VOICES of MUSEUMS Qualitative Analysis of Challenges, Obstacle, and Opportunities Facing Museums and Cultural Institutions

MUSEUMS OF THE FUTURE Funded by NTU’s Global Heritage Strategic Research Fund

VOICES OF MUSEUMS Qualitative analysis of challenges, obstacle, and opportunities facing museums and cultural institutions

Research Findings & Summary REPORT

September 2020

ptember 2020

MUSEUMS OF THE FUTURE

VOICES OF MUSEUMS Qualitative analysis of challenges, obstacle, and opportunities facing museums and cultural institutions

Research Findings & Summary REPORT

Research Team

Prof. Chris Reynolds, Co-I Prof. Natalie Braber, Co-I Prof. Mohamed Gamal Abdelmonem, PI Dr. Amy Williams, Research Assistant

September 2020

Acknowledgements

The project team wishes to acknowledge Nottingham Trent University’s Global Heritage Research Theme’s Strategic Fund that enabled and facilitated the research conducted as part of this project. We also acknowledge the support from the School of Arts & Humanities, School of Architecture, Design & The Built Environment and Centre for Architecture, Urbanism and Global Heritage. We would like to thank colleagues at NTU who have been helping us develop this project: including Jonathan Hamilton, Andrea Moneta, Lucy Phillips, Neville Stankley, Diane Wren, and Katie Holland. We are particularly thankful to Amy Williams for her initial analysis of the interviews, her work on social media and her work in bringing the data for this report together.

This study could not have taken place without all those who completed our online survey as well as the generous contribution of over thirty museum professionals and consultants who were interviewed during our individual and focus group interviews. Due to the scope of this report, we cannot cite or reference every statement made by our interviewees. Hence, we would like to acknowledge their informative contributions which have shaped the key evidence and material used in the writing of this report. Our thanks go to: Mehzebin Adam, Ray Barnett, Martyn Best, Graham Black, William Blair, Sara Blair-Manning, Claire Browne, Kieran Burns, Tony Butler, Catherine Cole, Hannah Crowdy, Rachel Donnelly, Bernard Donoghue, Sarah Fogg, Ben Gammon, Chris Harris, Jodie Henshaw, Niall Kerr, Steve Lemottee, Heather Mayfield, Andy Myton, Janet Overfield Shaw, David Patten, Victoria Reeves, Natalie Sarabia-Johnston, Trevor Smith, Darren Southgate, Louise Stafford, Stephanie Thomson, Adrian Wills and Franne Wills. We are very grateful for all their time and their invaluable contributions.

3 Introduction

Museums of the Future (MoF) is a research and partnership project that aims to foster strategic partnership with stakeholders within the museum and heritage sector with a view to formulating strategic research, development and innovation priorities for museums and heritage institutions and collaborative research projects. It is interdisciplinary and multi- sectorial where museums, academia, innovation, technology and creative industries are key fields of enquiry and exploration. It adopts a working-in-partnership approach, where the team collaborate with heritage institutions and local, national and international museums, to build capacity and develop collaborative activities and research programmes. One of our aims considers the deployment of digital technologies in recording, dissemination and interactive display of heritage collections in museums that suits future generations and progressive technologies.

Museums of the Future engages multidisciplinary researchers and experts in museum collections, histories and architecture with stakeholders and beneficiaries in museums, curators, and creative industries. It investigates potential applications and impact of new forms of interactive engagement with different user groups through intelligent and novel means of display, educational resources and digital materials to help broaden museum offers and outreach to national and international audiences. Partners include museums, galleries, archives, and other heritage institutions. The project takes the form of a research network, comprising stakeholder engagement workshops to set the context for real world problems, challenges and creative future-proof solutions which can be explored in collaborative projects to bring research institutions, museums, heritage sector and creative industry together.

Research context

The United Kingdom is home to an estimated 2,500 museums, of which 1,800 are accredited and formally registered. With a diverse scope of work, museums can be classified as national, local, university, independent, regimental, palaces or heritage sites. Museums serve a large section of society within excess of 100 million visits a year. Moreover, there are 2,389 registered archives in the UK, of which 122 are national, 654 locals, and 324 university based. In total, there are close to 4,889 heritage institutions (museums, archives and heritage sites) that are integral to the socio-cultural patterns of everyday live in the UK. In most cases, they are public institutions, funded by taxpayers, and in large part dependent on both public funding as well as income generated from visitors and tourists. Since the 2008 financial crisis, public funding has increasingly declined and this, in additional to changing user patterns due to increased digital technology, have challenged museums like never before. Many community, volunteer-run museums are under severe pressure to find enough volunteers and may struggle to stay open, whilst many institutions are also struggling with the impact of budget cuts, Brexit, and the impact of the COVID-19 pandemic. More recently, museums’ business models have come under increased scrutiny, with a strong wave of digitisation in addition to competition from publicly accessible digital collections on platforms such as Google’s Open Heritage. With the number of domestic visitors in gradual decline, new modes of public engagement are necessary. Yet, there is no

4 clear, shared vision, business models or operational structures that have provided a roadmap and practical models of museum engagement and display to match the pace with which society is changing. The Museums of the Future project has been funded by NTU’s Global Heritage Strategic Research fund with a key aim to respond to these structural and existential challenges, and to do so in collaboration with museums. The project evolved over the past 2 years, from being a local partnership initiative with Nottingham Museums, to have a wider national and international scope with a number of strategic partnerships with museums across the UK, Europe, the Middle East and Asia. This project builds on the positive and productive collaborations of key partners with NTU researchers in several projects over the past few years. These include developing digital collections (Lace Archive, Virtual Reconstruction, Nottingham Castle) or investigating user- groups perceptions (National Justice Museum), as well as documenting heritage sites in the Middle East (Iraq, Jordan, Egypt), India and China. There has also been significant work carried out with museums in Northern Ireland, including National Museums Northern Ireland and with museums around the UK including Mansfield Museum, Creswell Crags and The National Coal Mining Museum for England which have informed the agenda of this project.

Project aim and objectives

The project aims to develop innovative methods and novel applications to record, document and reconstruct the spaces, collections, histories and activities of museums to improve their offer, develop new outlets and engaging material for online and digital groups in user-friendly virtual environments. The project will develop a series of novel and creative research activities in collaboration with different museums, galleries, archives and heritage sites. This will include research investigating the use of technology to transfer heritage assets and collections into interactive displays and all collaboration will be supported by a dialogue with the stakeholders and survey of user-group perceptions.

The Project has three main phases: Research on current models of public engagement and display in museums, as well as the extent to which the use of digital technology has played a role in attracting new and younger generations of visitors. It will look into the use, methods, impact and user engagement with virtual museums and their collections. This will involve a survey of best practice methods, applications and creative industries in the field. Engagement with museum stakeholders and user groups through the undertaking of surveys and focus group interviews on the challenges facing museums and heritage sector nationally and internationally. In this phase, we will develop our in-depth understanding of the challenges facing the sector and study potential examples and best practices. Collaborative Projects will be developed in collaboration with individual or groups of museum partners under different innovation and funding programmes. These projects will be designed to develop and test customised solutions that meet the evidence-based needs of partners with a vision towards future-proofing their viability.

5 Key Research Questions The project is designed to respond to a number of key questions: § How can research institutions and the heritage sector work co-productively to future- proof museums and the heritage sector and facilitate engagement with future audiences? § What are the key challenges facing the heritage sector at a time of digital transformation? § Which issues does the heritage sector encounter in adapting to new audiences? § How can universities support heritage organisations with public engagement to reach and maintain new and diverse audiences? § How prevalent is digital media in heritage sector public engagement programmes?

Context and scope of this survey

As part of the engagement phase of the project, the research team has been actively gathering information about museums, their challenges, opportunities and futures. In this phase, we wanted to develop our in-depth understanding of the challenges facing the sector, and study potential examples and best practices.

As a result of the lockdown brought on by COVID-19, we were no longer able to hold workshops and conferences. As a result, we launched an online survey. The purpose of the survey was to understand the challenges museums face and how they collaborate with universities. The survey was aimed at those working within the museums and heritage sector. The project team also conducted nine focus group interviews involving around 30 museum professionals and consultants from a wide range of stakeholders, organisations and institutions that operate across the museums and heritage sectors. Each interview consisted of a representative from a local, national and international organisation. The interviews covered core themes to uncover challenges within the sector. These themes included: the role of a museum, partnerships, challenges, the future, university collaborations, and solutions. This report will evaluate and analyse their findings. It will also present some initial conclusions supported by this material.

Summary of the key outcomes from the interviews and survey

The data show that the museum and heritage sector is facing a wider range of challenges. Some of these challenges are ongoing, e.g. funding whereas others are unpredictable such as the long and short term effects of COVID-19. Over 50% of responses specifically stated that funding was one of the key issues for the sector. Another key issue raised was relevance of museums in today’s society. Museums at every level discussed how they are concerned about meeting the needs of their visitors. The interviews and the survey answers commented that visitors are looking to museums to engage in cultural debates and museums also have to consider how visitors define their relationships to collections, e.g. following Black Lives Matter protests. Museums were aware that they need to engage more with diverse publics so that the representation of marginals groups is meaningfully explored within the museum context.

6 Staffing was another issue of concern, in particular regarding adequate resources to employ and train staff. The volunteer sector was also reflected upon, there is also a continuing need to inspire younger volunteers from all different backgrounds to engage with museums and heritage organisations. Finally, digital challenges were addressed in most of the interviews and survey answers. The digital challenges are both positive and negative. For example, several participants reflected that physical exhibitions need to be worthwhile as visitors can access many online exhibitions. It was suggested that there needs to be a balance between physical and online exhibitions, including strategies put in place for different types of exhibitions to complement one another.

Theme One: The Role of a Museum

“A museum is a place of collective memories”.

Rachel Donnelly, Imperial War Museum

Museums are no longer regarded as separate entities as they are involved with their communities, whether they be local, national or international. Museums cannot be closed places of knowledge and audiences need to be able to participate with museum exhibitions and collections, and as such, issues of co-creation, equality and inclusion were frequently raised. Stephanie Thompson commented that museums should create a sense of belonging in their communities. Many interviewees spoke about the fact that museums are becoming more open to wider audiences and are encouraging people to participate in recent conversations. Museums want to be seen as spaces which can facilitate discussions and help bring awareness to current issues. William Blair said that museums are ‘polyphonic spaces’, somewhere you can have uncomfortable conversations about challenging subjects. The role of museums has changed in terms of their standing within society as they are not only understood as places of learning but also as places of which can inspire action and change. Tony Butler stated that museums are important for education, public participation but also need to be relevant to their communities.

Audiences now look to museums to make a stand when controversy arises. Museums are using a language of activism as they aspire to mobilise the agency of their visitors. Many feel that they have a responsibility to speak out and encourage their visitors to do so when they see injustices. However, while some museums are prepared to face this new role others do not always feel comfortable or equipped to put themselves at the forefront of topical debates within society and it can be hard for museums to take risks. Many of the interviewees also spoke about the need to stay relevant. This is significant because museums feel that they have a responsibility to collect, preserve and present information but they are also aware of their growing social statues in terms of how people look to them for guidance. Niall Kerr added to this that museums are places to do things, have new experiences, engage and have fun. Although the virtual and digital can be important elements, Ben Gammon commented that there is something about encountering the real thing that just cannot be put into words.

7 Theme Two: Partnerships

“One of the things we’ve done in the last few years is try to encourage as many of our professional staff to be involved in subject networks around the country”.

Ray Barnett, Bristol Museum and Art Gallery

Many interviewees expressed the importance of working with partner institutions and other organisations. Hannah Crowdy comments that such working together allowed for the sharing of skills and knowledge across the sector, sharing collections, challenging one another and sharing new ideas and perspectives. Adrian Wills also adds training and guidance to this list. For some museums this means working with international partners which helps to diversify and broaden their knowledge of events and how to present material. Many mention partnerships with the tourism industry and the education sector as being crucial. Local museums in particular have encouraged their staff to join networks and international training partnerships and Jodie Henshaw states that their museum would not be able to exist without partnerships. Sara Blair-Manning adds to this that museums cannot work in isolation as you will not be able to understand what is happening in the sector and will find it harder to respond to things coming forward.

Such collaboration not only raises the profile of the museum but also enables them to contribute to discussions, host meetings, connect with international organisations, gain knowledge, and opens up more possibilities for funding through joint projects. Many museums are aware of the gap in their knowledge with regard to certain topics so working with partners allows them to learn new skills but also present their collections in a new way by drawing out new stories or presenting them in a different way. As Niall Kerr states, this might mean moving out of a comfort zone for a museum. Some museums are working with local businesses and this can provide other streams of funding. These partnerships also create jobs and even help rethink how STEM subjects are taught. Some museums are collaborating formally with formal documentation such as Memoranda of Understanding (MOU), with others are working together on more informal levels. Many museum professionals, such as Ray Barnett, finds being part of Subject Specialist Networks (SSN) and International Training Partnership Schemes helpful as it encourages sharing of knowledge and good practice. However, such partnerships are not always easy and Mehzebin Adams states that they can be time-consuming and challenging at times. What is crucial, according to Dave Patten, is understanding the needs of the different partners rather than assuming what museums need. Heather Mayfield reminds us that partnerships are not only with other museums but should also include the visitors as this can also allow for crucial change to take place.

8 Theme Three: Challenges

“We need to move away from just serving existing audiences … we are at a really significant time in museology and we are collectively beginning to address some of these ingrained inequalities”.

Tony Butler, Derby Museums Trust

Steve Lemottee comments that most museums are short of money, short of volunteers and short of visitors. One of the biggest challenges for museums raised by our participants is that of funding. Museums are frequently already generating all or some of their own income and that this may have to increase following lockdown. Some museums have an entrance fee which they rely on for income but one major effect of COVID-19 is that there may not be as many visitors physically going to visit museums. Sarah Fogg adds that an additional funding concern is the increasing presence of the digital, often this needs to be outsourced and this costs a lot of money.

An issue raised by Victoria Reeves and Tony Butler is how to stay relevant so that visitors make repeated visits. Franne Wills adds to this that there needs to be sustainability to allow museums to develop and grow. Looking to the future, museum professionals are concerned about retaining their current audience as well as exploring how they can entice new audiences to their museums. Rachel Donnelly comments that we must focus on engaging new visitors, especially those who do not traditionally engage with museums. William Blair thinks it is crucial for museums to be able to balance long-term sustainability with the pressures of being commercial. Ben Gammon comments that COVID-19 will magnify some of the issues which were already present and will need to be dealt with.

Another challenge is staffing. With the effects of COVID-19 staffing roles may have to change while some jobs are at risk. Volunteer staffing is very topical for many of those interviewed. For example, there are concerns that many volunteers are elderly so may not be able to help in the foreseeable future. The challenge for museums is how to attract new volunteers and rejuvenate the volunteer sector. Museums are also aware that many volunteers are from a particular class, background and ethnicity so there is a particular need to work with people from all walks of life. Moreover, many rely on volunteers so are dependent upon their support in the future. Many museums professional stress that there also needs to be more diversity within employees in the museum sector. The focus is increasingly on telling forgotten and marginalised stories. Working with a diverse group of people will help enable these different perspectives to be brought into the centre of the museum sphere.

9 Theme Four: The Future

“There’s really interesting potential in the digital but there is also something about not losing your core objectives and moving people away from physical objects and how you can tell these stories”.

Sara Blair-Manning, Nottingham Castle

Museum professionals such as William Blair state that museums must have clarity around role and purpose. The interviewees are concerned with the impact of their museums, particularly regarding how they can make a positive impact and engage with their communities and how this can be measured which was noted by Ray Barnett. Kieran Burns adds to this that museums are a more important part of such conversations than ever before. The time has come to think carefully about the most effective business model as Bernard Donoghue considers the old models to have failed and are no longer sustainable.

Another concern is around the future of digital technology. For some museums this change has been welcomed as they have been producing online material for a while but for some this brought new challenges which relate both to funding and knowledge. Sometimes the digital can be a concern, as Stephanie Thompson states, the large-scale digital output produced during COVID-19 means museums are sometimes giving away for free what they normally charge for and this has enormous financial implications. Furthermore, as suggested by Rachel Donnelly, it is not enough to simply put digital material online and leave people to engage with it passively, museums need to engage with their audiences at this level too. It is important to figure out what has worked with the digital and what has not, to avoid making repeated mistakes, which was an important issue raised by Claire Browne. Heather Mayfield adds that digital is part of what museums do but that not everybody engages with it.

The future is not only digital as many suggested a need to still focus on collections and telling stories. They argue that there needs to be a balance between digital and collections, although Catherine Cole adds that the digital need not be the end of museums but may encourage more people to visit. Dave Patten argues that the digital is not ‘different and special’ but just one interpretive medium among others. While the digital age brings with it its own challenges there are many positives because museums are now able to reach wider audiences and visitors are sharing online content on various social media platforms. Following COVID-19 there will also need to be an increased focus on using existing collections as the travelling exhibition is unlikely to feature in the near future. As Sara Blair-Manning notes, the current pandemic is also affecting many interactive displays which can currently not be used due to restrictions. Jodie Henshaw also comments that as museums simply cannot compete with technology that visitors have at home, museums are often resorting back to more ‘traditional’ interactions such as dressing up, colouring in and taking part as alternatives.

10 Theme Five: Collaborating with Universities

“In the past we have been guilty of using one another and the main reason is that we didn’t really understand the way each type of organisation worked”.

Hannah Crowdy, National Museums Northern Ireland

Many museum professionals spoke about the range of university partnerships they have been involved with as they have worked with different academics and students from many different disciplines. In some cases, those who work within the museum sector are already connected with a university, so partnerships have naturally developed as they have been able to incorporate their teaching within the museum. As a result, students have been able to create exhibitions for the museum. They have also creatively used the collection to tell stories online. Adrian Wills thinks that working with universities can allow museums to look at things from a different perspective. Kieran Burns adds to this that working with universities can add rigour and can also help evaluate the effectiveness of what museums are doing.

Other museums have collaborated with universities to help preserve their collections and have conducted research around them. There is a desire to do more with regard to university outreach whether that be museum professionals teaching a class at a university, an academic presenting their research within a museum, PhD collaborations, exhibitions, and working together to create an archive or research centre where material can be shared. William Blair adds that to allow for such co-creation we all need to look at our own skills. However, as Claire Browne, Steve Lemottee and Chris Harris all comment, some museums are struggling to collaborate with universities as museums are unsure who to approach. Academics also need to strengthen their long-term relationships with museums because while museums are willing to be included in grant bids sometimes there can be a lack of communication which can have lasting effects as the museum may not feel fully included in the project. The interviewees, including Graham Black, stress the importance of early collaboration with universities, rather than being brought in at the end of a project ‘to show impact’.

It is important to understand how each other work, says Hannah Crowdy, as it stops museums and universities using each other without understanding the other’s needs. This would also allow for continued interest and collaboration in projects which Mehzebin Adams sees as crucial.

Potential Ways Forward for Museums of the Future

Digital - What does it mean?

The physical act of going to a museum came to a halt due to lockdown measures but the visitor experience of interacting with a museum had been changing for some years before as the museum experience now starts in a person’s home, continues in their pocket as they commute, continues into the museum itself and its archives, and beyond. This rounded experience not only enables museums to extend the museum experience beyond the

11 physical building through technological advances, but it also individualises the visit by knowing about the interests of each visitor. For universities it is not enough simply to respond to digital challenges by only offering technical assistance. While universities can support in helping to create online exhibitions and easy access websites and blogs there is more that can be done. For example, digital can be an online exhibition, a museum app, a website, an interactive physical exhibition, social media, storing material, cataloguing, collections work, storytelling, online events, training and outreach school programmes. Digital is connected to a museum’s image; how it presents itself and how it is seen to be responding to current affairs as well as historical issues. Digital also enables museums to stay relevant by promoting their material and interacting with their audiences. Universities can help museums in the digital era by creating sustainable business models and rethinking income streams. Digital content can be expensive and time-consuming and small museums may not be able to compete with the technology on offer in national and international museums. Is there a way to monetize the digital? Some museums have launched paid online tours or encouraged online visitors to donate after taking part in an event.

Academic Work

Universities can inform museums about latest museology and methods of best practice. This could be facilitated by the creation of a Hub or Centre of Excellence based at NTU which would allow different museums and networks to come together to share material. The Hub would act as a point of call where museums can connect with academic expertise and academics would be able to attach the appropriate people to a project. A blog would allow the network of academics and museum professionals to interact with one another. It would be a way of academics notifying museums about significant articles and new material in the field. It would also be a chance for museums and academics to produce joint publications about their work, the challenges they face and collaborations with one another. The Hub would also be a place where a directory for research expertise in specific studies would be stored. NTU could be the arbiter as the Hub would help direct people to expertise. Some of these networks are outdated as people move on so the Hub would keep an updated list.

Volunteers

As the interviews have shown there is a need and desire for museums to work with a diverse new generation of volunteers. In terms of the volunteers who are already associated with museums, universities could offer an online course to help train volunteer staff. This would be tailored to the museum’s needs. The volunteers would also have access to the NTU Hub and blog which would keep them up to date with best practice techniques. In terms of NTU students, the university would design a work experience programme tailored to the museum’s and the students’ needs. NTU students as well as staff could support museum staff by giving lecturers on specific topics. For example, within the museum sector there is a need to understand decolonisation, racism and ethical issues as was reflected during the interviews. Here universities could help equip museums with the right tools to engage in these topical debates.

12 Working Together

The interviews make clear that there will be less focus on travelling exhibitions due to lockdown restrictions, so museums are re-exploring their permanent exhibitions. NTU staff and students could work with museums to make more of their collections by sharing their expertise. Part of NTU teaching is that students to respond to a real-world brief and take part in placements. For example, students could create a podcast about a museum’s work. This work would tie into the students’ degrees but also provide the museum with willing and professional volunteer staff. Students would also be able to carry out surveys for the museum to help understand their audiences needs and concerns. The interviews and surveying could be completed face-to-face or online. This could be a one-off project, or it could be part of a longitudinal study where the students return to conduct follow up projects. NTU could also introduce collaborative doctoral partnerships with museums. Many students already have formal links to museums so the doctoral partnership would strengthen these existing ties. NTU could also assist by facilitating events and exhibitions with museums and their local communities which would encourage debates and help the museum to stay relevant. As we are travelling less, audiences mainly consist of local communities. By working collaboratively universities could help bring communities and museums together to create new partnerships.

Accreditation

The formalities related to accreditation can often be perplexing. Universities could help museums with their awareness and understanding of the rules and regulations by offering training and help with formulating the necessary paperwork. The NTU Hub would help to accelerate this process as museums would be able to contact one base and work closely with academics. The Hub would also be able to connect people with different projects so that the museum and academics maintain their links.

Sustainability – What does it mean?

Sustainability was raised as an issue in most of the interviews. It is often used to discuss a museum’s carbon footprint, the material used within the museum space and the museum’s impact on the environment. But the interviews have also reflected upon the shelf life of digital content. Therefore, it is important to have a digital strategy in place as there have been many advances in technology. Universities could help in digitising a museum’s collection so that visitors still have that close experience.

Impact

While museums and museum consultants have differing views with regards to the challenges and future of museums both agree that museums must be relevant. As recent events have shown communities are looking to museums to speak out about social issues, to publicly make a stand and think of the museum as a place which empowers people. Universities can assist in helping museums recognise their impact through a robust tried and tested process as staff at the university regularly complete impact case studies. Thus, universities will be able to support museums in their evaluation of their impact.

13 Appendix A

The Interviews

The interviews were all around two hours in length and were conducted by Chris Reynolds, Natalie Braber and Mohamed Gamal Abdelmonem from NTU. The structure of the interviews was based on the structure of the online survey. Ethical approval was granted by NTU’s Ethical Guidance Committee. Interview were conducted with museum professionals from local, national and international museums so that there was a wide coverage of voices from those working in different museums, in different nations and in different job roles.

The following people took part in the interviews:

Mehzebin Adam (British Red Cross Museum) Ray Barnett (Bristol Museum and Art Gallery) Martyn Best (Cultural Innovations) Graham Black (Independent Museum Consultant) William Blair (National Museums Northern Ireland) Sara Blair-Manning (Nottingham Castle) Claire Browne (Museum Development East Midlands) Kieran Burns (House of European History) Tony Butler (Derby Museums Trust) Catherine Cole (Independent Museum Consultant) Hannah Crowdy (National Museums Northern Ireland) Rachel Donnelly (Imperial War Museum) Bernard Donoghue (The Association of Leading Visitor Attractions in the UK) Sarah Fogg (Musée Holocaust, Canada) Ben Gammon (Independent Museum Consultant) Chris Harris (Holocaust Centre, New Zealand) Jodie Henshaw (Mansfield Museum) Niall Kerr (Nerve Centre) Steve Lemottee (Trent Bridge County Cricket Club) Heather Mayfield (Independent Museum Consultant) Darren Mytom (DM Architects) Janet Overfield Shaw (National Trust – Southwell) Dave Patten (Science Museum) Victoria Reeves (National Justice Museum) Natalie Sarabia-Johnston (Southgate-Sarabia Architects) Trevor Smith (Sport Smith) Darren Southgate (Southgate-Sarabia Architects) Louise Stafford (National Holocaust Centre and Museum) Stephanie Thompson (National Coal Mining Museum for England) Adrian Wills (Bakewell Old House Museum) Fran Wills (Leicestershire County Council)

An Original Document of

MUSEUMS OF THE FUTURE Nottingham Trent University

For any Enquiries, Contact us:

Centre for Architecture, Urbanism & Global Heritage Nottingham Trent University 50 Shakespeare Street Nottingham, NG1 4FQ United Kingdom

E-mail: [email protected]; or [email protected] Tel: +44 (0) 115 84 84193