weathering, accidental and animal
damage, vandalism or being obscured by foliage. Local operators should have a
maintenance program in place which should include regular site
inspections, management of the repair process and follow up inspections to
ensure that the identified work has been properly carried out. They should
ensure that sufficient funds for effective maintenance are included in the
annual budget. Periodic maintenance helps avoid major reconstruction.
Maintenance shall be scheduled in relation to the amount and extent of use
and also according to the exposure of climatic conditions. You also should
consider the safety or liability constraints of your users.
Thepanelis
uninvitingand
badly
maintained
withmissing
letters.
Asit
introduces
international
audiencesthe
mistake“200”
yearsRhodes,
isasignificant
one:
thehistoryof
Rhodesgoes
backto2.400
years
Maintenance on disability-accessible trails should include controlling
weeds, preventing excessive cracking, and protecting the surface against
erosion.
Fig. 13: Rhodes, Grand Master’s Palace.
Introductory Sign
Fig.14: Dead Sea Interpretive Panel, Jordan, the Dead Sea Interpretive Signage
Panel
The panel conveys an effective interpretive message without use of words. It is located at a
main entry point to the Dead Sea in the Hashemite Kingdom of Jordan and addresses
international audiences. However it is badly maintained.
Thispageisintentionallyleftblank
SEE TCP SAGITTARIUS
PRIORITY 4:
Development of Trasnational Synergies for Sustainable Growth Areas
AREA OF INTERVENTION 3:
Promote the use of cultural values for development
LEAD PARTNER: UNIVERSITY OF THE AEGEAN, GREECE
ERDP PP1: EFXEINI POLI- LOCAL AUTHORITIES NETWORK GREECE
ERDF PP2: MUNICIPALITIES UNION OF SINELLO, ITALY
ERDF PP3: MOUNTAIN COMMUNITY ALTO BASENT, ITALY
ERDF PP4: BULGARIAN CHAMBER OF COMMERCE AND INDUSTRY, BULGARIA
ERDF PP5: MUNICIPALITY OF DEVIN, BULGARIA
ERDF PP6: INSTITUTE FOR COMPREHENSIVE DEVELOPMENT SOLUTIONS, SLOVENIA
ERDF PP7: NATIONAL INSTITUTE FOR RESEARCH AND DEVELOPMENT IN TOURISM
ERDF PP8: INSTITUTE OF NATIONAL ECONOMY, ROMANIA
ERDF PP9: KÁROLY RÓBERT COLLEGE, HUNGARY
EUASP1: MINISTRY OF REGIONAL DEVELOPMENT AND TOURISM, ROMANIA
EUASP2: SOFIA DEVELOPMENT ASSOCIATION, BULGARIA
EUASP3: UNIVERSITY OF CHIETI PESCARA, ITALY
EUASP4: COMMISSION VI (OF THE REGIONAL COUNCIL OF ABRUZZO, ITALY
O1: SYNOTA, ANONYMOUS TRANSMUNICIPAL DEVELOPMENT AGENCY, GREECE
O2: PATRAS MUNICIPAL ENTERPRISE FOR PLANNING & DEVELOPMENT, GREECE
O3: EUROPEAN ATHNEAUM OF FLORAL ART, ITALY
O4: INSTITUTE OF ENTREPRENEURSHIP DEVELOPMENT, GREECE
IPA PARTNER: UNIVERSITY OF ZAGREB, CROATIA
10% PARTNER: DISTRICT COUNCIL OF SOROCA, MOLDOVA
This document refers to:
OUTPUT 1: PRODUCTION OF MATERIAS FOR THE TRANSNATIONAL HERITAGE TRAIL
ACTIVITY 7.1: The Collaborative Planning Process for the Design and Delivery of Place-Driven
Cultural Products and Services
WORK PACKAGE 7: HERITAINMENT: COMMUNICATE CULTURAL VALUES AND DELIVER THE
EXPERIENCE VIA THEMATIC TRAILS AND A ROVING MUSEUM 78 WP 7 HERITAINMENT | Act. 7.1: PRODUCTION OF MATERIALS

Common set of standards for implementing the Sagittarius Roving

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