UVOD
LOCUS: Alat za kreativni placemaking – Kako napraviti svoje intervencije?
KORAK 1. S KIM?
Mapiranje i analiza dionika
KORAK 2. GDJE & ZAŠTO?
Procjena prostora i trenutna situacija
KORAK 3. ŠTO MOŽE BITI?
Vizualiziranje željene promjene i dizajna
KORAK 4. PROMJENA
Kratkoročne i/ili dugoročne prostorne intervencije
5. KORAK: PROSLAVA
Vrijeme je za slavlje!
UVOD
LOCUS: alat za kreativni placemaking
Kreativni placemaking alat nastao je kroz Erasmus + projekt Creative place-making – the path to active European citizenship u partnerstvu udruge KA-MATRIX (Hrvatska), Urban Gorillas (Cipar) i Udruge za obrazovanje o kulturnoj baštini u Finskoj (Finska).
Ovaj alat namijenjen je svim organizacijama i udrugama koje djeluju na području aktivizma mladih, neformalnog obrazovanja i kulturne baštine, kao i osobama koje rade s mladima.
Sastoji se od radnih materijala, priručnika i primjera koje možete koristiti prilikom izvođenja svojih placemaking aktivnosti.
Alat je podijeljen u pet koraka pod nazivom “Koraci izrade mjesta”, koji vas na strukturiran način vode od početka do kraja planiranja vaših transformacija.
Ali što je zapravo kreativni place making?
Placemaking je proces stvaranja i/ili transformacije javnih prostora s fokusom na ljude, njihove potrebe i želje, težnje i vizije o zajedničkim javnim prostorima. To je proces u kojem različiti dionici surađuju zajedno s ciljem ponovnog osmišljavanja i ponovnog stvaranja javnih prostora koji će biti otvoreni i dostupni široj zajednici.
Kreativno stvaranje mjesta i tzv. ”Kreativni placemaking” je proces koji uključuje članove zajednice, umjetnike, umjetničke i kulturne organizacije i druge dionike (koje smatrate važnima u ovom procesu) s fokusom na kreativne, kulturne i umjetničke načine preobrazbe javnog prostora.
Naravno, postoje različita tumačenja definicija, ali sva se slažu da kreativno stvaranje mjesta uključuje komponentu umjetnosti i kulture.
Ovaj alat će vam pomoći da naučite kako provesti transformaciju mjesta kulturne baštine (ali i drugih prostora) u radu s mladima.
Ali što danas mladima znači kulturna baština?
Obrazovanje o kulturnoj baštini
Kulturna baština je rezultat ljudskog djelovanja i interakcije s okolišem. Ona može biti materijalna, nematerijalna ili digitalna. Kulturna baština se obnavlja, čuva i prenosi na buduće generacije. Radi se o mijenjanju vrijednosti, uvjerenja, znanja, vještina i tradicija.
Cultural heritage education is a goal-oriented activity that supports the growth and development of people by strengthening their cultural competences and ensuring their inclusion. The aim is to provide everyone with cultural literacy: the knowledge, skills and abilities to identify, define, evaluate, manage and protect cultural heritage and to create new cultural heritage.
The multi-disciplinary exploration of one’s own cultural heritage and the cultural phenomena of humanity as a whole, together with others, broadens an understanding of cultural diversity and strengthens intercultural dialogue. Cultural heritage education strengthens the ability of children and young people to understand the importance of culture for individuals, communities and societies: for overall well-being, sustainability and democracy. It also strengthens the ability to identify silent and difficult cultural heritage and the use of cultural heritage to promote political or other interests.
Cultural heritage education teaches culturally sustainable development and overall sustainability skills. It strengthens the ability to openly and critically evaluate past solutions and the cultural ideals, values and societal developments that underpin them.
Tip: A great tool for starting a discussion on cultural heritage with youth is the Spinner of living heritage: https://www.aineetonkulttuuriperinto.fi/assets/Spinner_EN.pdf
About the Toolbox for creative
place-making for cultural heritage
with youth
The toolbox “Creative Place-making for Cultural Heritage with Youth” consist of five steps:
1. WITH WHOM: Stakeholder mapping and analysis
2. WHERE & WHY: Space evaluation & current situation
3. WHAT COULD BE: Visioning desired change & Design
4. CHANGE: Short term and/or long term spatial Interventions
5. CELEBRATION
The first two steps of the process for Creative Place-making for Cultural Heritage with Youth concern the identification of the software-hardware-orgware[1] interaction triangle.his activity plan consist of questions you need to ask yourselves when implementing the intervention
SOFTWARE
the users, their movement/interaction patterns & their experience.
This is explored in Step 1 “With Whom”
HARDWARE
the built environment, the shaping of buildings and open spaces
ORGWARE
the organization of functions, the daily management of activities including maintenance of the space.
The hardware and orgware are identified in Step 2 “Where & Why”
Oftentimes, the Step 1 “With Whom” and the Step 2 “Where & Why” may be very brief, especially if the reason for initiating the process arises from your interaction with a specific community (in this case you already know WITH WHOM you are co-creating with) or it arises from your interest in a specific location (in this case you already know WHERE & WHY you are starting a creative place-making process).
Cultural agents who wish to use the methodology and process described in the Toolbox Creative Place-making for Cultural Heritage with Youth may eventually decide to switch the order between Step 1 and Step 2, based on the specific case.
[1] Van ‘t Hoff, Mattijs & Karssenberg, Hans & Laven, Jeroen & Glaser, Meredith. (2016). The City at Eye Level. Second and Extended Version.
STEP 1.
WITH WHOM
Stakeholder mapping and analysis
Many place-making projects often start with the question: what are people missing in this neighbourhood, or what do we need to change in this public space to make it more approachable for the wider community?
You can do a mural and some other physical interventions but as well you can honour the area and its rich history and celebrate its culture by music and entertainment involving diverse audiences while contributing to the revitalization of the neighborhood!
Having this in mind you are ready to start now!
To begin with, ask yourself: With whom?
In this first step you need to map and involve your stakeholders – they are people, organization, institutions and others who can help you with your process.
Here are some examples of how you can achieve that:
This toolbox is helping you to transform places with the help of an arts and culture approach and cultural heritage education.
1. MAPPING THE STAKEHOLDERS
(working template/material)
- to build your stakeholder engagement plan
- to understand the extent of engaging your stakeholders
- to coordinate your team, time and money accordingly
TIME TO DO THE EXCERCISE
60 minutes
PEOPLE INVOLVED
5 – 15
TRAINERS
1 – 2
WHAT DO YOU NEED?
- a four-quadrant map (Mendelow’s Power-Interest Matrix)
- sticky notes (to write down the stakeholders)
- pens or markers
EXERCISE:
- Write the names of every stakeholder you can think of on a sticky note (one name per sticky note)
- Discuss with the team how much interest and influence this person or organization has on your project
- Place the sticky note in the appropriate quadrant on your stakeholder map
- At the end, talk again with your team and see if it is necessary to move some of the sticky note from one quadrant to another or is somebody missing from the map
As you start going through this steps, ask yourself and the team this questions:
- Who is interested in having things change (short term and/or long term)?
- Who is willing to participate in some way using their talents or funds?
- Are there any existing funds that could be used to make improvements or can help you to develop the program in this space?
- Are there existing organizations that could provide long-term management for the space? (this is applicable if you are doing the long term intervention)
How to do your
Mendelow’s Power-Interest Matrix
(working template)
Explanation of the categories of the Matrix
The Four Categories
- High Interest/High Influence: these are your key players and should be managed closely. These are the stakeholders who can most impact the success of your project.
- Low Interest/High Influence: as this group can influence your project, you should keep them satisfied; help meet their engagement needs and make them feel involved. This group won’t require as much engagement but they still need to be satisfied with your engagement.
- High Interest/Low Influence: keep this group informed. Talking with them is often helpful for feedback on your project and can help ensure that no major issues arise. They can also help identify areas that could be improved or may have been overlooked.
- Low Interest/Low Influence: this group has little influence or interest in your project and should be monitored, but don’t ignore them. Let them know about your project and then periodically check with them in case anyone in this group moves to another group.
2. NAMING THE PROBLEM:
INTERVIEWS WITH STAKEHOLDERS
(working template/material)
- to understand the different, even contradicting interests of different stakeholders
- to contextualize the challenges of the place / neighbourhood in question
- to practice a deep and analytic approach to a design problem
TIME TO DO THE EXCERCISE
30 + 60 minutes
PEOPLE INVOLVED
5 – 20
TRAINERS
1 – 2
INTERVIEWEES
3 – 10
WHAT DO YOU NEED?
- the stakeholder map (see exercise 1)
- interview template
- pens or markers
EXERCISE:
- Take a look at the stakeholders from the exercise “1.Mapping” and discuss which are the most important stakeholder groups
- Divide into pairs/teams and pick a group of stakeholders that interest you the most. Try to pick as different groups as possible
- Set up an interview with a person from your chosen group of stakeholders. Use the interview template and write down the answers. Try to listen and understand with an open mind
- Regroup after the interviews and shake your findings with the rest of the team
TEMPLATE: Interview questions
STEP 2.
WHERE & WHY
Space evaluation & current situation
- to start differentiating between aspects of your focus space so as to decide which one to focus on
TIME TO DO THE EXCERCISE
45 minutes or more*
PEOPLE INVOLVED
1 – 25
TRAINERS
1 – 2
WHAT DO YOU NEED?
- Smartphones or tablets or digital cameras
- Laptop & projector
- Software to visualize the data
As you have now identified your stakeholders and their general needs you can now begin to work in making those needs more specific and focused. Depending on the groups you decide to focus on, a tool that in most cases can help you do so is photography: it is easy to implement, most people own a smartphone and know how to take pictures.
*(depending on size of group and age)
1. FOCUSING
In order to understand how your focus group experiences the place you are about to transform, you can organize a first activity around two simple questions:
1. What do you like best in X place?
2. What do you dislike most in X place?
It is usually better to start from what people do like in a place so that, given there is a chance to change things, not every aspect of the place becomes rejected. Also, in this way we can emphasize possibly positive aspects that the place may already have and expand them in the process.
It is also advised that the two questions are not addressed on the same day or, if need be, that there is a gap between the two shootings so that the question under focus remains clear.
A short but necessary introduction before taking pictures may include discussion on taking pictures
. both in order to focus on a detail or capture big areas
. of details, areas or things that matter personally to each member of the group – it;s ok to have different ideas about our common space
. while being careful not to include people’s faces or other elements that make them recognizable
2. GROUPING/ THEMATISING
Once everybody’s images are complete these
-
- can be gathered on one device.
- discussed by the group so as to identify groups or themes in the images. This is an important part of the process as many times the reasons for taking a picture either because people like or do not like something may not be readily obvious.
- count the number of images for each theme
- visualize the data
- discuss the data and set priorities
Depending on the priorities set by the group, 1 or 2 specific areas or themes are identified, for example ‘shade’, ‘play’, ‘interruction’ , ‘communication between neighbors’ and so on.
Another way to make the needs of the group more specific and focus the goal of the project is the following:
3. IDENTIFY THE PLACE AND ITS OPPORTUNITIES
(working template/material)
- to identify current place situations
- to identify the opportunities for the place
- to involve the stakeholders in the process
TIME TO DO THE EXCERCISE
30 minutes
PEOPLE INVOLVED
5 – 15
TRAINERS
1 – 2
WHAT DO YOU NEED?
-
- prepared paper with questions
- pens or markers
- stakeholder map from Step 1.
EXERCISE:
1. Make the question paper about the current situation of the place in which you are doing the intervention
examples:
1. Is the place attractive and easily accessible (transportation etc.)?
2. What is the surrounding of the place (what is nearby that people are/can use?)
3. Who lives in this neighborhood?
4. How do I feel in this place?
2. Now you identify opportunities with following questions:
- What do you like best about this place and why?
- Make a list of thing that you would like to improve in this place
- Divide the list in two rows and write: what changes could be made in long term interventions and which one in short term interventions
- Write down the costs for this interventions (add an row)
- Use the stakeholder map from previous step (step 1) and identify who can help you and how (local artists, school teachers, private constructors, politicians, people from the neighborhood etc.)
4. OBJECT – BASED LEARNING
(working template/material)
This “object recognition method” can be used to discuss, remember the things already learned and search for new information. The purpose is not only to find “right” solutions, but to consider for example consumption, the importance of building more and more in life now and in the future. Some of the questions, on the other hand, strengthen empathy skills, arouse curiosity, encourage cross-generational discussion or can serve as a basis for something else, for example creative or artistic work.
The discussion can be carried out, for example, with the help of a 3d image found on the internet, which can be found on e.g. museum websites. Or the group can be given an object to examine and they answer the following questions as accurately as possible. The object can be a building, monument, park, or a place in the nature.
- to strengthen the skills of source criticism and reasoning, encourage the use of imagination
TIME TO DO THE EXCERCISE
60 minutes
PEOPLE INVOLVED
5 – 25
TRAINERS
1 – 2
WHAT DO YOU NEED?
- questionnaire / instructions
- pens, markers, paper
EXERCISE:
Go through these questions / tasks in pairs or small groups. Share your thoughts with the whole team afterwards.
Exploration / sustainable development
1. What is this? Who did this, where and when?
2. Why was this done? For what purpose?
3. How was it made? What was needed to make it?
4. What is it like: shape, color, size and material? Describe the place/building so that even a blind person could “see” it.
5. What is the future of this item? Is it replaceable? Is it necessary?
Intergenerational
6. What does the place tell about its own time, its culture and people?
7. Do you have previous experiences with this kind of building? What kind of experience?
8. What is the value of this? Has it had historical, social, cultural or political significance?
9. Has the value changed during its history? Why? What is thought of it nowadays?
10. Has this building united people, groups, communities?
Imagination
11. Who owned this (gender, age, profession, position in society)?
12. What kind of person made this?
13. What would you like to ask about this item?
Inspiration, e.g. essay, drawing
14. Draw this place.
15. Write a story that includes this place.
16. Create an ad/video reselling it.
17. You have now discussed this place with another person. Make a cartoon out of your conversation. What new things did you learn about each other during this mission?
18. Next, give a speech to another group about this place.
STEP 3.
WHAT COULD BE
Visioning desired change & Design
Based on the research done in steps 1 and 2, it’s now time to start envisioning a change in the place.
Design is problem solving: Imagine the best possible experience you could create with the resources you have!
What would be a good and feasible improvement for all the stakeholders involved in the place we have chosen to alter?
The best way is to design together and take all the different viewpoints into consideration: Remember, that there’s no right or wrong answer to a design problem.
You can use one of the following exercises . In this stage, you have to involve all the people who were participating in the previous steps.
1. VISION PLAN
Let us remember:
1. You have chosen your cultural heritage site in your city, village, or local community.
2. You have asked yourselves why this place is important for you, your neighborhood and people living here.
3. You have identified all of your stakeholders and worked with them.
Now it is time to do your Vision plan- so let’s get started!
Step 1.
Translate your given ideas from previous steps into an action plan
- to identify current place situations
- to identify the opportunities for the place
- to involve the stakeholders in the process
TIME TO DO THE EXCERCISE
one day
PEOPLE INVOLVED
depends on the number of your stakeholders
TRAINERS
1 – 2
WHAT DO YOU NEED?
- pens
- markers
- paper
EXERCISE:
1. Collect all of your previous ideas, photographs and other material that you have
2. Assemble all interested stakeholders into a working group
3. Invite volunteers into the working group
4. Draw a map or maps with your chosen places
5. Ask the working group to rethink all the materials that you have collected and see if you want to add something
Step 2.
Make your Vision plan
1. Draw a Vision plan (be creative- this is creative place-making :). Use a vision poster with different art material and do a fun vision poster of the place you want to have – this is a good exercise if you involve children.
2. Make a video with the shots of how the place looked before and add new and improved things everybody wants to see (this will require somebody who knows how to do video).
3. If you are working with intangible cultural heritage, then try to capture your feelings so you express why this is so important to you, your people, group etc.
4. Do a Powerpoint presentation where you will include all the opinions of the working group
These are just examples. You can use what every creative visualization you like. Just make sure it is visually attractive and everybody can understand it.
Step 3.
Do your summary report
1. Write a short report that summarizes the given results.
2. Do not forget to add specific short and long-term ideas, priorities and partners.
3. Attach this summary report to the Visual plan you have made (because it is not possible to have all of this information in your Visual plan.)
This summary report is very important for planning your next step – Interventions in action!
2. SHORT FILL-IN OPINION CARDS
(working template/material)
- to express verbally and become specific about the particular elements that the group wants to change in the focus space
TIME TO DO THE EXCERCISE
30 – 60 minutes
PEOPLE INVOLVED
1 – 25
TRAINERS
1 – 2
WHAT DO YOU NEED?
- 2 kinds of fill-in cards in different colors
- pens, pencils, sharpies
- smart phones, tablets or digital cameras
You can do this exercise both in case you have implemented the use of photography in Step 2 as well as in the case you have opted not to. If conditions permit it, it is preferable to imbed photography in the project as it is widely reported as enabling participants as young as pre-schoolers to better focus, highlight their experience and articulate it.
In both cases, participants work individually
EXERCISE:
1. Prepare two kinds of cards of two different colors. One, for what participants like in the space and one for what they do not like.
The cards can roughly look like this: (if you like these – download it here)
*If participants have already taken pictures of what they like and what they don’t like in the space:
2. Each participant browses the pictures they have taken and decides which spot or element is the one they most like.
3. Once they decide, have a short discussion on how they can explain why they like it best. Encourage them to avoid responding only with one or two words, but ask them to try to explain to a blind person why they like that particular spot or element. Using examples and analyzing the properties of space or things is particularly helpful. For example, instead of responding with ‘bench’ , one can specify whether it is the color, the material, the position, the direction, the feel, the size, the arrangement, the shape, or even the smell of the bench that makes them particularly like it.
4. Participants fill-in their cards. They can write their names at the back if this is agreed.
*If participants have not taken pictures of what they like and what they don’t like in the space, you may follow the above steps from memory.
5. Preferences as recorded in the cards are announced and discussed with the whole group. Participants can express whether they agree or disagree. At the end of the discussion they can also discuss whether they have changed their mind about a particular element or spot after hearing other people’s explanations on their preferences.
3. INTERVENING ON PHOTOGRAPHS
- to experiment visually with possible interventions
TIME TO DO THE EXCERCISE
60 – 80 minutes
PEOPLE INVOLVED
1 – 25
TRAINERS
1 – 2
WHAT DO YOU NEED?
- Printed photographs of the place taken by participants
- depending on the technique you decide to implement:
color pencils, sharpies, magazines & leaflets, computers,
photo-editing software, glue, paper
One way to start visualizing the kinds of changes participants would like to introduce to the space under focus is to take pictures and directly intervene on them. Depending on the skills of the group as well as available resources, this can be done either by drawing (with various materials); hands-on collages or digital means.
EXERCISE:
1. Participants take photographs of the particular aspect of the place they would most like to change
2. Photographs are printed or made digitally available back to the group. Here, depending on group dynamics, you may decide to provide each participant with the actual photograph they have taken or to shuffle the pictures between members.
3. Participants intervene on the photographs with the chosen means (drawing, collages, digital, or other).
4. The new images are discussed with the group. At this point, they can help start identifying
a) what is the aspect that most needs change
b) why
c) what is feasible according to available resources (budget or other)
4. 3D MODEL ALTERNATION
- visualize what could be
- understand scale and learn spatial thinking
- discuss, plan and work together
TIME TO DO THE EXCERCISE
2 days minimum
PEOPLE INVOLVED
5 – 15
TRAINERS
1 – 2
WHAT DO YOU NEED?
- a map of the chosen place-making site in a certain scale (depending on the size of the site)
- some understanding / approximate measurements of the vertical dimensions of the site e.g. heights of surrounding buildings, trees etc
- material for model building e.g. one-colored cardboard, glue etc
- material for visualizing the future changes, e.g. recycled materials
EXERCISE:
Attach the map of the chosen place-making site on a hard surface, like a piece of cardboard. Make a 3D model of the existing place by measuring the heights of the surrounding elements, such as buildings, trees etc in the right scale. If the shape of the terrain is uneven – there are a lot of height differences – try to also imitate them in your scale model.
When the scale model of the existing situation is finished, the fun part starts. Use for example recycled materials, cardboard or play-dough to design the chances the place needs. Move the items around: The scale model is a good way to test the place-making interventions. Play around, discuss with your group and most importantly try – with the help of the scale model – to visualize how the changes you are planning change the place and space.
Tip: If your place-making site is outside, try to simulate the micro-climate of the place. Where does the sun scorch the hardest? Would that then be the best place for a shade? Or is there an especially windy spot on the site? Maybe not then choose that spot as the palace for sitting and reading a book?
STEP 4.
CHANGE
Short term and/or long term spatial Interventions
We have come to the fourth step – It is time for the interventions. Take your summary plan and get to work.
Remember:
Creative Place-making focuses on cultural activities such as public art displays, outdoor concerts, movies in the park, and installations with art themes!
Having in mind this, you can have short term or long term interventions.It depends on the space you are working on, number of people you have in your team, stakeholders involved and other specifics of your place-making process.
How to do – Short term intervention
Short term intervention in public space often
lasts from 1 – 30 days.
Here are some examples of creative placemaking
interventions:
ACTIVITY PLAN
This activity plan consist of questions you need to ask yourselves when implementing the intervention
1. Who is my implementing team ?
write down names and functions: eg team leader, volunteer coordinator, person in charge for social media and public relations, technical support etc.
2. What are the responsibilities of each team member?
write down the responsibility for each team member mentioned in question 1. and set the name of the activity for them
3. What is the time frame for each activity?
draw your time frame for each activity so everything is well coordinated and every person knows what and when is he/she/they doing
4. What do you need to implement each activity?
name all the things you will be needing while implementing each activity of creative place-making interventions
5. How to get the money for the activity?
write down your finances – think who can help you – local paint store, municipality, local shops, ask for donations, local artists, musicians, coffee shops?
Activity plan table – example:
At the end, the most important question is: What have we done? What was good and what was not? Why?
Evaluate yourself so you can improve your skills and sustain future sustainability!!!
How to do – Long term intervention
To do this kind of intervention you have to involve partners from public, private, non-profit, and community sectors.
It means you are doing a big change in the physical and social character of a neighborhood which will have significant meaning in the cultural life of your town.You can use the same question from the Activity plan from short term interventions BUT you will have much more people involved and much more stakeholders. You will also need much more money so plan ahead.
Examples of long term interventions:
VERY IMPORTANT!
Also, when you are working with cultural heritage you have to have in mind that those places are under the protection of conservators so it will take time to get all the transformation approved! Do not forget to add them on your stakeholder list.
This is the end of this step.
You have done an excellent job.
Now it is time to move to the final step and celebrate, inspire, and be inspired!
STEP 5.
CELEBRATION
… the moment to celebrate!
After using the four previous steps of the toolbox to transform places with a creative approach that emphasizes cultural heritage, it is now the moment to CELEBRATE!
A process following the philosophy of place-making emphasizes the importance of celebration, as the first opportunity to mark the closure of the project and acknowledge the community efforts. This step will increase the sense of ownership and sense of belonging for the children and youth that you have worked with. Celebrating their achievements and the fact that they have accomplished something by working jointly, enforces the community aspect of the project and the potential for further collaboration.
The celebration can take the form of a day’s event inaugurating the project, celebrating the results together, and revealing them to the wider community of the place you transformed.
Here are a few suggestions for the celebration;
- The timing of the celebration has to be done soon after the creation work concludes when the excitement and energy of the youth are high
- If you choose to host an event, make sure you invite representatives of your stakeholders (mapped during step 1) and the individuals that contributed in other steps of the process
- Acknowledge the contribution of each and everyone involved and spend time thanking each other
- Present a before/after documentation of the place (using photos and storytelling)
- The celebration can involve food and drink sharing while inviting the children or youngsters, the guests, and other contributors to experience the new features of the place (benches, equipment, art installations, etc.)
- Capture the feelings of the participants by providing a large canvas or big surface where people can paint, draw, and write notes and wishes. Alternatively, you can invite the children and youngsters who participated in the project to write Letters of Appreciation
PUBLISHER
KA-MATRIX
Association for social development
Jurja Haulika 22.
47 000 Karlovac
Croatia
email: info@ka-matrix.hr
web: www. ka-matrix.hr
FB: https://www.facebook.com/UDRUGAKAMATRIX
PARTNERS:
SUOMEN KULTTUURIPERINTÖKASVATUKSEN SEURA RY
Association of Cultural Heritage Education in Finland
Hallituskatu 2 B,
Business ID: 2148270–7
00170 Helsinki
Finland
email: info@kulttuuriperintokasvatus.fi
web: kulttuuriperintokasvatus.fi
FB: www.facebook.com/kupekasvatus
URBAN GORILLAS
78 Vasileos pavlou
1021 Nicosia
Cyprus
AUTHORS:
KA- MATRIX:
Manuela Kasunić & Denis Mikšić
SUOMEN KULTTUURIPERINTÖKASVATUKSEN SEURA:
Eeva Astala & Ira Vihreälehto
URBAN GORILLAS:
Despo Pasia & Marina Kyriakou
IMAGES & ICONS:
private archive | freepik.com | flaticon.com
DESIGN:
Studio Ratković
This website reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
