Garden Museum Development

Appointment of an Activity Planner for the Garden Museum Development

1.0 INTRODUCTION

The Garden Museum wishes to appoint consultants to carry out the research and development necessary to produce a detailed Activity Plan as required by the Heritage Lottery Fund (HLF) for submission of a Second Round Heritage Grant application for the Garden Museum Development. The work will be carried out between April and July 2013.

1.1 Background

The Garden Museum celebrates the design, history and art of gardens and designed landscape, and their value to culture and society. The Museum prides itself on its recognised national role; it has been described a “one of London’s best small museums” (The Daily Telegraph) and as a “flourishing centre of excellence” (The Spectator) by the national press, and expects the new development to strengthen this position.

The museum building, permanent collection and gardens are open to the public 350 days per year. The Museum presents three original exhibitions per year as well as 30-50 informal learning events for an adult and community audience. A schools and community programme is divided between activity onsite and outreach with local partners. The museum has a successful shop and café, and venue hire (particularly wedding receptions) is an important revenue stream.

The Museum currently employs 11 staff, including the HLF Project Team, supported by casual staff and a team of 50 volunteers divided between Front of House (40) and the garden (10).

The Museum runs 3 traineeships including an Sustainability Traineeship (joint winner of the Museums + Galleries Award for Sustainability 2012) which aims to equip young people who are passionate about heritage and the environment with the knowledge, skills and advocacy required for a career in the Museum sector. The Museum also participates in the Strengthening Our Common Life Programme, which aims to increase workforce diversity by offering opportunities to individuals in sections of the populations currently under-represented in the heritage sector. A Horticultural Traineeship supports talented and promising gardeners and is funded by the National Gardens Scheme and a private donor.

In 2008, the Museum commissioned and completed a first intervention in order to create a dedicated exhibition gallery and education space. The winning solution, awarded Refurbishment of the Year by Building Design magazine, provided by Dow Jones Architects in a national competition for emerging architects, was a free standing pre-fabricated two-storey structure housing a

Activity Plan Brief Page 1 18/02/2013 temporary gallery on the ground floor, and a permanent collection gallery and education room for up to 14 people on the first floor.

The re-launch, with new permanent displays, an exhibition and events programme aimed at attracting wider audiences, and a new name (the museum was previously known as The Museum of Garden History) established the museum as a ‘true hub of the gardens world’ (The Telegraph)

In 2012, the Museum was granted first round funding from the Heritage Lottery Fund for the Garden Museum Development in June 2012. The Garden Museum Development will restore the church building, continue work in the interior of the building and deliver a significant new building within the Museum Garden.

1.2 Development Vision

The aims of the Garden Museum Development are as follows:

• To complete the restoration of the church and churchyard • To increase collections display space by 204% and storage by 181% • To create a Cabinet of Curiosities of objects from John Tradescant’s Ark, on loan from the Ashmolean Museum • To build in the garden an Education Room and area for children to plant • To relocate the café to the garden and increase seats from 36 to 80 • To improve visitor facilities, install services and heat the building • To repair the churchyard walls and gates • To open the medieval tower to the public and create a viewing platform on the roof

This Development also provides an opportunity to:

• Reconnect the Museum to its neighbourhood; from the foundation of the church in the 11 th century to its de-consecration in the 1960s it was a centre of community life; embed the Museum within the local community • Become the physical centre of a hub of charities (The Hub Partnership) dedicated to conservation, learning and research in historic gardens; the Garden History Society, Association of Garden Trusts, and Parks and Gardens UK, a database, propose to collaborate on national programmes, and to relocate their administrative headquarters to the Museum • Introduce modern visitor services • Strengthen income generation; the Museum is an independent charity with no core funding and relies too greatly upon year-to-year fundraising • To increase the total number of visits by 50% from 50,000 to 75,000

The Development will also allow the Museum to expand on its current vision for learning and outreach:

• To foster long term relationships with the local community • To offer seasonal learning activities • To model and promote sustainable good practice • To be experiential with ‘hands-on’ activities involving a range of senses and creative approaches. (HLF good practice with schools) • To make learning enjoyable, engaging and inspirational

Activity Plan Brief Page 2 18/02/2013 • To be accessible and inclusive – e.g. for SEN, EAL, BAMER groups, lower socio-economic groups • To offer practical growing activities • To provide opportunities for learning outdoors as well as outside of the classroom • To use a range of learning styles suitable for visual, auditory and kinaesthetic learners

1.3 Current Activity

1.3.1 Building, Garden and Collections: Our core activity is to open the building and garden to the public 350 days per year and to display the collection – and to interpret the building, collection and site. This is made possible by volunteers who provide a team for the Front Desk, and give tours.

1.3.2 Exhibitions: Our busiest activity is the provision of a public programme which explores gardens and gardening through exhibitions and events. In 2013 the exhibition programme includes Floriculture: Flowers, Love and Money which not only explores the history of cut flowers, but also prompts debate about contemporary issues such as the ethics of the global cut flower industry. An exhibition of the work of Dan Pearson is scheduled for the summer, sponsored by Coutts.

1.3.3 Public Events Programme: The public events programme includes over 30 talks and lectures, workshops, fairs and symposia. Topics are varied – some relate to temporary exhibitions and the permanent collection, such as a scented history tour of the Floriculture exhibition, and the annual Tradescant lecture. Others explore critical debates relating to gardening and green infrastructure, such as the sell out The High Line symposium (2012), which explored the nature of green urban spaces. A programme of around 20 garden visits around the UK includes guided tours from owners and specialists. The Museum will host the first Garden Literary Festival in June 2012 at a private garden in Hertfordshire.

The public programme also includes the publication of two Journals (and in 2010 a book, 'A Nation of Gardeners'). Its widest reach is through podcasts of its talks via BBC Gardens Illustrated which are downloaded by over 1,000 listeners across the world.

1.3.4 School Visits : The Schools and Community Officer works one day per week on site with school visits, concentrated on KS1 and KS2. 23 primary schools visited in 2012, our full capacity.

The Museum’s current education strategy focuses on primary school audiences because of the cross-curricular activity which the Garden Museum can provide, with an emphasis on hands on learning. The most successful programmes are curated visits led by the SCO rather than teacher led. Young learners enjoy the space that the nave provides, and careful consideration should be given to how and where future activities should take place.

There is a lack of demand for secondary school activity and we believe this is for a variety of reasons; partly due to the more specialist curricular activity required; partly due to the fact that there are not enough objects on display for a secondary school teach to be able to plan a meaningful session. Space limitations are also a barrier to secondary school visits – the

Activity Plan Brief Page 3 18/02/2013 permanent collection is currently small for a group of 30 to visit, and we feel that large groups of older children visiting may create tensions with our core visitors. An education space suitable for 30 children is planned within the new building. We would like to test our assumptions in relation to secondary school visits, and decide whether our current policy of prioritising primary schools should continue with the Development.

1.3.5 Outreach: The SCO works two days per week on Outreach, funded by the City Bridge Fund. Current programmes are extensive and include free volunteer run drop-in learning sessions for families, gardening club at two local schools, a community garden project at a local doctors’ surgery and outreach at a local children’s centre. There is also engagement through community events such as the Lambeth Green Champions Harvest Festival, and activities connected to exhibitions. Community work tends to be carried out beyond the walls of the museum, with a focus on making gardens off-site.

Successful projects include those that bring children to the museum in a number of ways – for example, where schoolchildren who know the SCO through a garden club are then involved in a project or activity on site. An example of this is the Happy Museum Project which as well as bringing new audiences to the museum and extends the relationships we already have with a local school and children’s centre.

Other activities that have longevity are those that can be initiated by the SCO and then carried on by the organisation themselves, for example an ‘eco-club’ at a local school which is now run by a teaching assistant.

For a more detailed breakdown of education and outreach activities see Appendix 1: Examples of Learning and Outreach Programmes 2012-13.

1.3.6 Volunteers: The museum has over 50 volunteers. Approximately 40 work on the front desk delivering visitor service and around 10 work in the gardens. Two volunteers work in the curatorium, and we often offer 1-2 week placements for volunteers who want to gain an all- round experience of working in the museum sector.

Those volunteers who want to can participate further by giving guided tours, attending events and lectures at the museum, contributing to a weekly ‘spotlight’ feature in the volunteer’s newsletter that highlights works of interest, and being involved in a programme of reciprocal visits with other museums.

We do not currently advertise for volunteers, and volunteers approach us either by visiting, word of mouth or through our website. Volunteers range from those who want to gain work experience in the museum sector to those who simply want to spend time with like-minded people in a place that relates to their interest, whether that be gardening or historical buildings.

The profile of our volunteers is similar to that of our visitor, and we should examine how we can broaden that demographic.

1.4 Potential Activity

There is potentially a wide range of narratives relating to our heritage, and we would like to determine the right level of aspiration to deliver a focused and meaningful programme. While we wish to remain creative and open, we do not want to dilute the strength of our programmes by

Activity Plan Brief Page 4 18/02/2013 trying to offer something to everyone; rather we want to offer programmes that are unique to us, and excel in those things we can do best.

1.4.1 Narratives around heritage: The Development will give the opportunity to explore new narratives and activities involving heritage, as well as the place of garden and green spaces in contemporary life. Potential programmes involving heritage might relate to:

• The Collection: the museum has formed a collection of 5,000 items which illustrate gardens and their social history from 1600 to the present day; there are tools, art works, ephemera, designs and manuscripts. The Museum recognises that we cannot tell a comprehensive story of British gardens over the centuries; nevertheless, the present permanent display is the country’s best snapshot of a national past-time. The Museum has recently acquired a 17 th century miniature of the younger John Tradescant, and Harold Gilman’s Black Gardener (1905), a significant full length portrait of a gardener, believed to be the first such representation of a sub-Saharan African man in British portraiture. • Figures of Historical Significance: The churchyard contains the tombs of gardeners John Tradescant and his son John, and Captain Bligh. John Tradescant was the country’s first gardening hero, a significant plant hunter and collector and the founder of its first museum open to the public – ‘The Ark’ in Lambeth. There are 20,000 burials on the site since the 11 th - century. Charlie Chaplin – who grew up in the surrounding streets - was the first donor to the Museum’s restoration of the structure. • The Archive: the proposed archive will be the only one in Britain to record the making of gardens in the 20 th and 21 st century, and in addition to collecting physical records we will create nationally accessible records in film and other media to explain to the people of the future what inspired and informs us today • The Church: The Grade II church is the second oldest building in the Borough of Lambeth and was the parish church for over 900 years; there is potential for narratives within its walls, such as the lives of those buried there, and church monument design; we must also interpret the building itself. We wish to use these stories to explain the wider story; at the same time, we do not aim to be a Museum of local history. • ‘Cabinet of Curiosities’: John Tradescant’s collection of objects displayed at The Ark will be recreated in spirit with items loaned from Ashmolean Museum. As well as the individual stories these objects can tell, the collection provides a significant narrative about the development of museums and collecting. • The Garden: The churchyard is preserved as gardens, with the centrepiece a knot garden designed in the style of Tradescant’s time. Plants of historic significance are grown in the garden. • Local garden history: Vauxhall Pleasure Gardens were within 15 minutes’ walk of the church of St Mary’s.

1.4.2 Inter-disciplinary narratives: the collections, building and garden offer opportunities to connect to our heritage by exploring other disciplines such as science, literacy and illustration. Potential activities and narratives might include

• An investigation of the challenges of applying contemporary environmental strategy to a historic building. The museum has a demonstrable commitment to sustainability, demonstrated through programmes such as its Sustainability Traineeship and has established through its urban environmental programme that a younger audience (20 – 35) will engage through gardens and green space through environmental issues.

Activity Plan Brief Page 5 18/02/2013 • Programmes involving science and maths. A recent programme led by a local teacher for gifted children looked at the relationship between maths and nature – one session focused on symmetry in the knot garden • Activities that focus on literacy, such as story-telling, inspired by the collection and garden • Activities led by illustrators, potentially for older learners

1.4.3 Programmes and activities relating to the Hub Partners: Joining with the Hub partners gives opportunities to work together on activities and events where single themes can be developed from a number of different perspectives and with a range of specialist expertise.

The Activity Plan should further explore the potential programmes, and assess the value those partnerships might bring to the museum in terms of activities and audience development.

1.5 Current Audiences

The current audience of 40 – 50,000 visitors per year is divided into:

1.5.1 A dedicated and relatively specialised audience for exhibitions and events, the great majority of whom make a purposeful and premeditated visit in response to PR or marketing; this is a new audience generated since the re-launch in 2008, since which time income from admissions has risen from an annual £30 – 35,000 to over £70,000. This core audience also explains the increase in subscribing Friends from 700 to just over 1,000 and has a particularly high satisfaction rate in surveys. Exhibition visitors are the most likely to come back to the Museum.

1.5.2 Foreign tourists who are curious at the historic site and the subject of gardens, and enjoy the Museum’s unique character and ‘Englishness’. Overseas visitors make up around a quarter of all visitors throughout the year and are more likely to visit the Museum as a destination in itself rather than to see a specific exhibition.

1.5.3 A smaller number of domestic cultural heritage visitors, for whom the Museum is part of a day out in London; visitor surveys show that this audience is more interested in the permanent collection and the people buried here, and enjoys the Museum less than the more specialised audience with an interest in the design, art and culture of gardens.

1.5.4 A new younger, urban audience in response to exhibitions such as From Garden City to Green City and the recent High Line Symposium, with a particular interest in the urban environment and the role of gardens and green space in the community. The success of this programme has given the Museum a role as a ‘hub’ for professional green infrastructure events in London, in addition to activities such as the recent Diggin’ Design craft fair attended by over 500 people.

1.5.5 Group visits from Lambeth Palace, for which the Museum provides the cafe, and a visitor service facility which the Palace does not offer. This audience will expand as the Palace expands its programme, but is not very integrated with the Museum’s wider offer.

1.5.6 Schools, Outreach and Community audiences: Outreach programmes and museum visits reach 1,500 local people p.a. (refer to section 1.3).

Activity Plan Brief Page 6 18/02/2013 1.5.7 A large audience (c.15,000) for the cafe, increasing in number owing to the quality and reputation of our chef Sorrel Ferguson’s cooking. Gourmet Magazine cited the café as one of the top museum cafes in the world, and it has had enthusiastic reviews in the national and London press. In the summer the cafe expands into the garden and has long queues; in the winter it is quieter owing to the cold temperature

1.5.8 The Museum caters for approximately 28 private hire events for up to 200 people per year that take place in the main space and garden. Conferences and lectures tend to be booked by institutional partners in the gardens world. Wedding hire, which accounts for around half of private hire, brings in people who are looking for a characterful venue with an outside space, and are not driven by the fact that it is a museum.

1.6 Target Audiences

An Audience Development Strategy , presented as part of the original HLF submission, analysed the audiences who don’t visit the museum. It outlined our ambition to increase engagement by local people with the museum and collection, and to diversify our audience to reflect the population. Groups who don’t visit were identified were (i) from low socio-economic backgrounds (ii) BAMER (iii) young people aged 16 – 36.

Of those, young people were not prioritised as a target group. While we are able to reach a younger audience, (for example, we saw a dramatic change in demographic during the From Garden City to Green City exhibition), young people are not necessarily excluded from gardening and garden related activity, but choose not to participate.

However, we believe that people from under-privileged and BAMER communities are excluded from an activity which they will enjoy and benefit from.

Other target audiences include families, and domestic and international tourists who might visit the Medieval Tower. We would also like investigate those audiences that the Hub Partnership will bring.

1.6.1 Audiences from low socio-economic backgrounds: Lambeth is the 5th most deprived borough in London; 36% of Lambeth residents are from ethnic minority groups. At present over 95% of our visitors are white and a survey supports our impression that the great majority of visitors are middle-class (as is, indeed, typical of the wider gardens world). The audience for our Schools and Community programme is, however, reflective of the Lambeth population, and in our Outreach we have chosen to concentrate on a highly under-privileged neighbourhood.

Recent internal discussions have centred on the following questions:

• What overlap is there between those from low socio-economic backgrounds and people from BAMER communities? How should we think about those individual groups?

• How can we develop programmes that go beyond the ‘tokenistic’, and bring real value to participants and the Museum? How do we determine what that value is?

• Should we be aiming to bring people from the local community into the museum, or should we continue to concentrate on successful programmes within the community? What are the barriers to bringing people into the museum?

Activity Plan Brief Page 7 18/02/2013 1.6.2 Families: Research commissioned by the National Museums Directors’ Council showed that around 1 in 3 visitors to museums nationally visit as part of a family unit, and that parents view museums as the most important places for educating their children after schools and libraries. Family visitors to the Garden Museum are fewer, and we would like to explore possibilities for expanding family audiences.

Drop in sessions and activities directly targeted at families are well attended, for example, the ‘Seasonal Saturdays’ programme which offers hands on activities relating to the seasons, such as the opportunity to make snow globes during the winter.

However, current interpretation in the permanent collections, exhibitions and garden is geared towards the adult audience, which means that families may not be motivated to visit the museum if there is not an activity on offer.

We would like to explore how items from the collection and narratives relating to the museum (see 1.4.1) might interest a younger visitor. There are also opportunities for engaging young visitors with things to see in the garden.

There are also physical barriers to visiting families such as access for buggies and pushchairs – it is not possible to take a double buggy to the permanent collection, and we would like the Activity Plan to assess the impact of these barriers and make recommendations for solutions within the new building.

There are opportunities to improve the retail and cafe offer for families, such as introducing children’s menus, and selling more children’s products and books.

1.6.3 Visitors to the Medieval Tower: The tower is currently only accessed on an appointment basis by a very small number of people – access is not promoted to the general public. There are ambitions to open the tower more fully, although it will not be accessible to everyone, as it is reached by a spiral staircase of over 100 steps. The nature of the offer will be explored more fully by the Business Plan, but visitors to the tower should be considered by the Activity Planner as a potential audience.

1.6.4 Hub Partners: The Hub partners have a combined membership of 9,500, including individual members, universities and libraries as well as a far broader base of ‘users’, including web users (the Parks and Gardens Data Services attracts 7,000- 13,000 visits per month). We would like to assess how the partnership could bring the Museum increased visitors and new audiences. The Business Plan and Activity Plan with their respective focus should examine the value of hosting the Hub Partnership to the Museum.

1.6.5 Barriers to Audience Development: The potential for audience development is wide, but there are barriers that the Development seeks to address, principally:

• the limited story told by the permanent collection owing to lack of space and limited interpretation media • absence of a purpose-built learning/community space for groups of larger than 14 people • the building is so cold in winter that in practice it is in semi-hibernation for 4 months of the year and public events cease during this period • limited staff resources; the Schools and Community Officer is employed 3 days per week, although this will expand to 4 days per week in 2013 with a one-off grant from a Charitable Trust

Activity Plan Brief Page 8 18/02/2013 • limited interpretation for non-traditional audiences • limited interpretation and facilities for families • the psychological barriers associated with a) the museum environment and b) the location of the museum within a (deconsecrated) church • prioritisation of income generation for the space, and the balancing of the need for affluent audiences and those who are harder to reach.

Activity Plan Brief Page 9 18/02/2013 2.0 THE COMMISSION

2.1 Scope of Work

In summary, the Consultant will:

• Produce a detailed and costed Activity Plan, encompassing audience development and learning and participation, complete with an Action Plan for delivery (in accordance with HLF Guidelines) for submission with the Second Round Funding Application. • Establish a responsive relationship with the Project Team, and in particular with the Schools and Community Officer who will play a critical role. • Carry out appropriate and targeted consultation that includes, but is not limited to o Current staff, volunteers and Trustees o Current and potential partner organisations o Schools and community organisations o Organisations which provide a national, regional or Borough policy context o Visitors and members • Carry out competitor analysis for comparative museums and historic buildings, assessing activities offered and looking at how similar sized/themed museums attract audiences, in particular target audiences. • Propose an evaluation strategy and feed-back facilities to obtain on-going information from visitors, groups and participants. • Align our current volunteering strategy to the Activity Plan, and make recommendations for attracting and retaining volunteers from different backgrounds. • Identify any conflicts between core activities, activities that provide the museum with revenue and make recommendations for reconciling the two.

2.1.1 Audience development

• Provide a description of current audiences, and audience development activities that have been undertaken by the GM. (Refer to 2.2 for existing research) • Identify potential audiences, analysing the nature and size of each potential market. • Identify existing and potential barriers to audience development. • Analyse individual audience segments, for example, by age, location, or special interest. • Test market response by devising and delivering a pilot activity. • Ensure the Activity Plan proposes the most effective means of reaching specific audiences, including o Young people o Hard to reach groups o Communities interested in participation in cultural activities o Potential volunteers o Those from all groups interested in new learning opportunities and involvement in the Museum’s on-going activity o Existing partner organisations, including our hub partners, which include the Garden History Society, the Association of Garden Trusts, and Parks and Gardens UK. (In particular, we would like to explore how our hub partnerships themselves might help us reach new audiences)

Activity Plan Brief Page 10 18/02/2013 o Potential partner organisations among community, education and other groups.

2.1.2 Learning and Participation

• Undertake a full review of the current visitor offer to identify all learning and participation opportunities available to all ages, abilities and genders • Carry out up in-depth interviews with education institutions (higher education, colleges and schools) to determine the value of and the possibilities for the project • Test our current assumptions about demand for activities from differing sectors, e.g. primary and secondary schools, and make recommendations for a strategy of prioritisation • Devise a learning and participation plan, identifying a range of potential activities and projects, including digital media • Test our assumptions about how schools and groups will use and enjoy new planned spaces in the development. Devise and deliver a timetable and space schedule for activities • Explore the current balance of on-site/off-site activity and make recommendations • Test viability by devising and delivering a pilot activity • Suggest a sustainable framework on which the development and delivery of learning outcomes for different target audiences can be based. The framework should make the maximum use of online resources and take into consideration the capacity / resources of the client.

2.2 EXISTING WORK

In 2011 an Audience Review was commissioned to undertake an analysis of who is coming to the museum, why they come and how satisfied they are with their visit; and to make recommendations for future programmes and marketing. This Review will be made available for discussion with consultants invited to interview.

As part of the first round submission to HLF, an Audience Development Document was drawn up to outline initial plans for developing new audiences, which focused on barriers to access of three specific groups: younger audiences, BAMER audiences and people from low socio-economic groups.

Initial proposals were also drawn up for a Volunteer Strategy , Digital Strategy and Partnership Strategy .

On-going data collection includes comprehensive door data that captures numbers and types of visitors, visitor feedback forms, electronic booking information from the Museum’s online ticket booking agency (Event Brite), and feedback via the Museum’s social media portals.

Other key documents: Garden Museum Learning Policy 2013

These documents will be issued to shortlisted candidates.

2.3 PROJECT TEAM

The Project Team consists of Christopher Woodward (Director), Anna Cullum (Deputy Director) and Sarah Batten (Project Officer), supported by a Steering Group and a Development Committee comprised of Trustees. The Activity Planner will report to the Deputy Director. Another key relationship with be with Janine Nelson (Schools and Community Officer), who will make a major creative contribution to the Activity Plan based upon her successful work over 5 years. A Project

Activity Plan Brief Page 11 18/02/2013 Curator is in recruitment and the successful candidate will provide a lead on interpretation of the collections, the touring exhibition and the ‘Cabinet of Curiosities.’

2.4 PROJECT TIMESCALES

The work will be carried out between the beginning of April 2013 and the end of July 2013.

2.5 CORRESPONDING WORK

Work on the Activity Plan will run alongside the preparation of a Business Plan which will also be submitted as part of our second round application to HLF. The Business Plan will set out the financial and organisational aspects of the Development, including a forecast income and expenditure account for on-going operations. The Activity Planner will liaise with the Deputy Director and Treasurer who will lead the Business Planning process, as well as with consultants employed to provide analysis for the Business Plan.

The Activity Plan will also have a decisive impact on the building design development; the Consultant will be expected to liaise with the architects to ensure that their plans are consistent with the requirements of the activity programme.

The Museum will produce internally an Interpretation Strategy, which will inform the Activity Plan

A Stage C review by HLF is currently scheduled for end of July 2013, and we aim to present the Activity Plan as part of that review.

2.6 TENDER REQUIREMENTS

The museum requires all those invited to quote to submit a proposal to carry out this project that covers the following:

• project methodology and timetable • outline of the project team (including CVs) and individuals’ roles within it • outline of two similar projects, with details of methodology and outcome • a fixed fee proposal, providing a cost breakdown • two references

The tender should be provided in two complete hard copies and 1 full electronic version (on disk or memory stick) by midday Friday 8 th March.

As a sustainable organisation we appreciate tender documentation to be in black and white and printed double-sided. Please submit no more than a total 12 sides of A4 paper.

2.7 TENDER EVALUATION

The Contract Award criteria will be based on the most economically advantageous tender (MEAT) in terms of the criteria stated below:

Price / resources / value for money 50%

Relevant experience of project team 25%

Activity Plan Brief Page 12 18/02/2013 Understanding of the commission / methodology and assessment of the key issues to be addressed in the commission 25%

2.8 BUDGET

Based on the tasks outlined above, we estimate that the budget for this piece of work is £12,000, including all expenses, all travel, venue hires for meetings, hospitality for meetings etc. (the latter should be clearly specified). All prices to be quoted exclusive of VAT.

An additional budget has been allocated for

- market research to inform the Business Plan, which will be targeted towards commercial activity and income. There is likely to be overlap with the Activity Planning research in certain areas, for example, providing an assessment of local demographics. We expect the Activity Planner to liaise with the Business Plan leader in the preparation of a brief for market research.

- consultation events and activities

2.9 CONTACT DETAILS

Please email any questions regarding the brief to:

Sarah Batten (Project Officer) [email protected]

3.0 SUBMISSION OF TENDERS

Tenders should be returned by 8th March to

Sarah Batten

5 Lambeth Palace Rd

The Garden Museum

London SE1 7LB

Interviews will take place on Wednesday 13 th March.

Activity Plan Brief Page 13 18/02/2013 Appendix 1: Examples Learning and Outreach Programmes 2012-13

In 2012 The City Bridge Trust chose the Garden Museum as one of 10 charities to have the opportunity to work with the Media Trust on a film. The film focused on the gardening club run by the SCO at Vauxhall Primary School. Narrated by Derek Jacobi, the film followed the children’s after school gardening activities over the course of the school summer term. The SCO and some of the children in the film (and their families) attended the screening of the film at the Barbican Centre in September. With funding from The Peter Minet Trust the SCO collaborated with the children’s centre at Vauxhall Primary School to take families on a trip to Kew Gardens during the first week of the summer holidays. This was followed with a series of gardening and art sessions at the children’s centre.

The HLF Collecting Cultures funding provided opportunities for a number of unique programmes based on the museum’s art collection and with the help of an education freelancer. A large fabric hanging inspired by a print called Cabbage Eaters by Andy English was made by children from Sudbourne Primary School’s sewing club. They made tie dyed batik cabbage leaves and a large caterpillar.

Over the course of a year, monthly art sessions were held in the nave for an over 50s group from Southwark. Using the museum’s art collection as a starting point, freelance artists led sessions on printmaking, collage and painting for the over 50s group.

INSET art sessions for primary school teachers were devised in consultation with two extended service managers to meet the needs of teachers and teaching assistants in local schools. Three specialist INSET days were delivered to two clusters of primary schools in Lambeth (a total of 20 primary schools). The INSET days were held at the museum or host primary schools and included drawing, painting, collage, sculpture, model making and animation.

Sixthform art students from Archbishop Tenisons school worked with Chocolate Films to make a documentary about green spaces and to learn new film making skills. The film reflected their thoughts on contemporary urban green spaces and made references to the historical Vauxhall Pleasure Gardens (which very close to the school). (www.gardenmuseum.org.uk/page/green-spaces- film).

During the summer term displays of children’s art work were shown in the museum The work was the result of the twenty participating schools who’s teachers and teaching assistants had taken part in the three art INSET sessions. Schools were invited to view the work on two open evenings. The work was very varied and included a large mosaic, willow sculptures, photography projects, textiles – cushions, clay model making and painting and drawing.

Activity Plan Brief Page 14 18/02/2013