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Cross  Innovation    

A  Report  on  Local  Best  Practice      ‘Innovation  consists  of  the  successful  production,  assimilation  and  exploitation  of  novelty  in  the  economic  and  social  spheres.’1    ‘By  the  term  cross   innovation  we  understand  a  process  by  which  creative  industries  share  information,  collaborate  and  work  with  other  growth  sectors  to  promote  new  thinking.’2      What  is  Cross  Innovation?    Cross  Innovation  (www.cross-­‐innovation.eu)  is  a  project  exploring  collaborative  and   user-­‐driven   industrial   partnerships   that   occur   across   industrial   sectors,  organisational,  technological  and  geographic  boundaries.  The  focus  of  the  project  is  on  the  creative  and  cultural   industries   in  particular  and  concerns  the  kind  of  policies,   practices   and   support   measures   that   enable   cross   innovation   and  creative  spillovers  between  this  sector  in  relationship  with  other  industries.  As  a  result   of   this   exploration,   the   project   seeks   to   collate   insights   and   to   build  resources  that  will  aid  in  the  further  promotion  of  cross  innovation  as  a  means  of  aiding  the  economies  and  cultural  circumstances  of  project  partners.    The  project   partners   comprise  11  European   cities  where   ideas   and   realities   of  cross   innovation   can   be   explored:   Birmingham,   Amsterdam,   Rome,   Berlin,  Tallinn,   Warsaw,   Vilnius,   Stockholm,   Linz,   Lisbon,   and   Pilsen.   In   considering  cross  innovation,  each  of  these  partners  has  a  role  to  play  in  promoting  practices  for  local  and  regional  policy  agendas  across  Europe.    The   objectives   of   the   project   in   informing   practice   aim   to   break   down  compartmental  or  ‘silo-­‐thinking’  that  sometimes  characterizes  relations  (or  their  absence   thereof)   between   departmental,   sectoral   and   technological   borders   -­‐  both  in  industry  and  in  policy  making.  Working  towards  the  achievement  of  this  goal,   the  project  promotes  greater  collaboration  between  policy  makers  as  well  as   the   development   of   flexible   and   demand-­‐focused   support   instruments.  

                                                                                                                         

1  http://europa.eu/legislation_summaries/other/n26021_en.htm  2  From:  Appendix:  Cross  Innovation  Factsheet  

 

                             

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Objectives   build   upon   a   research-­‐base   that,   for   the   project’s   initial   phases,  examines   existing   and   innovative   local   practices   that   enable   cross   innovation  and  indeed,  the  very  understanding  and  conceptualization  of  this  concept.    Reporting  on  local  cross  innovation  practices    Project  partners  have  solicited  details  of  44  projects  that  are  taking  place  in  their  locality   and  which   investigate   and   evidence   ‘best   practice’   in   cross   innovation.  The   aim   of   this   report   is   to   survey   the   knowledge   base   presented   in   these  various  case  studies  as  a  means  of  generating  reflection  on  the  meaning  of  cross  innovation  and  the  variety  of  ways  in  which  the  project  partners  and  the  projects  they   have   consulted   with   have   conceptualized   its   meaning   and   manifestation.  This  exploration  has  been  guided  by  four  themes  that  have  been  formulated  as  a  means   of   thinking   about   ways   in   which   cross-­‐innovation   might   work.   These  themes  are:    Smart   Incentives.   This   theme   refers   to   innovative   modes   of   finance   that   by  design,   or   as   a   consequence,   trigger   cross-­‐collaboration.   For   instance,   these  incentives  might  take  the  form  of  vouchers,  crowd  funding,  and  research  grants  or  ‘in-­‐kind’  contributions  of  resources.    Culture-­‐based   Innovation.   This   theme   refers   to   ways   in   which   practices   and  thinking  characteristic  of   the  creative  and  cultural   industries  are   introduced   to  the  public  sector  and  other  industries.      Brokerage.   This   theme   refers   to   services   offered   by   agencies   that   facilitate  connections   between   sectors   and   individual   firms   where   none   previously  existed.    Spatial  Cross-­‐Collaboration.   This   theme   refers   to  methods   for   supporting   cross  innovation   in   spatial   terms.   This   might   take   the   form   of   co-­‐working   spaces,  incubators,   ‘Fab-­‐Labs’,   science   parks   or   formal/informal   local   clusters   of  businesses.    While  project  partners  champion  practices  characterized  by  these  themes,  each  is   engaged   in   the   project   in   order   to   better   understand   the   potential   of   cross  innovation.   This   report   is   a   means   of   exploring   this   process,   sharing   best  practice,  attending  to  local  conditions  and  exploring  the  transferability  of  ideas.      In   this   evaluation   then,   consideration   has   been   given   to   potential   ‘gaps’   and  modes  of  categorizing  the  work  captured   in   the  case  studies   that  might  aid  the  ultimate  purpose  of  promoting  cross  innovation  as  a  means  of  informing  policies  

 

                             

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and   planning   for   the   creative   sector   and   for   cross   innovation   across   partner  cities  and  the  EU.    To  further  learn  about  these  themes,  the  partnership  has  initiated  a  participative  programme   of   experience   exchange   events,   including   ‘cross   innovation   policy  clinics’  to  improve  local  initiatives.  In  addition,  ‘cross  innovation  with  SMEs’  runs  throughout  the  project.  It  examines  how  local  support  can  enable  companies  that  operate  in  co-­‐working  spaces  and  incubators  to  collaborate  in  order  to  develop  their   products   and   services   for   other   markets   and   overcome   EU   market  fragmentation.    The  report  has  been  written  as  a  public  document  that  allows  for  non-­‐specialised  audience  assessment  and  responses  as  well  as  feedback  from  project  partners  as  well  as  those  behind  the  case  studies  represented  here.  It  seeks  to  ‘think  through’  the   nature   of   cross   innovation   and   the   variety   of   ways   in   which   these   case  studies  represented  here  speak  to  and  test  the  central  premise.  In  this  sense,  the  report  is  very  much  a  working  document  and  the  author  welcomes  suggestions,  corrections  and  critique  as  a  means  of  developing  the  role  of  this  analysis  in  the  project  and  its  wider  purview.    Generating   and   interpreting   cross   innovation   case  studies    Sourcing  and  presenting  case  study  information    There  are  a  number  of   issues  to  acknowledge  here  that  underline  the  nature  of  this   report   as   an   early   assessment   of   the   cross   innovation   enterprise.   As  mentioned,   44   case   studies   have   been   collected   across   each   of   the   11   partner  cities.  In  each  case,  a  partner  institution  has  identified  a  project  and  explored  its  details   through   the   completion   of   an   information   collection   template.   In   each  case,  the  questions  posed  asked  for  details  about  the  project:   its  title,   inception  date,  the  names  and  details  of  project  partners  involved  and  the  character  of  the  work  in  which  each  is  involved.  Projects  were  scrutinized  in  terms  of  the  issues  or  problems  each  sought  to  address  and  the  degree  to  which  they  addressed  ‘silo  thinking’  and/or  helped  to  nurture  ‘spillovers’  between  sectors.  In  each  case,  the  project   partner   responsible   considered   the  nature  of   innovation   characterising  the  project   in  relation  to   the   four  guiding  themes  of  space,   finance,  culture  and  brokerage.     Finally,   each   partner   considered   how,   based   upon  what   had   been  achieved  thus  far,  the  case  and  collaboration  might  be  developed  and  improved.    The  source  material  for  all  44  case  studies  can  be  found  on  the  project  website.  In  this  instance,  given  the  apparent  variety  between  presentations,  the  first  aim  

 

                             

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has   been   to   extract   and   present   salient   details   in   each   case.   These   re-­‐presentations   attempt   to   account   for   all   of   the   contributions   in   as   transparent  and  readable  a  fashion  as  possible.  Any  unevenness  in  the  amount  of  detail  can  be   accounted   for   in   terms   of   the   degree   to   which   the   cases   address   the   core  themes  of  the  research.    Approach  to  evaluation    Methodologically,  the  approach  taken  has  been  interpretative  and  evaluative.  In  proceeding,  it  is  useful  to  outline  some  challenges  and  issues  of  parity  presented  in   the   gathering   and   interpretation   of   such   a   wealth   of   qualitative   evidence  concerning  cross  innovation  between  creative  and  other  industries.    First,   the   concept   of   the   creative   sector   and   indeed   of   the   boundaries   of  industrial   sectors   has   a   variety   of   meanings   across   the   partner   cities,   for   the  national  bodies  they  work  with  alongside  structures  of  the  EU.  This  is  a  common  feature   of   attempts   to   make   sense   of   the   creative   and   cultural   industries   in  particular,   especially   to   the  degree   that   they   intersect  with  and  diverge   from  a  wider   concept   of   the   knowledge   economy   and   digital   sectors.   Secondly,   the  interpretation   of   cross   innovation   takes   on   a   variety   of   characteristics   in   each  city   in   terms   of   each   project   captured   for   consideration.   Each   case   study  represents  a   local   interpretation  of   the  terms  of  reference  for  cross   innovation.  This  has  generated  examples  where  researchers  have  sought   to   locate  projects  within   the   boundaries   of   the   themes   guiding   the   initial   approach   to   cross  innovation.   Sometimes,   the   result   of   this   approach   suggests   that   the   nature   of  these   projects   seems   either   fluid   –   they   speak   to   a   variety   of   the   themes   -­‐   or  indeed   pose   challenges   for   thinking   of   cross   innovation   in   too   definitive   a  manner  –  it  is  hard  to  see  how  they  fit  in  at  all  in  any  definition  of  the  concept  so  far  conceived.    These   issues   are   discussed   below   in   passing   but   suffice   to   say   here   that   the  interpretative  approach  taken  seeks  to  outline  the  detail  of  each  case  presented  in   order   to   qualify   the   analysis   of   each   case   on   its   own  merits.   This   approach  does   not   seek   to   judge   each   case   study   in   any   absolute   terms  of   its   fit   to   an  a  priori   ideal  but   rather   to  use   empirical  detail   in  order   to   assess   the  utility   and  practice  of  cross  innovation  as  concept  and  term.              

 

                             

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The  primary  questions  guiding  the  analysis  of  this  report  into  these  case  studies  are:    1)  How  have  the  four  key  themes  identified  as  characteristic  of  cross  innovation  been  expressed  or  captured  (space,  culture,  brokerage  and  finance)?  2)  What  kinds  of  ideas  about  innovation  emerge?  3)  What  kinds  of  commonalities  are  discernible  across  the  case  studies  and  how  are  these  balanced  by  overt  distinctions  in  practice,  geography  and  culture?    4)  What  trends  can  be  observed  across  the  case  studies?    5)   Are   there   any   ‘gaps’   in   the   terms   of   the   kinds   of   case   studies   selected,   in  approach  and  themes?  6)  What  questions  are  raised  about  the  utility  of  the  term  ‘cross-­‐innovation’  for  understanding  these  cases  studies?  How  might  it  be  applied  for  thinking  of  policy  and  for  the  procurement  of  creative  services?    The  approach  of  this  report   is  one  of  detail  and  synthesis.  While  mindful  of  the  variety   of   perceptions   of   concepts   of   creative  work   and   cultural   organisations  across  the  partnership,  what  follows  brings  the  case  studies  together  under  the  four   conceptual   themes.   Reports   from   various   partners   sit   alongside   each   in  contrapuntal  fashion,  inviting  comparison.  Where  appropriate,  subheadings  give  a   sense   of   some   thematic   aspects   that   are   discernible   in   the   amalgamation   of  detail.    As   with   the   approach   here   which   seeks   overall   to   test   the   concept   of   cross-­‐innovation,   readers   and   correspondents   will   bring   their   own   comments   and  suggestions  to  bear  upon  this  in  order  to  refine  a  further  iteration.      

 

                             

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Report  and  Analysis    Culture-­‐Based  Innovation    Culture-­‐based   innovation   refers   to   how   practices   associated  with   cultural   and  creative   organisations   and   the   production   of   what   are   understood   to   be  primarily   creative   works   and   processes   are   introduced   into   public   sector  institutions   and   wider   commercial   enterprises   with   a   view   to   triggering  innovation.   What   kinds   of   creative   flow,   inspiration,   innovation   and   practice  have  been  captured  here  then?      Digital  commerce,  technology  and  the  online/offline  experience.    Fits.me  Virtual  Fitting  Room    While  digital  marketing   and  delivery  of   goods  offer  new  economic  models   and  potential   gains   for   producers,   there   are   significant   disparities   between   online  and  offline  worlds  with  regards  to  the  experience  of  shopping  for  certain  items  and  engendering  trust  and  satisfaction  amongst  consumers.  There  are  particular  issues   for   online   apparel   retailers   for   instance   as   this   sector   has   the   highest  return  rate  in  e-­‐commerce  as  an  average  of  1  in  4  garments  brought  online  are  returned  to  retailers.  For  fitted  and  more  expensive  individuated  fashion  items,  the   return   rate   can   reach   40%.  Most   of   the   returns   are   due   to   bad   fit   and   as  fashion  is  seasonal,  such  returns  present  a  very  high  cost  for  retailers.  Summer  apparel,  sold  in  August,  and  returned  in  October,  is  difficult  to  resell  at  any  price.  Fits.me  Virtual  Fitting  Room  is  a  project  that  addresses  this  problem  by  offering  a  virtual  fitting  room.      Fits.me  was  launched  in  2010  and  is  based  in  Estonia  and  London.  It  is  a  private  company  backed  by  Enterprise  Estonia  and   the  Estonian  Development  Fund.   It  emerged   from   a   collaboration   between   partners   with   a   diverse   range   of  expertise  and  skills  including  apparel  design,  graphic  and  user-­‐interface  design,  anthropometrics,   IT,   robotics   and   engineering.   The   Fits.me   technology   was  developed   by   the   Laboratory   of   Intelligent  Materials   and   Systems   at   Estonia’s  Tartu  University  and  The  Centre  of  Bio-­‐robotics  of  Tallinn  Technical  University.  These  organisations  worked  in  international  partnership  with  Human  Solutions  GmbH   –   a   leading   provider   of   anthropometrical   data   in   Germany   and   the  University  of  Bologna,  Italy.      Based   in   biorobotic   and   scientific   algorithms,   the   project   uses   robotic  mannequins   that   are   capable   of   shape   shifting   into   almost   100,000   different  types   of   body   so   as   to   enable   consumers   to   visualise   how   different   sizes   and  styles  of  clothing  might   look  on   their  physique  before   they  purchase  garments.  

 

                             

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Emulating  the  physical  fitting  room,  consumers  are  able  to  see  the  actual  fit  of  a  piece  of  clothing  based  on  their  own  unique  measurements.      From   its   inception,   Fits.me   has   been   an   associated   member   of   the   Tallinn  Creative   Incubator   (see   below)   where   a   culture   of   collaboration   and   cross  innovation   aided   in   its   progression.   Like   this   innovation,   the   incubator  was   in  receipt  of  Estonian  Development  Fund  investment.  This  fund  has  an  objective  of  aiding   the   international   online   presence   and   sales   of   enterprises.   Thus,   this  innovation   and   the   problems   it   addressed   has   been   explored   by   a   range   of  international  clothing  companies  that  have  a  firm  e-­‐commerce  presence  such  as  Barbour,   Pretty   Green,   Otto,   Ermenegilda   Zegna   and   Dunhill.   Significantly,   the  Fits.me   service  has  so   far  been  compared  to  Skype   in   terms  of   its   technological  innovation  and  potential  reach  to  the  26  billion  dollar  online  fashion  market.    Lukáš  Bellada    The  work  of  Pilsen’s  Lukáš  Bellada   can  be  compared  with  Fits.me  here,  as  he   is  expert   in   interactive   surfaces,   augmented   reality   and   computer   game  development.  Bellada  produces  interactive  software  and  hardware  that  reacts  to  human  activities.  Examples  include  the  use  of  virtual  graffiti,  head  tracking  and  avatars,   and   projects   in  which   people   are   able   to   affect   projected   objects  with  their  presence.  His   ideas  are  employed  in  marketing  activities  for  companies  in  which   innovation   is   manifest   in   interactive   and   dynamic   advertisements   that  make   use   of   large-­‐scale   work   spaces   and   which   enable   the   cooperation   of  numerous  people  in  situations  such  as  managerial  meetings.  In  this  instance  it  is  perhaps   the   high   cost   of   this   offer   that   determines   the   degree   to   which   he  advises  that   ‘partners  of  our  enterprise  are  our  clients,  customers  and  all  those  who  create  the  demand  for  our  product.’    Innovating  with  digital  technology,  online  cultures  and  practices    Digital  Life  Sciences  and  the  Maverick  Television  Consortium    We  continue  here  with  a  series  of  projects  that  are  based  in  an  understanding  of  contemporary  online  cultures  and  related  creative  practices  and  applications.  In  the  UK,  Digital  Life  Sciences  Ltd   is  a  Birmingham-­‐based  company  which  designs,  develops  and  distributes  digital  solutions  in  response  to  challenges  in  the  health  sector.  The  challenge  that  it  deals  with  is  that  healthcare  demand  is  outstripping  available   funding   in   the   UK.   Thus,   it   suggests   that   alternative   and   innovative  models  of  healthcare  delivery  are  needed  which  can  improve  upon  the  efficiency  of   traditional   practices,   maintain   quality   and   offer   greater   personalisation   of  services.      

 

                             

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For   this   organization,   an   address   to   current   challenges   lies   in   developing  alternatives   to   habitual   healthcare   processes,   clinical   and   patient   interactions.  Digital  Life  Science’s  products  and  services  take  a  cue  from  contemporary  online  cultural   practices   and   are   specifically   designed   to   break   down   the   barriers  between  healthcare  consumers,  providers  and  staff.  The  aim  is  to  empower  the  consumer   in  order   to  provide   insights   that   change  health  organisations  and   so  feed  transformations  in  the  workforce  and  their  practices.    Digital   Life   Sciences   represents   the   Maverick   Television   Consortium,   which  includes  member  businesses  Clever  Together  LLP,  Illumina  Digital  Ltd.  Maverick  TV,   is   a  media   producer  which   itself   is   innovating   beyond   its   familiar   cultural  boundaries  in  this  and  other  projects.  Since  2008,  the  consortium  has  worked  on  a  number  of  projects  with  the  public  sector  National  Health  Service  (NHS).  This  list  offers  a  wealth  of  evidence  of  how  Digital  Life  Sciences  has  innovated  across  sectors  and  includes:    •  NHS  local  –  the  digital  health  service  for  the  NHS  in  the  West  Midlands;  •   Year   Zero   –   a   TSB   (Technology   Strategy   Board)   programme   to   deliver   an  eRedbook,   (i.e.   an   official   log   which   monitors   childhood   development   and  health);  •  Living  it  Up  –  delivering  assisted  living  in  Scotland;    •  Patient  feedback  apps  –  giving  real  time  feedback  capabilities  to  the  NHS;    •   Personalised   Care   Planning   –   an   online   environment   for   patients   with   long  term  conditions;  •   Performance   and  Opinion   –   an   online   environment   for   patients   to   engage   in  heath  service  performance  in  real  time;  •   Managing   Scientific   Careers   –   an   online   service   to   support   practitioners   to  develop  their  careers.    As  a  result  of  its  activities,  the  consortium  suggests  that  the  health  market  needs  to   catch-­‐up  with   its   ideas,   particularly   from   the  perspective  of  procurement.   It  contends   that,   at   the   moment,   healthcare   commissioning   does   not   offer  incentives  to  clinicians  to  procure  the  kind  of  efficient  digital  alternatives  to  face-­‐to-­‐face   traditional   models   of   delivery   suggesting   that   public   service   health  culture   requires   some   rethinking   in   light   of   the   possibilities   of   contemporary  cultural  practice.    HE-­‐STEM  Interactive  Multi-­‐Touch  Table    The  development  and  use  of  a  piece  of  technology  called  the  HE-­‐STEM  Interactive  Multi-­‐Touch   Table   has   involved   collaboration   between   a   set   of   agents   from  distinctly  different  areas  of  activity.  These  are  Clusta  Ltd    (an  ‘Interactive  Agency’  with  24  employees),  the  University  of  Birmingham  (the  project  owner),  Junction  

 

                             

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Media   Ltd   (responsible   for   content   production)   and   the  National   Space   Centre  (exhibition   partner   and   owner   of   the   project   equipment).   Together,   these  partners   address   particular   issues   for   UK   pedagogical   practice   concerning   the  claim   that   topics   in   Higher   Education   Science,   Technology,   Engineering   and  Mathematics   (HE-­‐STEM)   are   traditionally   poorly   understood   and   presented,  particularly   amongst   pre-­‐University   undergraduate   candidates   (i.e.   teens,   aged  between  14-­‐18  years).      The   technology   is   employed   to   offer   a   dynamic   and   attractive   platform   for  addressing   a   core   teen   audience   and   their   parents/adult-­‐representatives.   It   is  populated  with  bespoke  content  designed  to  speak  directly  to  their  concerns  and  anxieties  as  pre-­‐University  candidates.  This  is  achieved  through  the  presentation  of   topics,  examining  potential  career  paths  and  explorations  of  a  day-­‐in-­‐the-­‐life  of  real-­‐world  advocates  who  have  successfully  pursued  a  career  in  HE-­‐STEM.      Via   the   table’s   50-­‐inch   multi-­‐touch   interactive   interface,   users   can   explore  subjects,   courses,  universities  and  career  options,   as  well   as  view  and   listen   to  the   anecdotes   of   real-­‐world   HE-­‐STEM   professionals.   The   interface   has   been  specifically   designed   for   multiple   users,   thereby   encouraging   sharing   of  information   and   fostering   discussion   about   the   various   courses,   subjects,  advocates  and  so  on.  Users  can  also  elect  to  receive  a  ‘take-­‐home  info  pack’  email  sent  directly  from  the  table  to  their  personal  account.    The   table   then   is   itself   an   innovative   means   of   exploring   and   discovering  information   that,   to   be   effective,  must   elicit   innovations   in   content   design   and  produced   for   use   in   this   format.   Thus,   a   key   aspect   of   this   project’s   cross  innovation  lies  in  bringing  together  technologists  and  designers  who  understand  the   scope   and   function   of   particular   types   of   material   and   its   presentation   in  such  digital  platforms.  Such  experts  comprehend  how  the  table  can  be  effectively  aimed   at   particular   audiences,   taking   advantage   of   contemporary   cultural  consumption  practices.  Likewise,  the  technology  relies  upon  the  expertise  of  HE  experts  in  presenting  their  insights  in  an  engaging  manner  in  the  context  of  this  platform  to  address  potential  users.    SmartGateCargo  The  Game    Amsterdam’s  Schiphol  Airport  is  a  major  transport  hub  for  moving  goods.  Its  aim  is   to   create   a   safe,   innovative   and  undisturbed   chain   for   the   flow  of   the   goods  that  pass  through  the  airport  into  the  Netherlands  and  on  to  other  destinations  by   air.   The   combination   of   growing   cargo   volumes,   mounting   security  requirements   and   ever   more   complicated   government   inspections   poses   new  challenges  for  the  air  cargo  industry.  In  particular  the  increasing  social  pressure  on  inspections  regarding  areas  such  as  security,  food  safety,  animal  health,  plant  

 

                             

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diseases,   strategic   goods   and   environmental   requirements   are   making   the  situation  ever  more  complex.    Dutch  Customs,  Schiphol  Airport  and  Air  Cargo  Netherlands  (CAN)  have  initiated  an   innovative   public-­‐private   collaboration   for   enforcing   border   legislation  referred   to   as   Schiphol   SmartGate  Cargo.   This   allows   for   digital  monitoring   of  cargo  and,  in  the  case  of  perceived  risks,  a  one-­‐stop  physical  inspection  of  goods  leaving  the  EU.      SmartGate  Cargo  has  also  been  translated  into  a  ‘serious  game’  that  draws  upon  the   attractions   of   digital   culture   and   aims   to   create   understanding   and   insight  into   the   operational   chain   of   this   cargo   flow.   Gameplay   demonstrates   the  consequences  of  transporting  ‘green’  and  ‘red’  freight  and  works  also  in  the  guise  of  broker  by  involving  participants  in  new  ways  of  working  and  learning.    SmartGateCargo  The  Game  targets  employees  and  interested  parties  at  Schiphol.  Playing  the  game  offers  players  insight  into  the  workings  of  the  chain  system  and  in   the   benefits   of   using   the   services   of   SmartGate  Cargo.   During   the   game   the  player  must   transport   goods   at   the   airport,  moving   them   from   the   hall  where  they  arrive,  delivering  them  to  forwarding  agencies,  handlers  and  airlines  to  be  shipped  onwards.  Alongside  the  game  are  e-­‐learning  tutorials  for  aspects  of  the  SmartGate  process  such  as  handling  essential  paperwork.    The  benefits  of  SmartGateCargo  The  Game  for  the  player  are  outlined  as  follows:  It  will  show  you  what  the  implications  are  of  missing  information  […]  and  how  you  can   improve   efficiency   […]   increase   your   turnover   […]   and   safety   for   all   parties.    The   game   is   web-­‐based,   free   to   access   and   can   be   played   by   anyone   –   high  scorers  form  a  league  at  its  web  site  (smartgatethegame.nl).  It  was  developed  out  of  the  public-­‐private  cooperation  partnership  that  engaged  IJsfontein  a  specialist  in   interactive   communication   and   media   productions.   This   company  collaborated  in  the  creation  of  this  serious  game  because  of  their  proven  record  of  developing  high  quality  user  driven  interfaces  and  experiences.    Within   three   months   of   its   launch,   almost   4000   unique   visitors   visited   the  SmartGate  The  Game   page  and  played  an  average  of   three   times.  Visitors   came  from  among  others  the  Netherlands,  Italy,  Germany,  France,  Turkey,  Belarus  and  Curacao.  Awareness  of  SmartGate  Cargo   increased  enormously   through  the  use  of   the   game,   and   companies   around   the   airport   became  more   involved   in   the  whole   SmartGate   project   and   are   now   more   open   and   likely   to   manage   the  changes  and  processes  it  represents.        

 

                             

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Sampad    Birmingham’s   Sampad   started   out   in   South   Asian   dance   education   and   has   a  reputation  as  a  community  focused  traditional  arts  organisation.  Recently,  it  has  shown   leadership   among   arts   organisations   by   embracing   digital   technologies,  exploring   their   role   and   function   in   this   sector   and   how   they   impact   upon   its  practices,  working  with  a  range  of  partners  with  expertise  in  this  field.    Digital   technology   is   viewed   as   particularly   valuable   for   finding   new   ways   to  bridge  gaps  between  arts  organisations  and  potential  audiences  and  the  ways  in  which  these  two  groups  might  learn  from  each  other  and  generate  innovation  as  a  result.  For  instance,  the  City  of  Birmingham  has  five  times  more  Asian  residents  compared  to  the  UK  national  average,  the  largest  ethnic  group  within  the  already  diverse   West   Midlands   region.   Birmingham   also   has   a   rapidly   growing  population  under  the  age  of  24  (2001  census  data)  making  it  the  youngest  major  city  in  Europe.  One  context  for  innovation  here  then  lies  in  the  increasing  growth  in  the  use  of  technology,  both  educational  and  socially,  and  the  ways  in  which  it  might  be  employed.  Evidence  such  as  a  claim  by  the  Internet  Advertising  Bureau  for   instance,   that   around   half   the   UK   population   play   digital   games,   suggests  ways   of   engaging   the   young   and   an   ethnically   diverse   demographic,   inviting  them  to  explore  cultural  work  through  such  media  in  a  way  that  is  evocative  and  relevant  to  them.  Examples  of  innovative  practice  inspired  by  these  ideas  include  a   summer   2012   event   called   ‘Mandala’  which   fused   art   and   technology  where  Sampad  worked  with  Seeper,  using  its  state  of  the  art  ‘3D  reactive  architectural  projection   mapping’   in   order   to   create   a   cultural   spectacle.   ‘Radiu5’   was   a  collaborative  data  visualisation  project  with  Substrakt  (see  below)  working  with  young  people  to  produce  a  dynamic  interactive  cultural  map  showing  the  wealth  of  creative  activity  happening  within  a  five  mile  radius  of  the  arts  centre  where  Sampad   is   based.   This   project   has   lead   to   the   creation   of   other   cross  collaborative   community   focused   arts   and   heritage   projects,   such   as   the  forthcoming   ‘My   Route’,   which   focuses   on   migration   shifts   within   a   culturally  diverse  area  of  Birmingham.    So   far,   major   challenges   have   involved   the   integration   of   technology   into  Sampad’s   cultural   values   as   an   arts   organization   and   its   objectives   in   the  development  of   its  projects.   In   this  way,  digital   ideas   cannot  be   simply   ‘tacked  on’  to  its  core  values  and  sense  of  culture;  organisations  such  as  Sampad  need  to  consider   the  digital  practices   that  constitute  contemporary  cultures   in  order   to  properly  speak  with  audiences  and  their  needs.        

 

                             

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Between  the  city  and  the  country:  digital  innovations  referencing  vernacular  space    The  HE-­‐STEM  project  draws  attention  to  the  ways  in  which  interactive  platforms  need  content   formulated  that   is  attentive  to  the  technology  and   its  possibilities  as  well  as  the  expectations  of  its  users.  This  is  a  portable  piece  of  technology  and  content  while  the  next  projects  are  very  much  situated  in  particular  geographies  and  innovate  out  of  vernacular  reference  points.    The  Golden  Square    Substrakt   is   a  Birmingham-­‐based  digital  media  and  design  agency  employing  9  people  that  since  2012  has  been  working  on  a  project  entitled  Golden  Square.  As  technology  provider,   it   collaborates  with  Birmingham  City  Council,   responsible  for   planning   and   architectural   partners   Capita   Lovejoy   and   Bryant   Priest  Newman.   This   project   is   part   of   the   regeneration   scheme   for   Birmingham’s  Jewellery  Quarter  that  has  been  underway  for  over  a  decade.  This   is   the  site  of  the   manufacture   and   trading   of   40%   of   the   UK’s   jewellery   and   is   also   an  important  tourist   feature  of  the  city.  The  historical  centre  of  the  city’s  artisanal  industrial  history,  this  area  is  soon  to  be  earmarked  as  a  World  Heritage  Site.      The  Golden  Square   speaks  to  this  contemporary  activity  and  historical   legacy   in  order  to  form  a  centrepiece  of  the  area,  providing  new  retail  and  leisure  units.  It  offers  a  digital  visitor  centre  bringing  together  heritage  objectives,  spatial  utility  and  design  with  specialised  insights  into  user  needs  from  Substrakt’s  knowledge  of  digital  practice.  Using  the  wealth  of  historical  data  provided  by  Birmingham’s  archives,  museums  and  galleries,   the  consortium  has  created  several   strategies  for  aiding  visitor  experience  and  increasing  numbers,  drawing  attention  to  new  and  existing   local  attractions,  and   linking   the   Jewellery  Quarter  with   them.  The  Golden  Square  visitor  centre  will  make  use  of  space  around  it  by  giving  visitors  the  ability  to  access   information  that  enriches  their  experience  of   the  Jewellery  Quarter  via  touch  screen  terminals.      At  the  centre  of  the  digital  visitors  centre  is  a  technology  platform  called  Urban  Lens,   designed   and   built   by   Substrakt.   Taking   the   principles   of   digital   way-­‐finding,   search   and   info-­‐capture,   the   objective   is   to   provide   a   package   of  information   that   is   personalised   to   the   visitor   and   their   companions,   which,  guided  by  them  through  some  basic  preferences,  provides  them  with  a  means  of  exploring  the  Jewellery  Quarter.  In  turn,  to  influence  future  visitors,  visitors  will  be   able   to   use   the   Centre   to   add   their   own   recommendations   to   a   growing  database,  including  reviews,  suggested  trails  or  notable  historical  facts.        

 

                             

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Smart  Vilnius    Smart   Vilnius   began   in   2012   and   is   an   example   of   cross   innovation   in  communication   between   Vilnius   City   Municipality   and   its   residents.   It   is   a  ‘comprehensive   integrated   virtual   platform   for   various   e-­‐services’    (www.vilnius.lt),   an   informal   space   designed   to   facilitate   the   involvement   of  citizens  into  urban  planning  and  social  development  for  the  city,  collecting  new  ideas.   It   represents   the   collaboration   between   the   city   and   Vilniaus   planas,  Startup  Monthly  Vilnius,  Conference  Login,   IT  &  developers’  companies.  Partners  aid  in  promotion  of  the  project  idea  as  well  as  developing  technical  solutions  for  the  web  and  associated  mobile  platforms.    Smart  Vilnius  provides  a  single  point  of  online  access  to  different  service  sectors,  such   as   archives,   culture,   education,   sport,   youth,   taxes,   preservation   of   green  areas  of   the   city,   services  provided  by   the  neighbourhoods  of   the   city,   services  related   to   construction   works   and   architectural   requirements,   services   for  businesses,   information   on   the   City   Council,   questions   related   to   public   order,  coordination  of  public  events,  and  agricultural  and  environmental  issues.  Smart  Vilnius  is  a  form  of  e–democracy  in  which  users  register  to  the  system  using  e–banking  or  e–signatures  for   identification.   It   is  based  on  an  information  system  which   enables   residents   to   participate   in   decision–making   development   and  implementation,   ensuring   cooperation   between   citizens   and   city   government,  fostering  transparency,  accountability  and  quality  of  decision-­‐making,  promoting  new  forms  of  political  expression,  ensuring  easy  access  to  information  resources  for  citizens.  The  system  also  contains  an  interactive  map  of  the  city  with  a  wide  range  of   information   related   to  urban  planning,   infrastructure,   transport   (road  load,   car   accidents,   traffic   jams,   schools,   permits   for   construction,   designed  buildings,  urban  problem  registry,  3D  models,   outdoor   cafes,  bike   lanes,  public  events,  local  tool  zones  and  animal  walking  places.).    While   the  development  of  such  electronic  services  requires   financial  resources,  effort   and   time,   its   biggest   challenge   lies   in   ensuring   that   the   means   of  communication  established  corresponds  to  the  rapidly  changing  needs  of  social  environment  of  the  city.    MILES    Too   often   perhaps,   the   knowledge   economy   and   digital   culture   are   associated  with   urban   contexts   when   devices,   services   and   creativity   have   a   role   to   play  across   wider   geographies   and   activities.   Applying   digital   innovations   in   rural  settings,   Mobile   Interactive   Landscape   Engagement   System   (MILES)   has   been  produced   in   the   UK   by   Shropshire   County   Council,   a   UK   local   authority   for  government,  working  with  Orangeleaf  Systems  Ltd.    

 

                             

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 The   project   was   prompted   by   the   fact   that   a   key   asset   for   Shropshire   County  Council  is  the  local  landscape,  forming  a  key  part  of  the  cultural  offer  for  visitors  to   the  region.  The  role  of  Orangeleaf   in   this  partnership  was  to  enhance  visitor  experience   using   digital   technologies   to   explore   this   asset   as   well   as   drawing  upon   the   authority’s   historical   archive   and   data.   As   a   result,   the   project   offers  aspects   of   social   gaming   to   aid   explorations   of   the   landscape,   using   reward  systems  and  QR  codes  in  rural  locations  to  link  to  video/audio/images.  As  with  The  Golden  Square,  the  aim   is   to  enhance   the  visitor  experience,   linking   to  data  and   push   notifications   to   mobile   phones   in   order   to   encourage   more   visitor  spend  as  well  as  longer  and  repeat  visits.  Beyond  its  local  application,  the  project  has   so   far   engendered   interest   from   the   UK   organisations   Wildlife   Trust   and  National  Trust.    The  particular  challenges  to  this  project  have  been  opening  out  local  government  controlled   data   sets,   and   addressing   the   legal   implications   of   this   process   and  indeed   the  degree   to  which   the  culture  of   social  media   is  able   to  play  a   role   in  local   government,   going   beyond   the   demands   of   the   immediate  MILES   project.  Some   measure   of   success   in   the   potentially   transformative   nature   of   such  practices   are  marked   in   the   use   of   QR   codes   and   social  media  which   has   now  been   embedded   within   the   local   authority   plans   to   roll   out   to   its   policy   and  planning   in   transport   and   building   control.   From   a   limited   base,   Shropshire  County  Council  now  has  30  Facebook  pages  and  10  Twitter  accounts  with  7,000  followers.   In   this   case   then,   the   forms   and   cultural   integration   of   social  media  activity   have   been   introduced   to   organisations   and   places   where   they   were  largely  absent  and  so  are  now  ready  to  meet  with  the  expectations  of  visitors  and  citizens  in  the  area,  already  conversant  with  such  technologies  and  applications.    The  CulturApp.    A   further  UK-­‐originated   innovation   that  makes  use  of   vernacular   references   to  culture   and   geography   is   the   CulturApp.   This   is   a   location   aware   mobile  application   that   is   designed   to   deliver   cultural   content   about   Charles   Dickens.  Based  upon  a  choice  of  characters,   the  app   leads  users  on  an   individuated  trail  around  sites  in  London  which  are  mentioned  in  Dickens  works  and  which  follow  particular   themes.  The  Artful  Dodger   from  Oliver  Twist   leads   a   trail   related   to  childhood,  whilst  Abel  Magwitch  from  Great  Expectations  leads  a  trail  on  crime  and  punishment.  Samuel  Pickwick  leads  a  tour  around  Victorian  London’s  food,  drink  and   leisure  sites  and  Bleak  House‘s  Lady  Dedlock  guides  users  to  sites  of  relevance  to  women.      

 

                             

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The  app  has  been  developed  in  partnership  with  the  Charles  Dickens  Museum   in  Bloomsbury,  as  part  of  a  London  Cultural  Quarters  project.  Technology  providers  were  Seren  Partners,  a  digital   agency  while  MTM  Research   aided  with   research  into  the  users  of  the  app.  The  project  was  underwritten  by  funds  from  the  Arts  Council  of  England  (ACE)  and  the  National  Endowment  for  Science,  Technology  and  the  Arts  (Nesta).  Nesta’s  initiative  parallels  the  Cross  Innovation  project  as  it  brought  together  arts  and  cultural  organisations  with  digital  providers  in  order  to  aid  its  prompting  of  research  and  development  in  this  sector.      This  project  was  achieved  in  a  narrow  window  of  around  6  months  from  R&D  to  working  app,  in  order  to  take  advantage  of  the  bi-­‐centenary  of  Charles  Dickens’s  birth,   which   fell   in   2012.   Large   numbers   of   visitors   were   expected   in   London  during  that  year,  thanks  to  the  jubilee  and  Olympics,  who  would  want  to  interact  with  the  archive  content  curated  by  Exhibition  Road.    Cultural  values  and  innovation    Luckywaste    While   the   size   of   the   fashion   market   addressed   by   projects   like   Fits.me   are  testament   to   the   potential   scale   and   rewards   of   such   commercial   enterprises,  other   innovations   have   a   more   boutique   quality   and   work   with   a   consciously  smaller   focus.  A  signal  example   is  Luckywaste  of  Pilsen,  which  works  with  Bery  Designer   and   Pa3.   This   project   should   be   understood   in   terms   of   the   cultural  values   that  underpin   the  approach   to  practice  and  development,   as  well   as   the  relationship   of   business   and   consumer.   Luckywaste   appropriates   discarded  material  and  ‘upcycles’  it  into  a  luxury  product.  The  rationale  is  that  this  stands  in   ‘opposition   to   large,   unindividualised   companies,   against   the   uniform   fashion  style  of  the  young  population,  and  helps  emphasize  the  beauty  of  natural  materials  and  carries  an  ecological  aspect  as  well  […]  from  the  minimum  we  can  create  the  maximum.’  Under   this   ethos   for   instance,   glass   bottles   are   used   in   a   variety   of  ways   to   produce   jewellery,   interior   objects   and   interactive   visual/sound   art  installations  of  all  sizes.      John  Altman  Cookies    John  Altman  Cookies   is  a  Dutch  initiative  to  place  alongside  Luckywaste   in  terms  of  understanding  the  relevance  of  its  ethical  basis  to  its  sense  of  innovation  and  indeed  the  collaboration  of  groups  that  would  normally  be  seen  as  diametrically  opposed.   The   project   emerged   from   a   chance   encounter   between   one   John  Altman,   a   San   Francisco   hippie   and   two   Dutch   advertisers   Hajo   de   Boer   and  Onno  Lixenberg.  The  Dutchmen  were  inspired  by  the  fact  that  Altman  and  friend  were   handing   out   cookies   at   the   beach,   not   in   order   to   feed   people   but   to  

 

                             

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promote   a  philosophy  of     ‘Spread   the   love’.   The   two  advertisers  were   inspired  enough   to   franchise   a   recipe,   collaborating   with   a   prestige   Dutch   bakery   to  produce  the  same  cookies,  which  were  marketed  under  the  ethos  of  ‘Spread  the  love’.   As   the   case-­‐study   researchers   report:   ‘The   innovators   didn’t   apply   a   very  formal  innovation  process.  They  predominantly  followed  their  heart,  they  relied  on  their   ambition,   enthusiasm   and   intuition,   and   they   ‘spread   the   love’.   They  deliberately   didn’t   use   standard   methods   of   market   research   or   common  innovation  processes  because  they  feared  that  it  would  stop  special  initiatives.’      The  cookies  are  100%  natural  and  produced  under  the  conditions  of  fair  trade,  to  some  degree  emulating  the  appeal  of  products  such  as  Ben  and  Jerry’s,  Innocent  and  other  types  of  product  with  integrity,  which  appeal  to  a  particular  mode  of  consumption.   Currently   they   are   promoting   new   products   such   as   wine   and  books  as  well  as  engaging  the  customer  base  to  contribute  to  good  causes  and,  by  their  engagement,  directing  the  John  Altman  organisation  in  doing  the  same.    Bee  Urban    Bee   Urban   is   a   social   enterprise   founded   upon   environment   consciousness   in  2011   by   biologists   Karolina   Lisslö   and   Josefina   Oddsberg.   Their   purpose   is   to  spread  awareness  and  knowledge  about  pollination  and  bees  and  their  impact  on  the  local  as  well  as  the  global  scale.  With  the  motto  that  ‘There’s  no  business  on  a  dead  planet’,  they  point  out  that  nearly  76  percent  of  what  we  grow  to  eat  within  the   EU   and   84   percent   of   the   vegetation   is   pollinated   by   insects.  However,   ‘In  recent  years,   it  has  been  reported   from  parts  of   the  world   that  bees,   to  a  greater  degree   than   usual,   began   to   disappear   or   die.   USA,   Italy,   Canada,   France   and  Germany   have   been   hit   very   hard.   In   Sweden   we   lost   about   25   percent   of   the  colonies  2009/2010.  If  the  bees  disappear,  we  would  not  have  access  to  either  fruits  or   vegetables,   and   meat   prices   would   probably   rapidly   increase.  (www.beeurban.se).    In  order  to  raise  consciousness  and  to  do  something  practical  about  the  parlous  situation  facing  the  bee  population,  Bee  Urban  offers  sponsorship  of  beehives  to  companies   in   the   urban   environment.   Designer   hives   are   placed   primarily   on  rooftops  around  the  city  of  Stockholm,  either  on  the  property  of  the  sponsor  or  locations  that  Bee  Urban  has  sought  out.  Bee  Urban  caters  for  the  upkeep  of  the  hives  and  the  honey  is  accrued  by  the  sponsor.  The  honey  is  packaged  in  a  format  that   conveys   the   sponsor’s   role   in   helping   the   environment   in   a   positive,  innovative  and  tangible  manner.    Alongside   sponsorship   of   hives,   Bee   Urban   offers   the   adoption   of   bees   in   an  already  existing  hive,   to  aid   in  maintaining   local  pollinators.  Adopters  get   their  names  placed  on  Bee  Urban’s  Google-­‐map  as  a  means  of  identifying  the  support  

 

                             

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for   this   work;   Bee   Urban   also   offers   lectures   and   seminars   on   bees   and  pollination,   ecosystem   services   and   sustainable   urban   development   for  companies.    Bee  Urban  has  collaborated  on  an  exhibition  with  Ekoteket,  with  assistance  from  the   County   Administrative   Board   of   Stockholm   and   from   Environment   Facility  Stockholm  County  Council  and  the  City  of  Stockholm.    Street  Musicians’  Day    Vilnius’   festival  Street  Musicians’  Day  blurs   the  boundaries  between  performers  and   listeners   by   inviting   everybody   to   play   music   in   public   areas.   It   is   a  collaboration  between  Vilnius  City  Municipality,  mobile  connection  and   internet  provider   Omnitel,   WebTemple,   insurance   company   draudimas.lt,   BrandWorks,  MediaPark,  and  Coffe  Inn.    The  open  and  democratic  format  of  the  festival  has  been  one  of  the  reasons  for  the   rise   in   its   popularity   since   2007.   The   age,   music   style,   social   status,  professionalism  and  other  subjective  or  objective   factors  of   the  performers  are  seen  as  unimportant.  The  goal   is   to   fill   the   city  with  music   sounds  and   involve  everyone   in   playing.   The   festival   is   an   example   of   highly   efficient   social  marketing   techniques  where   the   idea   to   take  part   in   the   festival   is   shared   and  spread  among  city  community  members.    Each  year  the  festival  organisers  launch  an  interactive  map  of  Lithuanian  cities  in  order  to  coordinate  distribution  of   the  city  areas  and  the  times  of  performance  for  hundreds  of  musicians.  The  festival  is  an  example  of  cross  innovation  in  the  use   of   artistic   content,   social   and   viral   marketing   and   efficient   usage   of   IT  solutions  for  coordinating  a  large-­‐scale  cultural  event.    The   festival   has   become   one   of   the   most   successful   projects   of   the   Vilnius  European   Culture   Capital   2009   programme.   Its   increasing   popularity   and  potential  to  encourage  people  to  play  music  in  public  fosters  social  and  cultural  citizens’   interaction.     It   also   serves   as   an   important   example   of   the   power   of  social  communication  and  city  branding.    The  Street  Musicians’  Day  has  been  actively  replicated  in  other  Lithuanian  cities.  It   has   also   been   “exported”   to   other   countries   and   is   being   organised   in   Riga,  Tbilisi,  and  Minsk  every  year.  The  festival  has  become  a  recognisable  part  of  the  Vilnius   brand   itself,   where   its   highly   democratic   concept   has   been   “exported”  East,  to  the  countries  of  Belarus  and  Georgia.      

 

                             

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Creative  synergies    Native  Instruments    Based   in   Berlin   and   Los   Angeles,   Native   Instruments   is   a   manufacturer   of  software   and  hardware   for   computer-­‐based  audio  production  and  professional  DJing,   employing   over   300   people.   Renowned   as   a   strong   brand   that   connotes  quality,   the   company   deals   in   a   niche   market   and   has   become   most   popular  amongst  electronic  music  creators  and  consumers.  Since  it  was  founded  in  1996,  Native   Instruments   has   innovated   in   audio   technology   and   the   production   and  computer  manipulation  of   sound  and  has   inspired  genres  and   impacted  on   the  ways  in  which  people  create  and  perform  music.    Native  Instruments   brings   together   specialists   from  different   fields   to   create   its  products  and  services  for  the  international  music  scene,  allowing  them  to  play  a  central   part   within   the   process,   rather   than   asking   them   to   act   as   ancillary  technology   providers   or   services.   The   company   liaises   with   artists   such   as  producer,  DJ  and  Minus   label   founder,   techno   icon  Richie  Hawtin  and  musician  and  singer  Jamie  Lidell.  The  feedback  and  needs  of  such  artists  is  integrated  into  the  conception  and  continuous  improvement  of  products.      Alongside   the   artists   who   use   the   products,   the   company   works   with  professionals  from  various  fields  of  expertise,  amongst  those  are  product  design,  hardware   manufacturing,   electrical   engineering,   software   development   and  interface   design.   Its   portfolio   is   organized   into   three   product   brands   and  interdisciplinary  teams  are  structured  around  them,  working  together  to  create  innovative  products  and  solutions  that  can  be  quickly  realized  and  tested  in  the  market.  In  this  way,  Native  Instruments  has  become  one  of  the  leading  companies  for   music   instruments   and   software,   contributing   to   the   character   of   Berlin’s  nightlife  and  indeed,  to  the  global  music  scene.    Cross  Innovation  from  within  the  culture  of  organisations    Slamp  and  Leading  Light    Many   cases   in   this   review   demonstrate   the   complex   interactions   between  companies,   foregrounding  where  and  how  cross   innovation  occurs  and   indeed,  under   this   theme,   the  nature  of  how  cultural  work   is  done   in   conjunction  with  enterprises   usually   seen   as   quite   distinct   from   that   category.   The   example   of  Slamp  suggests  that  we  might  also  consider  how  cross  innovation  can  be  brought  to   bear  within   companies.   It   is   a   Rome-­‐based   company   established   in   1994.   It  describes   its   innovative   Leading   Light   project   in   tones   redolent   of   what   is  expected  of  brokerage  service  (see  below)  as  ‘a  model  of  bridge  building  between  

 

                             

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different   activities:   design,   production,   materials,   and   communication.’   In   fact,  Slamp’s  positioning  of  cross-­‐innovation  ideas  is  articulated  within  culture-­‐based  innovation  in  a  very  particular  manner  and  embodied  in  the  figure  Nigel  Coates  and   the  way   in  which  he   imported  a   sensibility   from   the   cultural   sector   to   the  company.    Slamp’s   partnership   with   Coates   began   in   2006   when   he   was   Head   of  Architecture  at   the  Royal  College  of  Art   in  London  and  he   is  now   in  a  position  with  the  company  as   its  arts  director.  Coates’  profile  at  Slamp’s  website  gives  a  sense  of  how  he  himself  embodies   ideas  of  cross   innovation  as  a  quality  within  the   organisation.   Described   as   ‘one   of   the   few   English   architects   who   is   also  renowned  as  a  designer’.  His  first  success  came  about  in  Japan,  where,  during  the  80s   and   90s,   he   designed   more   than   twenty   buildings   and   interiors.   Coates  subsequently  built   a  wide   range  of   shops,   restaurants  and  museums   in  Europe  and   Great   Britain,   including   the   National   Centre   for   Popular   Music   and   the  Geffrye  Museum.    Coates’s   furniture   design   and   objects   in   glass,   like   those   for  Hitch  Mylius   and  Salviati,   are  described  as  playing  with  association  and  context  and  merge   their  stylistic   references   into   sensual   flowing   forms.  The   role   of   the  partnership  has  been   to   reinvent   the   design   orientation   of   the   company.   Slamp   has   translated  Coates’   inspirations   into  actual  production   features,  broadening   its  activity  and  market  purview.   In  addition,   it  has   fostered  the  development  of  a  creative  staff  composed   of   young   people   from   the   Rome   area.   As   in   its   apparent   address   to  ideas   of   brokerage,   Slamp   is   therefore   one   of   those   multi-­‐faceted   enterprises,  which   covers   several   bases   of   cross   innovation   ideas   as   well   as   suggesting  additional  themes.  Slamp  is  investing  strongly  in  the  education  of  what  it  calls  a  new  creative   class  by  applying   the   lessons   learnt   in   its   own  development  with  Coates.  It  has  set  up  an  office  comprised  of  young  designers  and  communicators,  creating  a  model  for  breaking  the  kind  of  ‘silo  thinking'  that  it  has  grown  out  of  by  cultivating  an  interaction  of  different  'cultures':  design,  industrial  production,  and  communication.    Managing  image  and  promoting  services  online    Warsaw    Several  case  studies  from  Warsaw  involve  collaborations  between  organisations  and   designers  where   the   latter   have   applied   their   understanding   of   aspects   of  promotion   and   online   culture   to   support   services   and   products.   CoWork,   for  instance,   is   an   organization   which   suggests   that   the   kind   of   experience   and  service  it  provides  is  relatively  underdeveloped  in  Poland  and  in  fact  also  speaks  to  aspects  of  the  provision  of  space  for  cross  innovation  and  brokerage.  It  is  a  co-­‐

 

                             

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working   space   that  provides   its   clients  with  unlimited   Internet  access  as  well   as  with  the  possibility  of  working  in  an  Open  Space  system.  Further,  it  gives  a  virtual  address   that   may   be   used   to   register   one’s   company.   It   also   provides   reception  support  service,  training  and  conference  rooms,  and  an  open  bar,  as  well  as  the  so-­‐called  Chillout  Zone,  where  it  is  possible  to  relax  and  talk  to  other  co-­‐workers.    CoWork  collaborated  with  website  creators  Enysoft  in  order  to  produce  an  online  system   for   booking   physical   space   and   services:  One   of   the   assumptions   of   the  project   was   to   present   the   co-­‐working   environment   as   a   creative   setting   for  business  […]  The  website  strengthens  the  image  of  the  CoWork  brand  as  a  creative  place,   which   translates   into   new   users   and   thereby   into   a   greater   flow   of   ideas  between  the  partners  and  users  of  the  CoWork  office.      Libero   Sp.   z   o.o.   is   a   ‘power   engineering’   company   employing   40   individuals,  which  produces  wood  pellets.  It  worked  with  Zstudio  to  produce  a  new  website,  a  company   which   designs   both   graphics   and   creates   tools   for   online   content  management   which   ‘enable   self–reliant   construction   of   interior   structure   (e.g.  creating  individual  menus)  and  swift  actualization  of  a  website’s  content.’    As  with  other  examples  of  collaborations  of  this  kind,  innovation  was  located  in  terms  of  development   of   the   lead   company’s   image.   In   this   instance   the   aim   was   to  generate  interest  amongst  Internet  users  into  the  work  of  Libero,  identifying  the  value   of   the   wood   pellets   and   their   environmentally   friendly   qualities,   and  attracting   new   trading   partners   including   foreign   clients,   heat   distribution  companies,   households,   municipal   services   departments   and   public-­‐utility  facilities.     Thus,   ‘a   friendly   layout   for   the  website,   in   shades   of   green,   positively  influences  the  perception  of  the  company.’    Polpharma   Biuro   Handlowe   Sp.   z   o.o.   (Polpharma   Trading   Bureau   Ltd)   is   a  biotechnology   company.   They  worked  with   Huddleston   Associates   in   order   to  develop   design   and   packaging   for   ‘Acidolac   Baby’   a   medicine   designed   for  children.   Generic   issues   for   such   companies   in   such   instances   are   identified   in  candid   fashion,   ‘medicine  supporting  the   functioning  of   the  gastrointestinal   tract  for  infants  is  not  a  popular  medicine.’  Essential  treatments  for  children  in  distress  are   welcome   products   yet   full   of   negative   connotations.   The   key   challenge   is  therefore   one   of   communicating   with   customers   with   ‘A   coherent   marketing  message   and   well-­‐designed   packaging   that   translates   into   the   image   of   the  company  as  ‘warm’,  translates  more  or  less  indirectly  into  good  company  financial  results.’    Thus,  the  associate’s  role  was  to  ameliorate  public  opinion  and  concern  about   such   products,   developing   packaging   that  would   impact   upon   consumer  attitudes.        

 

                             

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Spatial  Cross-­‐Collaboration  and  Innovation    Regular   features  of   contemporary  cultural  policy  and   the  management  of  post-­‐industrial   urban   economies   are   initiatives   that   seek   to   generate,   attract   and  sustain   local   creative   economies   which   are   often   coupled   with   interventions  aiming   to   cluster   businesses   together.   This   clustering   sometimes   happens   in  ‘organic’  manner  as  like-­‐minded  businesses,  competing  or  complementary,  come  together  to  inhabit  particular  spaces  and  to  mark  out   ‘creative  quarters’.  A  pre-­‐meditated  deterministic  approach   resulting   from  policy  decisions   is  predicated  on  a  faith  in  the  virtues  to  be  gained  by  placing  businesses  in  proximity  to  each  other,   that   this   concentrates   expertise   as   well   as   nurturing   networking   and  collaboration.    It   is  usual   in  such  instances  that  soft   infrastructural  resources  such  as  business  advice,   training  and   the  active  attention  of   a  variety  of   interested   stakeholders  such   as   local   government,   universities   and   businesses   from   other   sectors,  support   the   earmarking   of   physical   space   for   the   creative   economy,   often  alongside  other  cultural  offers  of  an  experiential  nature.  As  a  consequence,  such  sites   are   particularly   important   in   understanding   the   concept,   realities   and  possibilities  of  cross  innovation.    In  the  case  studies  offered  below  by  partners  from  Tallinn,  Rome,  Lisbon,  Pilsen,  Vilnius   and   Stockholm,   the   nature   of   each   space   in   terms   of   its   origination,  organisation   and   use   also   speaks   to   aspects   of   the   ‘cultural’   theme   of   cross-­‐innovation  outlined  above.  Each  evinces  a  particular  approach  or  mission  to  the  cultivation   of   the   economy   and   innovation.   While   the   projects   detailed   below  share  and  repeat  certain  principles  they  draw  our  attention  too  to  the  localised  and  vernacular  qualities  of  spaces  and  the  practices  they  enable.    Incubation    Tallinn  Creative  Incubator    Tallinn  Creative  Incubator  is  one  of  three  enterprise  incubators  in  Estonia  run  by  the   Business   Support   and   Credit   Management   Foundation   (Estonian   acronym  ESA).   It   began   to   provide   support   for   creative   enterprises   in   2008,   officially  opened   in   2009.   The   site   has   23   studios   and   office   spaces   of   10-­‐60  m2,   45-­‐50  workplaces.  Partners  underwriting  the  Incubator  include  the  Estonian  Academy  of  Arts,  the  Design  Institute  of  Mainor  Business  School,  the  Estonian  Association  of   Designers   and   Estonian   Design   Centre.   Partnerships   have   also   been  established   with   Tallinn   University   of   Technology   and   Tallinn   Science   Park  Tehnopol.    

 

                             

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The  mission  of  the  Incubator  is  to  provide  a  supportive  environment  for  creative  enterprises  in  their  formative  stages,  offering  access  to  a  business  environment  and   support   services.   The   Incubator   has   established   a   soft   infrastructure   of  support  by  developing  mechanisms  of  inclusion,  cooperation  and  participation  in  order  to  improve  the  business  expertise  of  the  enterprises  it  cultivates.  Synergies  are   initially  derived  from  in-­‐house  connections  that  seek  to  develop  businesses  that  support  each  other  by  providing  custom  for  each  other’s  services  although  the  aim  is  to  help  them  become  international  in  scope  and  reach.    The  Incubator  is  located  in  the  Baltika  Kvartal  (Baltika  Quarter),  next  to  Estonia’s  largest  fashion  retailer  ‘Baltika’.  As  a  consequence,  a  lot  of  activities  in  marketing  and   sales   have   been   developed   for   Estonian   design   and   handicraft  manufacturers.   Recognised   for   its   innovative   orientation   to   new   business  initiatives   rather   than   to   traditional   industries,   the   Tallinn   Creative   Incubator  achieved  recognition  with  an  award  2010  for  Combining  Entrepreneurship  with  Creativity   and   Culture   (9th  Annual   Conference   on   Science  Based   Incubation   of  The  Technopolicy  Network).    EnLabs    A  regular  quality  of   spaces   that  enable  cross   innovation   is   that   they  evince   the  characteristic   of   brokerage  between   sectors.   This   is   a   key   feature   of  EnLabs   in  Rome   which   was   established   in   2010   which   employs   4   people   and   works   in  partnership   with   several   organisations   such   as:   MetaGroup,   Zernike   Meta  Ventures,   Connect   Ventures,   Fi.La.S.,   AnnaPurna   Ventures,   Microsoft   Bizpark,  Università  LUISS  Guido  Carli,  Italian  Angels  for  Growth,  Wadi  Ventures.      Owned  by  LVenture  and  Meta  Group  EnLabs  describes   itself  as   Italy's   foremost  ‘open  incubator  and  accelerator  which  also  supports  co-­‐working’.   Its  founder  was  inspired  by   the  way   in  which  similar   facilities  worked   from  across   Italy  and   in  places  such  as  Silicon  Valley,  underlining  the  way  in  which  it  underwrites  start-­‐ups   in   IT-­‐related  businesses.  EnLabs’   innovation   lies   in   the  creation  of  an  open  environment  that  supports  sharing  and  dialogue  among  startups,  entrepreneurs,  universities,  and  industry  through  events,  training,  and  meetings.      The  EnLabs  space  houses  50  workstations  that  aid  20  startups  at  a  time  through  its   accelerator   programme.   Each   session   lasts   for   six   months   and   is   open   to  innovative  entrepreneurial  teams  who  must  all   locate  to  the  EnLabs  site  for  the  duration  in  order  to  ‘interact  with  other  entrepreneurs  and  to  develop  their  ideas.’  Those   who   are   taken   onto   the   programme   receive   a   package   including  professional  business  services  as  well  dedicated  support  from  a  mentor  and  cash  financing.      

 

                             

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The  main  goal  of  the  accelerator  program  is  to  create  startups  with  a  distinctive  product   or   service   that   will   be   able   to   compete   for   further   funding   on   the  international   scene.   Thus,   at   the   end   of   each   six   month   programme   is   an  ‘Investor  Day’  event  in  which  national  and  international  investors  are  enlisted  in  order  to  help  finance  the  next  stage  in  the  growth  of  companies  involved  in  the  incubator.    EnLab’s  cross-­‐innovation  approach  can  be  viewed  in  terms  of  the  development  of  an   ecosystem   that   involves   start-­‐up   enterprises,   universities,   corporations,  mentors   and   advisors,   entrepreneurs,   business   angels,   and   venture   capital  companies.   It   suggests   that   for   ecosystem   to   prosper,   each   partner   must  contribute   in   a   dynamic  way   to   the   development   of   relationships  with   others,  creating   a   strong   network   of   relationships   and   improving   the   businesses  involved.      EnLabs  periodically  organizes  events  alongside  its  Investor  Day  and  participates  in   others,   including   Codemotion,   Innovaction   Lab,   TechCrunch,   and   StartUp  Weekend,   in  which   it   interacts  with   the  major   players   in   the   industry.   Each  of  EnLabs’  partners  provides  different  skills  and  resources  which  give  a  sense  of  the  ecosystem  and  cross  innovation  captured  in  its  work.  ‘InnovAction  Lab’  offers  to  nurture  skills  for  potential  entrepreneurs  in  pitching  to  investors  and  some  of  its  startups  have  participated   in   the  accelerator  program.   ‘Zernike  Meta  Ventures’,  together   with   EnLabs,   provides   financial   resources   to   the   startups   that  participate   in   the   accelerator   program.   Wadi   Ventures   helps   EnLabs   discover  Israeli   startups.  Microsoft   Bizpark   provides   software   and   tools   to   the   startups  participating   in   the   accelerator   program   while   investment   funds   like   Connect  Ventures,  Fi.La.S,  are   interested   in   investing   in   the  startups  participating   in   the  accelerator  program.    Unlocking  the  HE  role  in  cross  innovation    Design2    In   their   very   diversity,   educational   institutions   are   potential   sites   of   cross-­‐innovation  although  this  does  not  always  happen  either  organically  or  by  design.  Pilsen’s   Design2   is   an   interdisciplinary   project   from   the   University   of   West  Bohemia   that   brings   together   expertise   from   various   faculties,   so   bridging   the  discrete   boundaries   of   expertise   as  well   as   connecting  with   industries   beyond  the  campus  boundaries.      The  Design2  project  places  students  into  mixed  and  competing  teams  combining  those   from   a   master’s   construction   programme   at   the   university’s   Faculty   of  Mechanical  Engineering  (FME)  with  those  from  the  Bachelor’s  programme  at  the  

 

                             

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Institute   of   Art   and   Design   (IAD).   Teams   are   assigned   project   challenges   by  external  project  partners  such  as  Škoda  Plzeň  and  Linet.  Resulting  tasks  cultivate  independence  and  cross  innovation  cooperation  on  a  project  that  requires  skills  and  knowledge  beyond  the  boundaries  of  each  individual’s  study  programme.    This  project  offers  a  model  of  the  creative  incubator,  helpings  students  to  learn  about   communication   between   themselves   as   developing   experts   and   with  potential   clients.   Students   test   their   abilities  over   an   intensive   learning  period,  creating   a   high-­‐quality   construction   and   design   product.   This   is   examined   by  experts  from  external  partner  organisations  as  well  as  other  university  faculties.  A   successful   project   from  2011   involved   the   design   of   a   ‘Relaxation   Transport  Chair’  for  use  in  the  health  sector.  Designed  at  the  behest  of  Linet,  the  company  website   relates   how   this  was   the   seventh   consecutive   year   of   the   competition  run  with  the  University   in  cooperation  with  Linet  as  well  as  companies  such  as  Astos   and   Dostal.   Working   with   company   experts,   students   of   mechanical  engineering,   art   and  design  were   joined  by   in   this   case  by   colleagues   from   the  Faculty  of  Health  Care  Studies:    It   is   precisely   this   interdisciplinary   nature   that   renders   the   competition   unique  among  other  similar  projects  in  the  Czech  Republic.;  ‘The  aim  of  this  approach  is  to  allow   students   to   come  up  with  designs  with  high  applicability   in  practice,  while  gaining  experience  working  in  a  team  of  specialists  from  various  fields.  This  is  the  style   of  work   that   they   are  most   likely   to   encounter   in   their   future   careers,   says  Professor  Stanley  Hosnedl,  senior  project  supervisor  for  the  Department  of  Machine  Design.    In  addition   to  practical  application,   the  panel  of   judges  also  assessed   the   level  of  construction  and  design  innovation,  as  well  as  the  overall  systematic  method  of  the  concept.   An   important   criterion   was   also   the   quality   of   the   materials,   design  models,  the  level  of  documentation,  presentations,  and  teamwork.  (http://www.linet.com/healthcare-­‐equipment/latest-­‐news/press-­‐releases/31755/Plzen-­‐university-­‐students-­‐design-­‐hospital-­‐chair-­‐of-­‐the-­‐future)    It   is   suggested   that  Design2   represents   a   system   still   uncommon   in   the   Czech  Republic   and   its   success   has   informed   plans   for   a   further   Světovar   creative  incubator   project.   Likewise,   its   success   has   underwritten   suggestions   for   the  establishment   of   a   creative   incubator   ‘proper’   outside   of   the   period   of   student  learning,  which  would  allow  the  creation  of  a  base  for  new,  future  companies  of  graduates  once  they  are  beyond  the  university  environs.  Likewise,  those  behind  the  Design2  have  argued  the  case  for  financial  support  for  implementing  projects  and  models  as  well  as   inviting   the   involvement  of  Czech  companies  and  others  from  the  Danube-­‐Elbe  Euro-­‐region.    

 

                             

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Social  role  of  cultural  space    Beepart    As  geographically   specific   sites,   cultural   incubators,  Fab  Labs  and  so  on  have  a  greater   part   to   play   in   a   local   infrastructure   and   cultural   life   beyond   the  immediate   concerns   of   businesses   and   entrepreneurs.   Established   in   2009,  Vilnius’s  Creative  Workshop  Beepart  (‘Be  a  part’,  ‘bee  art’  or  ‘bee’  in  the  sense  of  the   ‘common   work’   of   the   hive)   is   one   site   promoting   cultural   and   social  innovation,   providing   space   for   small   community-­‐based   business   initiatives,  educational  and  experimental  art  projects.  As  a  non-­‐profit  enterprise,  Beepart’s  partners   include   the   daily   newspaper   ‘Vilniaus   diena’,   mobile   connection   and  internet  provider  BITĖ,  expositions,  events  and  advertising  company  Ekspobalta  and  construction  company  EIKA.      Beepart’s  character  and  importance  to  its  community  is  expressed  in  the  fact  that  it   is   run   by   5   permanent   volunteers   and   relies   upon   goodwill   contributions   of  many  others  in  running  certain  types  of  project.  Likewise,  an  important  feature  is  its   location   in   the   Pilaitė   district,   one   of   the   peripheral   suburbs   of   the   city.   As  outlined  on  its  website,  all  entertainment  and  events   in  Vilnius,   just  as   in  other  post-­‐soviet   cities,   are   concentrated   in   the   centre,   usually   the   old   town.   This  leaves  the  bigger  part  of  the  city  –  the  so  called  ‘dormitory  areas’  –  in  a  complete  cultural   standstill.   Addressing   this   issue,   Beepart   fosters   cross   innovation   in  organic  fashion,  serving  as  a  meeting  point  for  local  community  members,  guest-­‐artists  and  experts  of  different  backgrounds  and  qualification.  The  site  aims  to  be  a   lab   for  any  experimental   idea   that  could  help   improve  the  social  and  cultural  environment  of   the   community  and   is  open   to   community  members  as  well   as  encouraging  participants  to  take  an  active  role  in  cultural  and  social  projects.      With   the  help  of   volunteers  and  private   companies  we  created  a  district‘s   tourist  map  and  started  cleaning  up  the  forest  to  make  it  become  a  real  park.  Since  2011  we  have  organised  an  international  light  installation  festival  ‘Beepositive’,  and  we  plan   to   continue   ‘dining  with  neighbours’   alongside  other   small   projects.  Various  kinds  of  events  already  are  taking  place.    Beepart’s  building  was  designed  by  Simonas  Liūga  and  Andrius  Ciplijauskas  and  is   notable   for   its   atypical   design,   use   of   space   and   particular   approach   to  environment-­‐friendly  innovation  such  as   its  heating  and  independent  sewerage  and  waste  disposal  system.  Having  established  a  popular  success,   its  continued  challenge   lies   in   attracting   financing   for   further   projects   and   continuing   to  involve  relevant  people.  A   fund   for  micro-­‐projects  or   individually   implemented  projects  would  be  very  helpful  for  Beepart  initiatives.    

 

                             

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Fluxus  Ministry    The   Fluxus   Ministry   initiative   is   a   collaboration   with   the   real   estate   company  Baltishes  Haus,   the  Municipalities   of   Vilnius   and   Kaunas   and   public   institution  AZZARA.   It   is   a   project   that   has   gathered   together   artists   working   in   the   old  Soviet  building  of   the   former  Ministry  of  Health   in  Vilnius  and   implementing  a  number  of  experimental  and  innovative  art  projects  such  as  the  ‘Future  City  Lab’.      It   is   inspired   by   the   Fluxus   Movement   founded   in   1960s   and   its   originator,  Lithuanian-­‐born   American   artist   Jurgis   (George)   Mačiūnas.   Two   hundred  Lithuanian  artists  established  the  Fluxus  Ministry   in  the  dilapidated  building  of  the  former  Ministry  of  Health  in  Gedimino  Avenue,  a  major  street  of  Vilnius.  The  Fluxus  Ministry  Project  took  place  in  Vilnius  from  April  2010  till  November  2011  and   hosted   around   one   thousand   artistic   events.   In   2012   the   concept   was  transferred   to   Kaunas,   the   second   largest   city   of   Lithuania,   where   the   Fluxus  Ministry  was  opened  in  the  old  premises  of  a  shoe-­‐making  factory.  The  Ministry  will  stay  in  Kaunas  for  one  and  a  half  years.      The  Fluxus  Ministry   initiative  supports  cross   innovation  by  creating  a  platform  for   interaction  of  artistic   ideas  and  urban  planning.   It  also  creates  a   temporary  centre  of  attraction  for  citizens  thus  influencing  the  cultural  and  social  landscape  of   the   city.     At   the   same   time   there   is   no   official   organisational   structure  underwriting   the   Fluxus   Ministry   and   involvement   in   the   initiative   is   purely  voluntary.   Supported   by   Vilnius   City   Mayor,   the   private   real-­‐estate   owners   of  Vilnius  and  Kaunas  provide  space  for  the  artistic  activities  of  the  Fluxus  Ministry.    The   space   is   rent   free   but   artists   have   to   cover   the   costs   of   the   utilities.   The  Municipal  governments  provide  support  to  particular  artistic  projects.    Kolonien    Stockholm’s  Kolonien   (The  Colony)   is   a  multidisciplinary   co-­‐working   space   and  studio   that   develops   companies,   products   and   services   through   design,  marketing,  communication  and  concept  development.  Its  creators  and  specialists  aim   to   inspire   and   encourage   customers   to   create   new   values   through  collaboration.  Established  in  2008,  it  encompasses  130  creative  companies  with  about   200   employees.   There   are   freelancers   and   companies,   temporary   and  permanent.  The  environment  is  characterized  by  networking,  collaboration  and  exchanges  between  companies  –  the  model  of  a  successful  co-­‐working  space.    The  most  important  partner  to  Kolonien  is  Vasakronan,  the  real  estate  owner  at  the   greater   host   space   Telefonplan   in   southern   Stockholm.   Vasakronan   is   also  one   of   the   partners   of   the   steering   group   at   Telefonplan   and   a   leader   of   the  development   of   the   creative   cluster.   The   site   addresses   the   lack   of   space   and  

 

                             

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offices  that  offer  the  potential  to  collaborate  with  other  creative  entrepreneurs  of  small   and   medium   sized   companies   in   the   city.   Kolonien   works   actively   to  promote   collaboration   and   sharing   among   companies.   It   strives   for   a   mix   of  current   skills   and   professionalism   and   can   therefore   offer   office   space   for  freelancers   and   small   businesses.   Located   over   2600   sqm   at   Telefonplan,  Kolonien   hosts   web   designers,   industrial   designers,   product   developers,  illustrators,   graphic   designers,   designers,   programmers,   communicators   and  marketers  who   can   aid   others  with  web,   print,   presentations,   profile  material,  WordPress,   Photoshop,   CAD,   Illustrator,   InDesign,   3D,  Maya,   Flash,   PHP,   photo  and  film.    Lisbon    Start  Up  Lisboa    The   creation  of   spaces   for   cross   innovation  has  been  particularly   important   to  Lisbon   and   the   way   in   which   it   has   contributed   to   overall   thinking   in   this  international   project,   echoing   some   of   the   ways   in   which   creative   sites   can  galvanise  both  business  and  wider  cultural  activity.  Here,  a  number  of  projects  are  predicated  on  the  belief  that  ‘The  creation  of  business  incubators  is  one  of  the  most   effective   and   innovative   factors   to   attract   micro,   small   and   medium  enterprises  and  to  ensure  their  survival  in  the  early  days  of  activity’.      The   starting   point,   and   central   to   a   network   of   incubators   and   acceleration  spaces  (both  public  and  private)  that  are  being  developed  in  the  city  of  Lisbon  is  Start-­‐Up   Lisboa.   It   is   part   of   an   urban   regeneration   project   for   the   downtown  area  of  the  city  (Baixa),  which  involves  the  reuse  of  historical  buildings.  This  is  a  reaction   to   the   current   economic   climate,   the   particular   contexts   and   issues  facing  the  city  as  well  as  displaying  the  belief  that  such  instances  are  examples  of  particularly  ‘European’  solutions  to  current  crises.    The   project   is   based   on   a   public-­‐private   collaboration.   The   three   founding  organizations  were  the  Municipality  of  Lisbon,  IAPMEI  (a  public  institution)  and  Montepio  Geral,   a   private   bank   and   a  mutual   association   -­‐  which  provided   the  installations  and  undertook  specific  work  on  the  incubation  building  and  which  also  manages   the   fund   –   FINICIA   –   to   support   the   activities   of   entrepreneurs.  Private   companies   that  were   decisive   to   the   implementation   of   the   project   by  providing   equipment   and   services   to   the   incubator   include   KPMG,   Portugal  Telecom,  Brandia,  SBI  Consulting,  Lisbon  MBA,  SAGE,  Microsoft  and  Cisco.  Most  interesting   is   the   fact   that   Start-­‐Up   Lisboa   was   authorised   by   the   citizens   of  Lisbon  who  voted  for  the  project  as  part  of  a  Participatory  Budgeting  process  in  2009/10.    

 

                             

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It  has  several  aims,  which  are  to:    Facilitate   the   creation   and   development   of   entrepreneurship   through   a  combination  of  infrastructure  and  specialist  support  services.    Develop  a  program  of  pre-­‐incubation,  development  of  the  business  model  through  mentorships   with   professionals,   specialized   training   specific   and   restricted,  networking  events  and  additional  activities.    Provide   adequate   space   to   business   initiatives   […]   equipped   with   furniture,  telephone,  air  conditioning,  cleaning,  security  and  broadband  internet    A   number   of   facts   and   figures   attest   to   the   success   of  Start-­‐Up  Lisboa:   a)  Over  300  entrepreneurs  have  applied  for  a  place  on  site  (occupancy  is  now  up  to  the  maximum   of   33   entrepreneurs   -­‐   including   18   ‘physical’   companies,   5   pre-­‐incubation  projects  and  10  ‘virtual’  incubation  companies).  Those  who  are  in  situ  have  expressed   strong   support   for   the  project   and  wish   to   remain   there   for  as  long  as  possible  b)  It  has  created  new  jobs  as  over  100  people  are  at  work  in  the  building   (the   target   groups   of   young   and   highly   qualified   individuals);   c)  Innovative   products   and   services   cultivated   in   the   incubator   are   entering   the  market;  d)  There  has  been  an   increase   in  economic  activity  around   the  area  of  the  incubator;  d)  A  variety  of  funds  have  been  raised  to  aid  entrepreneurs.      In   addition,   the   project   is   trumpeted   as   being   truly   international   and  cosmopolitan   as   it   involves   entrepreneurs   from   other   countries   while   the  potential  markets  for  outcomes  of  incubation  lie  outside  of  Portugal.    Forno  do  Tijolo  Fab  Lab  LX  and  co-­‐working  space    Further  initiatives  are  founded  in  the  rehabilitation  of  Forno  do  Tijolo  Market,  a  traditional   space  which,   as   one   EU   report   suggests,   ‘has   been   losing   out   to   the  supermarkets   and   malls   for   years   and   is   teetering   on   the   brink   of   viability.’  (http://www.coe.int/t/dg4/cultureheritage/culture/Cities/Newsletter/newsletter12/todos_en.asp  ).    This  project  was  originated  by  the  Municipality  in  order  to  aid  the  development  of  Lisbon  as  a   ‘smart  city’,  one  open  to  and  characterised  by   the  exploration  of  new   experiences,   concepts,   innovations   and   motivations   for   business.   The  market  site  is  thus  earmarked  for  creativity  and  entrepreneurship  and  includes  the  installation  of  a  co-­‐working  space  with  development  to  be  undertaken  by  the  Portuguese   Industrial   Association   –   AIP/CCI.   By   installing   such   low-­‐cost   co-­‐working   spaces,   the   city   aims   to   meet   the   growing   demand   for   such   sites  

 

                             

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demonstrated   by   Start-­‐Up   Lisboa,   nurturing   and   promoting   activity   amongst  creative  workers  and  other  and  young  entrepreneurs.      Also  to  be  installed  on  the  same  area  is  a  laboratory  of  digital  manufacturing  –  a  Fab  Lab  -­‐  for  rapid  prototyping,  custom  manufacturing  and  product  testing.  The  strategic  objective  of  the  resulting  Fab  Lab  LX  is  to  act  as  a  link  between  creative  ideas   and   industry,   between   development   and   production   of   new   products.  Given  the  relatively  low  equipment  costs  and  its  easy  use,  the  Fab  Lab  LX  enables  democratic  access  to  creativity,  invention  and  innovation.    The   Fab   Lab   LX   project   is   to   be   implemented   by   a   partnership   between   the  Municipality   of   Lisbon   and   other   organizations   from   across   industrial   sectors  with   a   central   objective   of   creating   economic   value,   generating   jobs   and  supporting  innovation.  This  instrument  is  viewed  as  having  enormous  potential  for  the  development  of  products  adapted  to  local  needs,  which  can  be  developed  with  regards  to,  but  also  freed  from,  the  logic  of  the  market  in  the  early  stages  of  development.  With   the   installation  of   this  prototyping   laboratory,  new  product  models  can  also  be  tested  and  disseminated,  as  well  as  enabling  the  cultivation  of  cross  innovation  between  the  Fab  Lab,  the  co-­‐working  space,  Start-­‐Up  Lisboa  and  wider  organisations  from  across  industry.  It  will  develop  ‘technology  education’,  a  mode  of   learning  by  doing  which  will  be  open  to  schools  and  adults,  showing  how  design  and  technology  need  not  be   inaccessible.  Thus,   it  will  be  a  place   to  study  and   test   solutions   for   the  community  –   for  example,   street  equipment  or  social  facilities  for  the  elderly  and  people  with  disabilities.    The  Architecture  Creative  Cluster  of  Palácio  Sinel  de  Cordes      A  final  example  of  cross   innovation  space  in  Lisbon  is  The  Architecture  Creative  Cluster  of  Palácio  Sinel  de  Cordes’  which  comes   from  a  partnership  between  the  Municipality,   again,   and   Lisbon   Triennale.   This   site   is   predicated   not   on   the  cultivation  of  new  skills  but  in  underwriting  an  area  of  established  expertise.  The  project   arose   due   to   the   fact   that   Lisbon   has   significant   global   reputation   and  expertise   in   the   field   of   architecture.  Winners   of   the   Pritzker   Prize   attend   the  Lisbon   Triennale,   which   has   a   mission   to   research   and   promote   architecture,  particularly   that   being   produced   by   Portuguese   architects,   both   nationally   and  internationally.   It   has   a   programme   that   encompasses,   competitions,  conferences,  exhibitions  and  multimedia  productions.    Now  home   to   the  Triennale,   the  Creative  Cluster   of  Palácio  Sinel  de  Cordes   is   a  multifunctional   architectural   community,   based   in   complementary   units   of  study,  design  and  research.  Various  functional  units,  such  as  co–working  spaces  for  temporary  use,  offices  for  young  architects  (who  also  have  an  opportunity  to  

 

                             

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present   their   work   in   temporary   exhibitions),   a   documentation   centre   and  archive,  event  spaces,  restaurant  and  bookstore,  are  also  present.    It   is   hoped   that   the   presence   of   the   Triennale   will   be   the   first   element   of   a  broader   program  with   a   longterm   view   of   development:   ‘With   the  appropriate  policies  and  instruments,  Lisbon,  can  be  positioned  in  10  years  between  the  major  cities   of   the  world   in   the   field   of   architectural   research  and  production.  But   it   is  important  that  the  knowledge  generated  by  this  dynamic,  helps  to  raise  the  levels  of  demand  by  those  involved  in  the  process  of  building  the  city  and  leads  the  policy  direction   in   urban   development,   in   order   to   contribute   to   a   better   skilled   and  sustainable  transformation  over  the  coming  decades.’                                                                  

 

                             

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Brokerage  Services  for  Cross  Innovation    Brokerage   is   a   label   given   to   specific   services   which   manage   meetings,  introductions  and  collaborations  across  sectors  –  building  bridges  and  opening  doors   to   communication   where   little   existed   previously.   As   in   the   previous  categories,  there  is  an  impression  of  a  crossover  of  activity,  particularly  between  some  of  the  projects  offered  as  brokerage  services  and  those  identified  as  spaces  for  cross  innovation.    While   the   brokerage   label  may   suggest   that   facilitating   such   services   is   rather  banal,   the   range   of   case   studies   give   a   sense   of   how   this   can   be   achieved   in  innovative  and  creative  fashion.      Brokerage  through  competition    Edison    Edison  is  the  name  given  to  an  annual  Austrian  ‘competition  of  ideas’.  It  is  hosted  by   tech2b   in  partnership  with  Business  pro  Austria  and   supported  by   academic  institutions,   public   funds,   banks,   private   commercial   companies   and   other  partners.   In   this   competition,   innovative   ideas   are   presented   to   an  interdisciplinary   network   of   experts   who   offer   feedback   and   training.  Competition  prizes  are  awarded   in   categories   for   ‘technology’,   ‘innovation’  and  ‘creative  industry’  and  winners  are  encouraged  to  start  their  own  business.      Each  partner  takes  on  expert  roles  in  guiding  the  various  competition  juries  and  winners.   tech2b   takes   on   planning,   organisation   and   project   management   for  Edison   and   is   responsible   for   ‘technology’   and   supporting   people   who   are  interested  in  founding  their  own  high-­‐tech  company.    Business  pro  Austria  looks  after   ‘innovation   ideas’,   supporting   the   people  who   are   interested   in   founding  and   developing   companies   concerned   with   innovation.   Other   partners   are  universities,  banks,  the  Chamber  of  Commerce,  and  industrial  companies.  These  partners   act   as   evaluators   for   submitted   ideas,   trainers   for   competitors,  sponsors,   etc.,   as  well   as   supporting   the   award   by   forming   a   network   for   new  ideas  and  start-­‐ups.    Each  year’s  winners  illustrate  the  success  of  this  initiative  and  its  contribution  to  cross   innovation.   One   of   the   winning   projects   from   2012   is   an   interactive  whiteboard  (see:  mi-­‐lab.org/projects/nice-­‐discussion-­‐room):    The  Interactive  Whiteboard  enhances  the  creativity  process  in  companies.  It  leads  towards   more   innovations   and   faster   innovation   cycles   for   users.   The   product  enables  users   to   create  new   ideas.  Advanced  hardware,   the  mixture   of   numerous  

 

                             

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media  (paper,  digital,  images,  videos,  etc.)  and  software  components,  help  the  users  to  cross  existing  borders  in  thinking  and  innovation.  It  combines  computer  science,  usability,   hardware   and   software   technology   and   innovation   management   tools  into  one  product.  The  team  has  also  been  granted  a  patent  for  their  innovation.    This   project   has   created   a   fully   functional   product   that   is   being   developed   for  commercial  exploitation.  The  creators  are  two  young  scientists  who  started  their  company   in   late   2012   after   support   from   a   number   of   organizations,   who   are  also  partners  of   the  Edison  competition.   In  nurturing   this  project,   tech2b   aided  with   funding,   IP   support,   business   coaching,   planning   and   development,   and  Softwarepark   Hagenberg   offered   supplementary   support.   The   University   of  Applied  Sciences  of  Upper  Austria   aided  with  business  development  as  well   as  offering  support   in   the  science  of   the  project,  while   the  Chamber  of  Commerce  aided  with  legal  affairs.    The  innovation  of  the  Edison  ‘competition  of  ideas’  lies  in  the  manner  in  which  it  enables   innovative   individuals   to   develop   their   ideas   into   viable   business  models,  leading  to  fully  functional  companies.  Participants  gain  from  the  tutelage  of   the   various   partners   who   cover   bases   like   technology,   design,   IPR,   finance,  legal,   etc.   It   is   suggested   that   the   combination   of  more   than   10   partners   from  different  backgrounds  working  closely  together  with  one  goal  in  mind  (enabling  people  with   ideas   to  start   their  own  business)   is  unique   in   the  region,   if  not   in  the   entire   country.   It   is   also   important   to   coach   not   only   the   winners   but   all  participants  in  the  different  categories  of  the  competition,  to  help  them  develop  and  improve  ideas.    Event  as  broker  (and  incubator)    Festival  Mados  infekcija  -­‐  Fashion  Infection      Since   1999,   Vilnius’  Art  Service  has   organized   an   annual   3   day   fashion   and   art  festival.  It   collaborates  with   a  number  of   organisations   from  home  and  abroad  including:  Bosca,  Panorama,  Perwoll,  Maybelline,  TV  8,  Laima,  Žmonės,  15  min,  Delfi,  JCDecaux,  Radisson  Blue,  Brandworks,  Institute  Francaise,  Goethe  Institute,  Ekskomisarų  biuras,  Roofsound,  Bilietų  pasaulis  and  Sick  Service.    The   fashion   festival   is   called   Mados   infekcija   -­‐   Fashion   Infection   and   is   an  innovative   and   conceptual   event   of   fashion   and   art   fusion   featuring   free   and  ticketed  public   events.  These  events  bring   together  professional   and  upcoming  designers  with  an  ethos  that  such  interaction  inspires  young,  creative  talents  to  develop  new  fashion  forms,  demonstrating  the  exchange  of  knowledge  and  ideas  among  participants.    

 

                             

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The   festival   is   distinguished   for   its   conceptuality.   The   aim   of   the   event   is   not   to  show  and  create  trends  or  to  be  a  fashion  dictator,  but  to  help  people  to  develop  an  individual   style   and   attitude   towards   fashion   and   to   apply   the   knowledge   in  everyday  life.  […].  Mados  Infekcija  breaks  traditional  boundaries  of   fashion  weeks  as   it   is   available   for   everybody   and   has   the   purpose   to   spread   the   knowledge   of  fashion  among  people.      ‘Fashion   Injection’   is   a   contest   in   the   festival   that   aims   to   find   talented   new  designers.   Winners   are   entitled   to   present   their   first   collection   on   the   main  ‘Fashion   Infection’   catwalk.   The   festival   is   supplemented   by   a   public   event  ‘Mados   Inventorizacija’   (Fashion   Inventory),   in   which   a   wide   audience   is  welcomed   to   various   locations   in  Vilnius   such   as   boutiques   and   art   studios,   as  well   as   the  show  rooms  of  designers   taking  part   in   the   festival.  Workshops   for  young  designers  aim  to  foster  entrepreneurship  and  international  business.    For   the   organisers,   the   festival   exhibits   features   of   cross   innovation   in   three  particular   aspects.   Firstly,   fashion   becomes   a   main   focus   for   the   fusion   of  different   fields   of   art:   music,   video   and   photography.   Secondly,   the   festival   is  neither   initiated  nor  driven  by   the   fashion   industry,  but   is   an   important  venue  for  new  designers  and  their  ideas,  with  the  potential  for  development  in  fashion  design  businesses.  Thirdly,  the  venue  -­‐  Contemporary  Art  Centre  –  is   located  in  the  Old  Town  of  the  city  and  over  time,  the  festival  has  played  an  important  part  in  the  urban  and  social  development  of  Vilnius  Old  Town.    Bootcamp  brokerage    Garage48    Garage48   is   the   title   of   a   series   of   international   startup   bootcamp   events   that  generate  ideas  and  take  them  from  creation  to  prototype  in  48  hours  as  well  as  generating   seed-­‐money   for   the   development   of   viable   products.   The   event  originated  in  Tallinn  in  April  2010  and  has  since  expanded  to  other  countries  in  Northern   Europe   and   Africa.   There   have   been   16  Garage48   events,   which   are  held  in  English  and  have  involved  over  100  participants  from  different  countries,  who   bring   a   variety   of   different   skills,   ranging   from   software   development   to  design,  marketing,  sales  and  entrepreneurship.  The  type  of  collaborators  on  the  project   have   included   individual   creatives,   web   and   mobile   developers,  incubators,  technology  and  science  parks,  and  sponsoring  companies.    Garage48  bootcamps  usually  start  at  5pm  on  a  Friday  evening  with  participants  involved   in   a   pitching   session.   Each   idea   is   made   available   and   participants  choose  an   idea  and   team  on  which   to   concentrate,  with  around  12-­‐15  selected  for  development.  Garage48  provides  mentors  for  teams  working  on  each  project.  

 

                             

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Sunday  night  6pm  is  the  deadline  to  present  a  demonstration  of  each  project  and  also  where  a  jury  and  an  audience  of  peers  vote  for  their  favourites  and  choose  the  winners.    The  March  2012  Garage48   event  was   focused  on  creating   Internet  and  mobile-­‐based  music  products  where  the  organizers  joined  forces  with  an  annual  music  industry   conference   and   festival,   Tallinn  Music  Week.   100  people   turned   ideas  into   working   mobile   and   web   applications   within   48   hours.   From   20   ideas  pitched  on  the  first  day,  14  attracted  a  team  and  underwent  initial  development.  The  winner  was  Easyrider.me  who  provides  the  easiest  and  fastest  way  to  create,  manage   and   share   information   on   a   band's   technical   rider   for   their   live  performances.  This  was  an  easy-­‐to-­‐use  workflow   tool   for   the  use  of  promoters  and  festival  and  venue  managers,  which  could  be  used  to  agree  technical  terms  with  bands.    Garage48  brings  together  a  variety  of  business  partners  from  different  sectors  to  aid  in  mentoring  those  who  wish  to  benefit  from  the  bootcamp  format.  They  are  the  ones   that   the  organization  suggests  might  have   reservations  about   starting  their   own   business,   or   lack   knowledge,   finance   and/or   understanding   of   risks.  Garage48  announces   that   it   ‘is  here  to  change  that  mindset  and  show  that  it's  all  about   positive   attitude,   creative   team  members   and   a  motivating   deadline.   Less  talk,  more  action!’.    Brokerage  as  ‘contamination’    Creaticity    Rome’s  Creaticity   is  a  project  originated  by  Associazione  Informale  to  encourage  competition   in   the  production   environment   by  promoting   encounters   between  the   creative   community   and   other   types   of   business.   Informale   describes   how  these   encounters   are   designed   to   ‘contaminate’   business   values   with   the   arts,  including   the   visual,   plastic,   and   performing   arts,   cinema,   and   literature.  Informale  also  makes  available  a  space  for  ‘research  and  development’  –  for  new  types   of   activities   and   encounters   that   promote   the   business   and   creative  cultures,  furthering  the  breakdown  of  ‘silo  thinking’  between  these  two  worlds.      Creaticity  emerged  from  a  2011  study  highlighting  the  priorities  of  the  Province  of  Rome’s  creative  sector:  educational  opportunities,  networking,  and  a  need  for  qualified  human  and  financial  resources  for  the  development  of  new  businesses.    As   a   consequence   several   initiatives   were   launched   in   the   following   year,  including:   ‘Creaticity   pitching’   are   gatherings   to   involve   start-­‐ups   in   knockout  competitions   and   the   exploration   of   business   themes.   ‘Aperattivi’   is   a   series   of  formative-­‐interactive  encounters   followed  by  networking,   in  which   the   focus   is  

 

                             

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on   communication,   leadership,   stress   management,   etc.,   which   are   cast   in  metaphors   from   the   arts,   such   as   tango,   jazz,   mask   making,   cooking,   etc.,   all  involving  the  active  participation  of  the  public.    Informale  collaborates  with  various  for-­‐  and  non-­‐profit  entities  in  the  design  and  planning   of   events,   which   are   specifically   designed   to   address   ‘silo   thinking.’  These  partners  include  institutions  such  as  the  Rome  Chamber  of  Commerce  and  businesses   such   as   Zivago   srl,   Katalys   srl   and   associations   like   CNA   Lazio,  Concretamente,  Ricrea,  Ferpi,  Rena,  Founder  Institute  and  Indigeni  Digitali.    Brokerage  and  networking    Stockholm  School  of  Entrepreneurship  (SSES)    The  Stockholm  School  of  Entrepreneurship  (SSES)  is  a  world-­‐renowned  academic  initiative   for   innovation   and   entrepreneurship   that   builds   upon   the   diverse  environments   of   its   five  member   institutions.   This   initiative   covers   a   range   of  categories  for  cross  innovation  thinking  -­‐  culture  based  innovation  by  unleashing  new  ideas  into  other  businesses  as  well  as  brokerage  services.    The   origins   of   the   SSES  can   be   traced   back   to   several   courses   taught   at   Royal  Institute   of   Technology   (KTH),   Stockholm   School   of   Economics   (SSE)   and  Karolinska  Institutet  (KI)  in  the  1990s.  Its  role  was  a  response  to  arguments  for  the  importance  of  entrepreneurship  skills  in  modern  economies  and  to  structure  teaching   and   the   syllabus   for   related   skills   accordingly.   A   donation   from   the  Erling-­‐Persson   Family   Foundation   allowed   SSES   to   establish   itself   as   an  independent   organisation   in   August   1999.   This   was   followed   by   a   further  donation  from  the  foundation  in  2002,  which  made  it  possible  for  Konstfack  (The  University   College   of   Arts,   Crafts   and   Design)   to   become   the   fourth   member  institution.  In  2009  Stockholm  University  was  invited  to  join  as  the  fifth  member  institution,  resulting  in  the  partnership  as  it  is  currently.    Since   it  was   founded,   the   partnership   has   grown   each   year   thanks   to   its   solid  foundation   of   collective   expertise,   diversity,   international   standing   and   a  commitment  to  provide  cross-­‐disciplinary  studies  in  applied  entrepreneurship.    SSES   is   structured   as   a   non-­‐profit   association   with   the   acting   rectors   of   the  member   universities   as   eligible   members.   The   board   of   SSES   represents   the  member   universities   and   industry   representatives.   This   construction   creates   a  strong   regional   and   personal   commitment   to   the   very   idea   of   SSES.   It   also  provides   a   sustainable   and   efficient   platform   for   high-­‐level   academic   decision-­‐making.  SSES  is  also  represented  by  a  dedicated  team  of  some  60  faculty  and  staff  

 

                             

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members.   Over   200   guest   speakers,   mentors   and   coaches   take   part   in   the  education  programme  every  year.    Integrated   into   each   of   the   Stockholm   member   schools,   SSES   complements  existing   educational   programmes   and   offers   students   the   chance   to   study   in  diverse   disciplines   and   environments   outside   their   home   institutions.   The  expertise  and  scope  of  each  can  be  summarized  as  follows:    Konstfack   Public   University   comprises   ten   institutions   teaching   600   students.  Subjects  range  from  art  teacher  training  and  a  curator  program  to  fine  arts  and  furniture  design.      Karolinska   Institute   (KI)   is   Sweden’s   largest   centre   for   medical   training   and  research.   It   is   renowned   around   the  world   for   innovative   research   and   as   the  institute   that   decides   who   will   be   awarded   the   Nobel   Prize   in   Physiology   or  Medicine.      The   Royal   Institute   of   Technology   (KTH)   is   Sweden’s   largest   technological  university   with   over   13,000   students   and   1,600   post-­‐graduate   students.   The  Institute   conducts   education   and   research   across   a   broad   spectrum   –   from  natural  science  to  all  branches  of  technology.        Stockholm   School   of   Economics   (SSE)   has   2,200   students   and   its   researchers  rank   among   the   best   in   the  world   in   areas   such   as   health   economics,   finance,  business  law  and  economics.      Stockholm  University  has  more  than  31,000  students  and  5,000  members  of  staff  within  the  humanities,  law,  science,  social  sciences  and  teacher  training.    SSES   workshops   are   all   about   expanding   and   polishing   the   student’s  entrepreneurial  toolbox.  They  are  carefully  developed  in  close  collaboration  with  students   and   alumni   to   offer   hands-­‐on   behaviour-­‐changing   training.   Although  the  topics  are  general  in  nature,  all  workshops  are  designed  for  the  context  of  the  entrepreneur.   All   workshops   are   free   to   attend   and   open   to   all   students   at  member   schools.  Weekend  Workshops   offer   in-­‐depth   study   and   exploration   of  specific  skill  sets.  To  ensure  participants  get  the  most  from  each  workshop  they  are  held  in  small  groups  of  no  more  than  14  participants.    Toolbox  Fridays  give  participants   an   initial   glance   at   a   specific   skill   set.   As   they   are   introductory   in  nature   they   are   held   in   somewhat   larger   groups   with   up   to   30   participants.    International  Bootcamps  are  held  around  the  globe  together  with  SSES  partners  and  friends.  Challenging  but  rewarding  they  are  designed  for  the  most  engaged  and  devoted  students.  The  SSES  has  supported  hundreds  of  start-­‐ups,  graduated  several   thousand   students   and   today   offers   an   internationally   renowned  

 

                             

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portfolio   of   activities.   Alumni   companies   include:   Appear;   Front;   GlocalNet;  JayCut;  Klarna;  Readmill;  Redbet;  SoundCloud;  Tasteline;  Videoplaza;  Vironova;  WESC  and  several  hundred  more.    Netzwerk  Gründen    Linz’s   Netzwerk   Gründen   includes   Techcenter,   the   aforementioned   Tech2b,  Association  Akostart,   Centre   for   Entrepreneurship   at   the  University   of  Applied  Sciences   Upper   Austria,   Institut   for   Entrepreneurship   at   the   Johannes   Kepler  University,   Wirtschaftsservice   der   Stadt   Linz/Creative   Community   and  Softwarepark  Hagenberg.   Others   involved   include   the   City   of   Linz,   the   Federal  State   of   Upper   Austria,   the   regional-­‐management,   Creative   Region   Linz   and  Upper  Austria,  and  the  TMG.      All  these  institutions  work  together  to  aid  start-­‐ups  in  the  creative  industries.  By  taking  a  problem-­‐solving  approach,  expertise  from  across  the  network  is  enlisted  to   address   issues   and   questions   at   the   early   stage   of   business   and   idea  development.      Project   originators   suggest   that   before   this   network  was   properly   established,  organisations   were   rather   inward-­‐looking   and   concentrated   in   local  responsibilities,  meaning  that  start-­‐ups  took  a  while  finding  the  variety  of  input  that  might  be  needed  to  aid  their  projects.  Now,  a  tight  connection  and  efficient  working   system  across  Netzwerk   supports   creative   spillovers  and  helps  people  to   meet   partners   who   are   appropriate   to   their   development,   accessing  information  in  an  efficient  way,  all  of  which  aids  the  rapid  promotion  of  success.    The   nature   of   aid   offered   by  Netzwerk   Gründen   also   touches   upon   aspects   of  spatial   cross   collaboration   services,   as   contributing   partners   constitute   an  infrastructure   of   Fab   Lab,   science-­‐park,   incubators   and   co-­‐working   sites.  Likewise,   there   is   a   form  of   smart   incentive   in   evidence   as   start-­‐ups   are   aided  with  applications  for  financial  support.    Berlin  brokerage    Berlin’s   well-­‐developed   brokerage   initiatives   demonstrate   the   way   in   which  various  services  that  nurture  cross  innovation  may  work  together.  Likewise,  they  illustrate  instances  where  brokerage  emerges  in  particular  cultural  activities  and  spaces,   again   blurring   any   tendency   to   ‘silo-­‐thinking’   in  making   sense   of   cross  innovation.        

 

                             

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Planet  Modulor    Berlin’s   Planet   Modulor   is   an   association   of   small   and   medium   sized   creative  companies   from   the   fields   of   merchandising,   manual   crafts,   design,   art   and  culture.   More   than   30   companies   comprise   the   association,   which   inhabits   an  11,000   sq.   meter   space   located   at   Moritzplatz   in   Berlin-­‐Kreuzberg,   thus  benefitting  one  of  the  most  economically  underdeveloped  areas  of  Berlin.      The   project   was   initiated   by   Modulor   Material   Total   together   with   its   sister  company  Modulor   Projekt   GmbH.   Modulor   is   a   specialist   in   materials   such   as  plastics,  rubber,  cardboard,  paper,  wood,  cork,  metal  and  textiles.  Planet  Modulor  aimed  to  expand  this  offer  and  align  it  with  the  expertise  and  services  of  material  processing   companies   and   workshops.   To   date,   more   than   30   partners   have  joined   the   initiative   which   is   supported   by   a   private   investor   as   well   as   The  Senate  Department  of  Economics,  Technology  and  Research  and  the  Mayor  of  the  borough  of  Friedrichshain-­‐Kreuzberg,  who  aided  in  the  procurement  process  for  ‘Aufbau  Haus’  which  houses    Planet  Modulor.      As   a   site,   Planet  Modular   includes,   amongst   other   things:   workshops   for   laser  cutting,  milling,  wood,   textiles,  synthetics  and  metal;  manufacturers  of  mosaics,  wall   papers,   interior   furnishings   and   audio   systems;   space   for   model   making,  goldsmiths   and   photographers;   labs;   a   printing   business;   bookstore;   cafés   and  restaurant;  a  youth  integration  and  training  centre;  as  well  as  a  kindergarten  on  the   roof.   With   the   space   as   a   broker   for   creativity   and   innovation,   this  underwrites   its   community   sensibility   and   the   aim   of   creating   a   culture   and  experience   founded   in   qualities   distinct   from   purely   consumerism-­‐oriented  ‘shopping  centres’.      The   broad   and   unique   offer   of   Planet  Modular   has   triggered   cross   innovation  which   is   manifest   in   the   way   in   which   new   products   and   services;   new  combinations,   collaborative   projects   and   creative   spillovers   emerge   from   the  proximity  of  the  different  businesses  and  initiatives.  Examples  include  the  way  in  which  the  architect  of  the  kindergarten  is  based  in  the  building  and  is  a  member  of  the  association,  having  designed  and  produced  the  interiors  with  a  carpenter  and   textile   designer   also   based   at  Modulor.   Another   is   an   audio  manufacturer  that  orders  material  from  Modulor,  processes  it  with  an  on-­‐site  laser  cutter  and  assembles  products  in  the  workshop.  Likewise,  co-­‐workers,  an  urban  gardening  community,  maker   labs  and  various  SMEs  around  Moritzplatz  are  transforming  the  urban  space  into  a  new  ecosystem  for  people  to  work  and  live.    As  a  space  for  brokerage  and  co-­‐working,  the  development  of  the  association  has  facilitated   wider   relationships   amongst   various   stakeholders   in   the   city   and  neighbourhood.  Modulor  Projekt  GmbH,  as  a  consultancy  and  spin-­‐off  of  Planet  

 

                             

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Modulor,  and   its  development  of   the  Moritzplatz  area,  now  professionalizes  the  know-­‐how  gained  throughout  the  project.  The  company  further  develops  models  for   interdisciplinary   projects   and   experimental   spaces.   Other   groups   of  companies   as  well   as   investors   and   policy  makers   have   been   approaching   the  team  for  advice  on  new  initiatives,  formats  and  spaces  inspired  by  this  project.    Club  Consult    Club  Consult  is  a  project  initiated  by  the  Clubcommission  Berlin  –  the  association  of   Berlin’s   club,   party   and   event   organisers.   The   ‘Initiative   für  Musik’   and   the  ‘Projekt  Zukunft  –  Senate  Department  for  Economics,  Technology  and  Research’,  fund  the  project.  Club  Consult  provides  consultancy  for  the  management  of  clubs  and  event  locations  in  Berlin,  with  a  focus  on  sustainability.      The   rationale   for   brokerage   around   sustainability   is   that   music,   events   and  entertainment  are  energy  intensive  industries.  The  production,  distribution  and  staging   of   performances   require   high   levels   of   lighting,   air-­‐conditioning   and  sound,   as   well   as   a   need   for   cooling   systems.   Carbon   emissions   are   also   high.  Projects   like   the   Green   Music   Initiative   demonstrate   that   the   average   club  consumes  as  much  energy  as  forty  three-­‐person  households.  Club  Consult  aims  to  reduce   the   carbon   footprint   of   the   industry.   Clubs   are   also   faced   with  adjustments   they   need   to   make   within   the   urban   environment,   dealing   with  sound   emissions,   the   impact   of   events   on   surrounding   neighbourhoods   and  residents,  which,  if  handled  poorly,  can  lead  to  sanctions.    Club  Consult  organised  a  survey  to  identify  company  needs  around  these  issues.  They   found   that   fragmented   structures,   small   independent   businesses   and  individual  artists  characterize  large  parts  of  the  sector  making  it  problematic  to  address   sustainability   in   an   efficient   form.   As   a   first   step,   it   was   therefore  important   to   create   awareness   for   the   issue.   Beyond   this,   Club   Consult  demonstrates   the   benefits   and   opportunities   for   saving   costs   by   applying  sustainable  solutions.  As  a  result,  Club  Consult  brings  together  experts  from  the  club   sector  with   companies   offering  workshop   services   and   open   surgeries   on  acoustics   and   noise   emission,   sustainable   energy   concepts,   fire   safety   and   air  condition,   new   technologies   and   software   as   well   as   finance,   legal   and  administrative  services.  In  this  way  Club  Consult  acts  as  a  broker  bridging  the  gap  between   the   culture-­‐based   music   sector   and   traditional   construction   and  technical  support  services.    Some   examples   show   the   variety   of   benefits   emerging   for   the   SMEs.   One   club  optimised   their   sound   system   by  working  with   acoustics   engineers  who   aided  with   sound   level   measurements,   adjusting   frequency   controls   to   protect  neighbours   from   sound   emissions.   The   club   can   now   remain   in   the   mostly  

 

                             

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residential  area  it  is  located  in  untroubled  by  complaints  or  legal  action.  Another  example   involved   a   technical   inspection   company,   which   advised   on   the  refurbishment  and   location  development  of  a   listed  heritage  building  used  as  a  club   venue.   The   engineers   consulted   the   management   with   a   concept   for   the  usage  of  the  building,  the  building  materials,  fire  protection  certificates  and  with  the  building  application.    Such   SMEs   benefited   from   the   support   of   Club   Consult   and   the   contacts   the  project   facilitated.   They   saved   costs   by   profiting   from   a   discount   with   the  contracted  consultancies  and  in  the  long-­‐term  may  could  develop  solutions  that  help  sustain  their  business.  Club  Consult   is  aiming  at  establishing  the  project  as  an  agency  after  the  three-­‐year  funded  project  period.    Design  Transfer  Bonus    Design  Transfer  Bonus   is  an   incentive   tool  which  has  been  designed  specifically  with   cross   innovation   in   mind,   enabling,   in   particular,   collaboration   between  design-­‐led  industries  and  companies  from  ‘traditional’  sectors.  At  the  same  time  it   opens   up   new  markets   for   the   creative   industries   and   design   products.   The  scheme   helps   innovation   in   SME   businesses   with   a   programme   that   brings  together   companies   from   technology   sectors,   e.g.   manufacturing,   engineering,  transport   or   logistics,   brokering   relationships  with  design   companies,   agencies  or  universities.   Its  aim   it   to  develop   technology-­‐oriented  products  and  services  as   a   result   of   transferring   innovation   and   knowledge  within   design   companies  and   universities   to   SMEs.   In   this   initiative,   technology   developers   at   an   early  stage   of   production  development   are  provided  with   the   opportunity   to   engage  with   design   experts   and   develop   new   innovative   solutions,   products   and  services.      In   addition,   the   Design   Transfer   Bonus   provides   financial   incentives   for   SME  proposals,   offering   up   to   70%   of   costs   and   a   maximum   of   15,000   Euros   for  external   design   works   as   well   as   design   consultancy,   project   and   design  management  for  new  or  improved  products,  services  and  processes.      These   incentives   are   similar   to   innovation   voucher   schemes   as   they   provide  access   to   R&D   and   know-­‐how   from   design   experts.   In   addition   to   voucher  schemes   that   relate   to   SMEs   and   higher   education   institutions   or   research  centres,   the   Design   Transfer   Bonus   is   also   designed   to   support   business-­‐to-­‐business  relationships  and  consultancy.    The   programme   was   established   by   the   Senate   Department   for   Economics,  Technology   and   Research.   The   funding   agency   B.&S.U.   Beratungs-­‐   und  Servicegesellschaft   Umwelt   mbH   is   the   administrator   for   the   programme.  

 

                             

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Together   with   business   support   agencies   in   the   city   and   districts,   the   Design  Transfer   Bonus   is   being   promoted   at   matchmaking   events   where   SMEs   from  technology-­‐oriented  companies  can  meet  potential  new  partners  from  the  design  industries.   The   events   support   the   businesses   in   finding   suitable   partners   for  development.   They   provide   company   profiles,   presentations   and   speed   dating  sessions.   The   organisers   also   assist   the   follow-­‐up   meetings   and   application  process.    Design  Transfer  Bonus  provides  an  innovative  new  format.  Compared  to  common  voucher   schemes   designed   to   bring   together   research   institutions   and  companies,   the   Design   Transfer   Bonus   also   focuses   on   the   potential   that   lies  within  the  creative  economy  and  design  businesses.  The  approach  addresses  silo  thinking   by   promoting   this   business-­‐to-­‐business   knowledge   transfer.   In   the  creative   economy  where   ‘practice’   can   be   ahead   of   research,   or   at   least   has   a  different   more   developmental   symbiotic   relationship,   it   becomes   clear   that  knowledge   flows   are   not   primarily   in   one   direction   –   from   higher   education  institutions   to   SMEs.   The   Design   Transfer   Bonus   engages   with   the   knowledge  intensive   design   industries   and   makes   the   expertise   and   creativity   that   lies  within   those   companies   more   widely   accessible.   The   scheme   is   a   trigger   for  innovation   and   the   development   of   new   collaborative   projects,   products   and  services.    This   programme   is   currently   in   the   pilot   phase   and   examples   of   projects  developed   with   the   Design   Transfer   Bonus   will   be   completed   soon.   The   first  projects  approved  show  a  focus  on  web  applications  and  user  interface  designs.  Product  designs  are  the  second  important  group.  The  examples  also  demonstrate  the  success  of  the  business-­‐to-­‐business  approach  -­‐  most  projects  bring  together  SMEs   from   different   sectors,  whereas   SMEs   teaming   up  with   higher   education  institutions  is  a  less  frequent  occurrence  at  this  stage.    Those  behind  the  initiative  point  out  that  one  of  the  challenges  of  working  with  different   sectors   lies   in   the   effective   circulation   and   presentation   of   the   offer  through  different  channels.  In  some  instances,  ‘traditional’  industries  and  design  businesses  work  in  close  proximity  but  still  do  not  necessarily  meet  and  connect.  It  is  key  to  create  opportunities  were  companies  from  different  sectors  can  meet  and  share  information.                

 

                             

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Smart  Incentives  for  Cross  Innovation    In   the   current   global   climate   and   facing   the   challenge  of   austerity  measures   in  public  finances  across  Europe  in  particular,  we  can  anticipate  that  the  practice  of  smart   incentives   in   finance   for   cross   innovation   is   likely   to   be   increasingly  desirable  but  also  under  substantial  pressure.  Nonetheless,  and  in  spite  of  a  low  number  of  examples  offered  by  project  partners  so  far,  this  is  one  area  in  need  of  serious  evaluation  for  understanding  prompts  for  cross  innovation.    Micro-­‐finance  for  under-­‐developed  spaces    Lisbon  Municipality    In   Portugal,   Lisbon   Municipality   has   a   micro-­‐entrepreneurship   project   that   is  designed  to  respond  to  depressed  business  activity  in  particular  areas  of  the  city.  The   project   aims   to   create   spaces   in   these   neighbourhoods   for   services   and  information   by   facilitating   and   strengthening   micro-­‐businesses,   creating   jobs  and  opportunities  for  enterprising  people  who  experience  difficulty  in  accessing  bank   credit.   The   project   offers   online   micro-­‐credit   as   well   as   facilitating   the  clearance   of   municipal   licensing   channels   and   aiding   in   the   alleviation   of  municipal   taxes   in   the   first   year   of   business.   This   is   an   initiative   targeted   at  cultivating   the   entrepreneurship   of   those   with   little   or   no   access   to   regular  strategies   for   the   development   of   economic   activity   such   as   niche   companies,  incubators,  technical  advice  or  bank  financing.    Several   partners   are   involved.   António   Sérgio   Cooperative   Social   Economy  (CASES)  is  responsible  for  aspects  of  micro-­‐credit,  supported  by  public  financing  under  favourable  terms.  The  Union  of  Associations  of  Trade  and  Services  (UACs)  is   an   entity   that   provides   services   to  merchant   partners,   including   support   in  accounting   and   legal   matters   and   is   developing   projects   to   encourage  commercial   activity,   including   a   business   incubator.   A   local   ‘Parish   of   St.  Disputable’   and   ‘Project   ‘Ai   Mouraria’’   have   authority   and   administrative  responsibility  for  the  neighbourhoods  subject  to  the  project  and  have  both  made  space  available  for  operations.      The  process  supports  the  dynamism  and  spread  of  the  city’s  commercial  activity  and   it   is   intended   to   extend   it   to   further   areas   of   the   city   through   other  established   outreach   points   and   authorities   such   as   Lisbon’s   School   of  Commerce.  This  will  aid  a  more  exhaustive  monitoring  and  support  for  business  plans,  as  well  as  offering  training  for  employees  in  the  target  areas.        

 

                             

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Embodied  financial  aid:  human  capital    Officina  Innovazione    Rome’s   Officina   Innovazione   employs   6   persons   from   different   fields   such   as  electronics,   informatics,   environment   and   management.   A   public   development  agency,   it   offers   innovation   and   technology   transfer   related-­‐services   to   local  micro  business  and  SMEs.  Its  innovative  practice  appears  in  the  way  in  which  it  merges   smart   finance   processes   with   brokerage   services   based   on   an  understanding   of   the   character   and   needs   of   different   industrial   sectors.   Its  particularity  lies  in  investing  in  highly  professional  human  capital  able  to  trigger  and  develop  innovation  processes  in  traditional  environments.    Officina   Innovazione   relies   upon   local   entrepreneurial   associations   to   provide  contacts  with  their  member  companies  in  order  to  identify  the  most  appropriate  SMEs   for   technological   check-­‐ups   and   project   attention.   Support   is   focused   on  the   identification   and   hiring   of   highly   skilled   personnel   to   aid   development   as  opposed   to   paying   for   equipment   or   other   project   costs   (consumables,   travels,  etc.),   which   are   covered   by   SMEs   themselves.   This   incentive   then   stimulates  activity  by  the  inclusion  of  an  ‘innovator’  with  technological  and  interdisciplinary  competences   within   companies   that   have   limited   numbers   and   finance   for  personnel.    The   project   analyses   SME   needs   and   scouts   competences   and   technologies  available  amongst  partners.  This  is  done  by  a  door  to  door  approach  where  staff  get  to  know  each  of  the  SMEs,  which  allows  the  offering  of  a  tailored  assistance  path   planned   on   an   individual   basis   Once   a  match   has   been  made,   a   series   of  meetings   is   organized   to   introduce   the   SME   and   researcher   in   order   cultivate  communication,   allowing   the   stakeholders   to   understand   each   other,   tell   their  stories,   discuss   solutions,   and   let   reciprocal   confidence   grow   until   concrete  proposals  for  collaboration  emerge.    Local  SMEs  then  can  access  a  public  service  that  is  free  of  charge,  that  serves  to  build   bridges  with   research   centres   and   universities   located   in   the   region,   the  scope  of  which  speaks  to  the  diversity  of  this  project  and  the  way  in  which  this  smart   finance   incentive   acts   simultaneously   as   a   brokerage   service.   These  partners   include:   University   of   La   Sapienza,   University   of   Rome   3   -­‐   Informatic  and   Automation   Department,   National   Research   Council   -­‐   Department   of   Bio-­‐Agrofood   and   Institute   of   Industrial   Technology   and  Automation,  University   of  Tor   Vergata   -­‐   Department   of   Mechanical   Engineering   and   Laboratory   for  Interactive  Systems  and  Multimodal  Interfaces    

 

                             

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In  its  attention  to  brokering  contacts  between  sectors,  Officina  Innovazione  seeks  to   address   an   absence   or   gap   in   communication   among   companies   and  researchers  as  well  as  a  situation  in  which  it  perceives  a  very  limited,  or  totally  absent,  process  of  knowledge  transfer  between  research  activities  and  industrial  companies,   which   has   consequences   in   the   lack   of   industrial   exploitation   of  applied   research   results.   This   attentiveness   is   demonstrated   in   ‘Technological  Promoters   for   Innovation’,   a   project   launched   in   2009   and  which   has   thus   far  financed  26  projects  of  collaboration  between  researchers  and  SMEs.  The  result  of   these   collaboration   projects   has   been   the   creation   of   26   new   products   or  services   that  have  been  prototyped  and   tested  as  well   as   the  establishment,   to  date,  of  2  new  companies.    Officina   Innovazione’s   series   of   activities   has   resulted   in   some   critical   analysis  that   suggests   how   processes   might   be   improved.   Within   the   Technological  Promoters   scheme   for   instance,   it   is   suggested   that   further   funding   should   be  allocated   to   projects   that   achieved   results   that   were   significant   in   terms   of  applicability   as   well   as   evincing   reduced   time   between   development   and  reaching  market.   Such   support   would   develop   a   focus   on   the   ‘pre-­‐production’  phase  of  development,  including  market  testing.  Likewise,  it  has  been  suggested  that  many  SMEs  have  limited  scope  and  experience  in  supervising  and  managing  a  research/innovation  project.  As  a  result,  Officina  Innovazione’s  brokerage  work  could   be   further   developed   by   offering   detailed   project   management   services,  following  up  promising  collaborations  between  SMEs  and  researchers,   in  order  to   cement   the   relationship   and   its   translation   to   project   development   and  implementation.    Business  on  show:  attracting  finance  online  and  ‘on-­‐air’    EU1  TV  Platform    A  Dutch  project  offered  as  an  example  of  smart  incentive  services  is  EU1  TV.  The  project   transcends   locality  as   it   is  an  online   film  and  TV  platform,  which  offers  opportunities  for  directors,  producers,  actors,  scriptwriters  and  others  to  exhibit  or  broadcast  their  work  in  an  environment  resembling  a  regular  TV  channel.  The  EU1   TV   Platform   offers   non-­‐linear,   online   and   on-­‐demand   cable   TV   that   is  available  free  of  charge  or  on  a  payment  basis.  Creative  workers  are  able  to  seek  support   for   new  projects   in   development,   pre-­‐production   or   at   the   production  stage   via   financial   models   that   are   efficiently   and   ‘smartly’   facilitated   in   the  digital  world,  such  as  sponsoring  and  crowd  funding.    The  main  objective  of  EU1  TV  is  to  create  a  pan-­‐European  platform  to  pitch,  fund,  produce  and  distribute  consumer  audiovisual  material.  It  will  bring  together  the  creative   industry,   viewers,   financers   and   distributers   across   Europe   through  

 

                             

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different  distributing  channels.  The  multi-­‐linguistic  platform  will  enable  makers  to  control  the  distribution  of  their  own  content.    The   project   is   at   an   early   stage   of   development   and   it   is   hoped   that   it  will   be  consolidated  with   contributions   from   film   and   TV  makers   in   conjunction  with  their   audiences.   To   the   degree   that   contemporary   digital   platforms   blur  distinctions  between  both  poles  of  producer  and  consumer,  this  might  look  like  the  most  challenging  of  the  cross  innovation  projects  and  thus  suggests  perhaps  a  new  category  for  our  thinking.    EU1   TV   works   in   partnership   with   its   corporate   backers   who   are   the  Netherlands’   largest  cable  companies  –  UPC  and  Ziggo.   In   this  way,  EU1  TV  has  enormous   potential   reach  with   an   estimated   audience   of   10m   available   across  the   EU.   In   their   roles   as   sponsors/endorsers,   UPC   and   Ziggo   are   able   to   offer  content  from  EU1  TV  straight  to  their  clients.  Their  role  is  also  to  participate  in  innovative   activities   online   or   across   digital   TV,   such   as   premiering   significant  content,  as  well  as  leading  in  other  marketing  opportunities.    Alongside  UPC  and  Ziggo,   EU1   TV   cooperates   closely   with   its   technology   partner   TTY   Internet  Solutions   and   ‘Rights   Stuff’   which   deals   with   Media   Rights   &   Content  Acquisition/Distribution.    EU1  TV’s   creators  argue   that   the  platform  gives  contributing  creatives   freedom  over   their   content   in  ways   that  are  not  available   in   regular   frameworks   for  TV  production.  This  is  because  they  influence  the  degree  to  which  brands,  investors  and  other  stakeholders  are  actively  involved  in  decision  making.  Content  on  the  platform  is  also  distinguished  from  the  widespread  amateurism  of  other  online  work,   as   only   producers   with   a   ‘proven   track   record’   are   allowed   to   upload  content  directly.  The  aim  here  is  to  ensure  a  ‘safe  haven’  for  established  stars  and  new   talent   in   the   management   of   a   professional,   supportive   and   innovative  environment      There   is   an   interesting   duality   to   the   project   here   that   balances   an   interest   in  commerce  and  culture.  The  cultural  reach  of  a  project  badged  as  EU1  TV  is  such  that   creatives   across   the   world   can   contribute.   In   addition,   EU1   TV   services  notions  of  cultural  heritage  as  it  makes  a  variety  of  archival  Dutch  films  available  on   its   platform,   a   characteristic   that,   depending   upon   rights   issues,   can   be  extended  to  other  countries.  Alongside  this  is  a  suggestion  that  its  model  invites  relatively   commercial   approaches   to   creating   content   in   conjunction   with  sponsors.   ‘The   traditional  way  of  advertising   is   losing   its   impact  and  brands  are  looking  for  both  new  ways  of  storytelling  and  alternative  ways  of  distributing  their  stories.  They  are  also  looking  for  alternative  ways  of  engaging  viewers  to  associate  stories  with  their  Brand  message,  perhaps  more  subtly  and  less  ‘in  your  face’  these  days  than  in  the  earlier  days  of  ‘sponsorship’  or  ‘product  placement’  models.  So  […]  

 

                             

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why  not  connect  Brands  and  Makers  directly  to  each  other  and  let  them  tell  their  stories  together?’    Innovativ  Kultur    There   is   a   lack   of   seed   financing   within   the   creative   industries   in   Stockholm;  supported  by  the  city,  the  Innovativ  Kultur  project  aims  to  boost  small  innovative  businesses  with  support  in  this  area.  It  announces  funding  for  projects  twice  per  year  and  advises  on  other  funds  and  sources  of  funding.  It   is  run  by  Innovation  Impact   Ltd,   a   consultancy   specializing   in   innovation   processes.   Ten   calls   have  taken  place  since  the  start  of  the  initiative  in  2008.    Innovativ  Kultur   is   a   resource   for   anyone   involved   in   creative  arts   and   cultural  projects,  exploratory  experiments  and  ideas  that  create  collaborations  between  culture,  business  and  academia.  The  institute  aims  to  contribute  to  Stockholm’s  growth   through   cross-­‐border   cooperation,   inspiring   innovation   and   cultural  renewal  through  project  support,  expert  advice  and  an  extensive  network.      Alongside  its  financial  smart  incentives,  Innovativ  Kultur  helps  entrepreneurs  to  develop  their  ideas  or  project  by  offering:    •  Advice  by  mail,  phone  and  personal  meetings  in  each  step  from  the  formulation  of  ideas  to  their  practical  implementation.        •  Idéloft  is  a  venue  at  Innovativ  Kultur  where  entrepreneurs  pitch  ideas  and  get  expert   advice   directly   from   the   institute   but   also   from   other   advisors   and  specialists.      •   Networking   for   companies,   organizations   and   individuals.   The   institute  facilitates  contact  between  innovators  and  who  may  have  an  interest  in  the  idea  or  project.      Additionally,   Innovativ   Kultur   is   a   site   where   creators   and   entrepreneurs   can  pitch   their   ideas  and  meet  experts,   investors  and  crowds  who  will   support   the  most   popular   or   commercially   interesting   ideas,   with   a   view   to   concrete  realisation.                

 

                             

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Reflection      The   accounts   outlined   above   present   the   varieties   of   ways   in   which   cross  innovation   has   been   detailed   and   understood   by   researchers   identifying   case  studies,   as   well   as   those   behind   the   cases   themselves.   The   four   explanatory  themes   used   to   organize   thinking   are   clearly   unevenly   distributed   in   terms   of  projects  represented,  with  a  heavy  weighting  to  culture-­‐based  innovation  at  one  end  of  the  scale  and  fewest  examples  of  smart  incentives  at  the  other.  Of  course,  there   is   no   logic   that   demands   that   there   should   be   equal   weighting   between  these   themes.  As   is   suggested  above,   in   the  current  climate  one  can  appreciate  that   the   existence   and   availability   of   financial   incentives   is   likely   to   be  increasingly   rare.   Likewise,   the   provision   of   spaces   for   creative   work   and  collaboration   is   likely   to   be   capital   intensive   and   brokerage   services   require  some  support  and  logistical  organization.      It   should   be   noted   that   the   themes   were   used   as   conceptual   maps   to   aid  researchers   in   seeking   out   and  making   sense   of   what   kinds   of   work   is   taking  place   between   the   creative   sector   and   other   industries.   They   were,   in   part,  derived   from  EU   frameworks,  as  well  as   familiarity  amongst   the   team  with   the  kinds  of  work  already  taking  place  that  originally  prompted  the  project  concept  and  design.      What   is  apparent  perhaps   is   that   the  boundaries  of   these  categories  are  rather  permeable   in   application   and   understanding.   To   some   degree,   the   themes   and  ideas  have  been  overlaid  onto  each  case  study  a  priori  in  the  research  process.  As  such,  a  number  of  projects  offered  under  the  various  categories  do  perhaps  serve  to   test   the  value  of   the   themes,   if  not   the  core  concept  of  cross   innovation.  For  this   author   these   include   the   following  projects,  which   are  not   explored   in   the  sections  above:    The   Kyboka   Mizigo   is   a   Dutch   project   that   comes   from   a   collaboration   of   a  company  specializing  in  producing  customized  tents  and  building  prototypes,  to  optimize  construction  of   its  products  with  Dovkis  Design.  The  resulting  product  created  is  a  personalized  means  of  transport  for  luggage  that  looks  not  unlike  the  kind  of  play  cart   that  young  children  pull   around.  The  design  company  offered  insights   into   the   potential   market,   of   how   design   can   be   used   to   improve   the  functionality  of  the  product,  which  is  based  upon  a  complaint  that  current  means  of   transport   are   too   heavy,   take   up   a   lot   of   space,   and   are   unusable   on  many  uneven  surfaces.  Thus,  the  Kyboka  Mizugo  has  a  lightweight  construction,  is  easy  to  fold,  strong,  and  is  weatherproof.    The   Warsaw-­‐based   entrepreneur,   sole-­‐trader,   educationalist,   Bartłomiej  Stolarczyk   –   „trener  asertywności’   (‘Assertiveness  Trainer’)  worked  with  42net  

 

                             

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CreActive   to   create   a  website;   ‘Its   exclusive   task   is   to  present   the  package  and  acquire  potential  training  and  course  participants.  ‘  The  result  aids  education  in  personal  assertiveness  training,  allowing  subscription  to  a  newsletter  and   links  to  a  downloadable  free  e-­‐book.    Another   Dutch   project   SchoolVision   applies   knowledge   and   insight   from   the  lighting   industry   into   the   educational   sector.   Different   departments   within  Philips   (development,   marketing,   production,   sales)   have   participated   in  developing   research   carried   out   by   the   University   of   Hamburg   and   Twente,  working   with   different   schools   from   the   Netherlands   and   Germany.   This  innovation   introduces   the   dynamics   of   daily   light   into   classrooms   and   allows  teachers   to   control   the   classroom   ambience.   By   recreating   the   dynamics   of  natural   daylight   in   the   classroom,   SchoolVision   provides   an   optimum   learning  environment   that  engages  and  stimulates  or  relaxes  and  calms.  The  technology  was   tested   in   Hamburg   by   local   government   and   the   Universitätsklinikum  Hamburg-­‐Eppendorf.  A  total  of  166  pupils  and  18  teachers  took  part  in  the  year-­‐long  scientific  experiment,  which  recorded  significant   improvements   in  student  performance.  After  the  existing  lighting  in  each  classroom  was  replaced  with  the  SchoolVision   system,   attention   span,   concentration   and   the  behaviour   of   pupils  all   improved   significantly.  Under   the  dynamic  daylight   conditions,  not  only  did  their  performance  improve,  they  also  read  faster  and  made  fewer  mistakes.    Seen  from  one  perspective  then,  the  manner  in  which  cross-­‐innovation  has  often  been  interpreted  may  appear  to  be  little  more  than  a  description  of  the  kinds  of  services   provided   by   one   sector   -­‐   web   designers   for   instance   -­‐   for   those   in  another.  The  degree  to  which  collaboration  and  exchange  has  taken  place  in  such  cases   is  not  entirely  clear.  However,  even   if  all   such   instances   labelled  as  cross  innovation  here  were  viewed  in  a  limited  fashion,  it  is  still  possible  to  value  the  way   in   which   revealing   aspects   of   the   nature   of   the   relationships   between  cultural   businesses   and   other   sectors   come   into   view.   In   such   instances,  questions   arise   about   the   permeable   boundaries   of   expertise,   especially   in  relations  with  the  digital  sector.  For  instance,  many  of  us  might  nowadays  claim  to   be   digital   natives:   social   media   use,   as   well   as   off-­‐the-­‐peg   formats   such   as  WordPress  or  Posterous,  mean  that  building  and  managing  blogs  and  websites  is  a  common  activity.  Certainly,  most  of  us  have  experience  of  online  formats  in  our  cultural  consumption  and  engagement  with  services,  much  of  which  is  attentive  to  the  nature  of  our  needs  and  often  responsive  in  inviting  feedback.  Thus,  while  web-­‐designers  may  offer  specialist   skills  arising   from  an  aptitude   for  coding   in  order   to   build   bespoke   frameworks   according   to   need,   as   well   as   aesthetic  sensibilities  in  individuating  the  look  of  sites,  each  of  us  as  consumer  is  familiar  with   what   works   for   us   as   consumers,   a   familiarity   which   translates   into  understanding   something   of   the   product   that   one   seeks   to   produce   and   its  function.    

 

                             

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 By  way   of   example,  Warsaw’s  CoWork   said   of   the   results   produced   by  Enysoft  that  ‘The  website  lacks  the  possibility  of  sending  e-­‐mails,  that  is,  a  specific  link  that  would  allow  to  enter  a  question  and  send  it  to  the  system  […]  it  also  lacks  a  mobile  version   of   the   website   for   smart   phones   as   well   as   for   tablets   and   other  mobile  devices.’  The  CoWork  insider  is  au  fait  with  current  conventions  and  expectations  for  websites,  noting  too  that  what  was  also  missing  was  a  system  for  generating  feedback   from  users.   A   detailed   follow-­‐up   into   such   collaborations  may   reveal  whether   there   was   an   issue   in   the   innovation   process   and   communications  between  the  partners.  Either  way,  both  have  something  to  gain  in  understanding  this  process   and   the   interaction  necessary   to  produce   a  website   that   functions  effectively.      Such   instances   do   lead   to   questions   about   the   nature   of   innovation   presented  here.   It   is,   on  one  hand,   a  quality  viewed   from  within  partnerships   in   terms  of  working  processes,  materials,  connections  and  opportunities.  On  the  other  hand,  it  is  manifest  in  public  results  –  in  the  physical  spaces,  products  and  partnership  opportunities  advertised  for  further  participants.    Based  on  this  review  then,  here  are  some  itemized  ideas  about  trends,   features  and   absences   that  we   could   use   as   a   basis   for   further   investigation   as  well   as  discussion  about  the  function  of  policy  clinics  for  cross  innovation.    Uniqueness  and  core  values:  One  of  the  characteristics  of  work  outlined  is  the  way  in  which  processes  and  products  exhibit  aspects  of  the  individuated  character  of  creative   work.   This   is   manifest   in   the   unique   qualities   of   artefacts   produced,  working  practices,  the  individuated  and  bespoke  character  of  digital  experiences  and  others  outlined.  All  of  this  is  underwritten  in  many  cases  by  an  overt  address  to  values  –  whether  ethical,  aesthetic  or  even  expressed  in  forms  of  authenticity  and  dispositions  towards  outputs.  This  is  not  to  say  that  other  forms  of  industry  are   not   invested   in   values   of   this   nature   but   that   these   are   foregrounded  here  even  amidst  the  very  broad  sense  of  culture  and  creative  work.    Networking   and   collaboration:   In   studies   of   ways   designed   to   nurture   the  creativity   of   the   creative   economy,   the   special   qualities   or   ‘mystique’   of   the  central  process  of  inspiration  or  talent  is  largely  bypassed  in  favour  of  facilitating  contexts   for   exchange   of   ideas   and   experiences   between   creative   workers.  Acknowledging  the  often  sole-­‐trader,  SME,  basis  of  much  of  the  sector,  initiatives  have   focused   on   aiding   networking.   What   is   apparent   in   this   project   is   the  success  of  attempts  to  overcome  ‘silo-­‐thinking’  which  occurs  within,  across  and  between   sectors.   To   make   an   observation   on   what   is   perhaps   most   obvious  about   these  case  studies,  and  wherever  and  whatever   the  nature  of   innovation  takes  place;  they  are  in  all  instances  the  result  of  collaborative  partnerships.  This  

 

                             

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observation  is  worth  underlining  for  the  way  in  which  in  each  case,  organisations  approached   the  way   in  which   they  work   together,   sharing   ideas   and   exploring  each  other’s  expertise  as  opposed  to  maintaining  compartmentalised  roles  –  or  silo  thinking  -­‐  in  a  conventional  division  of  labour  between  commissioning  agent  and  service  provider.    Education  and  training:  Universities  play  a  role  in  a  number  of  the  case  studies,  producing   potential   creative   workers   as   well   as   supporting   cross   innovation  activity.  How  then  do  HEIs  work  locally  and  more  widely  across  disciplines  and  with  a  range  of  actors?  What  are  the  resources  within  HEIs  that  might  be  freed  up  for  cross  innovation  with  outside  agencies  and  indeed,  within  them  and  their  various  departments?      Beyond   a   consideration   of   HE   institutions,   the   importance   of   activities   of  education   and   training   in   business   and   innovation   are   apparent.   Whether   in  terms   of   implicit   education   in   terms   of   sharing   expertise   and   transferring  knowledge  or  in  formal  modes  of  instruction  in  business  methods  etc.,  how  these  are  conceived  and  optimized  for  underwriting  cross  innovation  beyond  a  level  in  which   experience   and   insight   is   embodied   in   individuals,   is   in   need   of  exploration.  Likewise,  something  akin  to  ‘intrapreneurship’  in  education,  within  organisations,  could  be  named  and  understood  here.      Absences   and   problematic   case   studies:   At   the   moment,   the   case   studies   are  couched   in   rather  promotional   terms.  While   this  offers   an  encouraging   tone   to  ideas   of   cross   innovation   there   is   a   need   for   details   from   these   examples,   and  elsewhere,   about   things   that   have   not   worked,   about   misunderstanding,  frustrations,   barriers   to   cross   innovation,   cultural   parameters   and   dead-­‐ends.  Negative  examples  have  an  equal  part  to  play  in  determining  advice  and  planning  for  future  policy  and  this  is  a  signal  absence.    Readers  of  the  case  studies  summarized  above  will  inevitably  come  to  their  own  conclusions  about  the  nature  of  evidence  for  cross  innovation.  Likewise,  as  this  author  has  discovered,  the  information  as  originally  presented  and  re-­‐worked  in  this   document,   raises   a   range   of   questions   about   each   of   the   cases,   the   four  themes  for  framing  cross  innovation  and  indeed  the  meaning  of  the  core  concept  itself.   What   is   needed   in   order   to   progress   the   value   of   the   concept   and   its  application  for  the  forthcoming  policy  clinics  is  further  discussion,  feedback  and  understanding  of  these  case  studies.    Given   the   range   of   ways   of   thinking   about   and   defining   creative   and   cultural  industries  (and  the  conjunction  with  a  wider  knowledge  economy)  across  the  EU  and   the  partnership   represented  here,   there   is   a  need   for   further   investigation  and  discussion   about   the   terms   of   cross   innovation.  What   are   the   dynamics   of  

 

                             

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public  and  private  partnerships   for   instance?  What   is   the  relationship  between  the   dynamics,   opportunities   and   limits   of   local   culture,   geography,   and  organisation,  for  cross  innovation?  In  what  terms  can  this  locality  be  translated  into  wider  activity?  Furthermore,  given  the  weight  of  evidence  presented  by  so  many   individual   case   studies   (some   of  which   themselves   represent   a   range   of  projects   and   successes),   there   is   also   a  need   for  more  detailed   insight   into   the  complexity   and   value   of   cross   innovation   ideas   captured   in   accounts   from  key  actors.   Above   all,   and   notwithstanding   the   value   of   the   work   done   so   far,  research  needs  to  be  predicated  on  an  open-­‐ended,  exploratory  basis  in  order  to  further  comprehend  the  nature  of  cross  innovation.    Dr  Paul  Long  March  2013  Comments,  corrections  and  suggestions  to:  paul.long@bcu.ac.uk      

 

                             

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Appendix:  Cross  Innovation  Factsheet    In  the  first  year  of  the  project  we  have  explored  the  topic  of  “Cross  Innovation”.  The  following  short  overview  gathers  some  of  the  thinking,  definitions  and  elements  we  have  collected  so  far.    In  writing  the  Report  For  Period  1  (Jan  –  Jun  2012)  we  defined  “Cross  Innovation”  as  this:    ‘By   the   term  cross   innovation  we  understand  a  process  by  which  creative   industries   share   information,   collaborate  and  work  with  other  growth  sectors  to  promote  new  thinking.’    The  definition  above  was  informed  by  the  Short  Study,  which  investigated  what  “Cross  Innovation”  means  in  the  partner  cities.      Partners  described  it  as:    ‘Co-­‐operation  between  different  sectors  that  would  not  normally  work  together  to  address  key  challenges’  ‘Connecting  the  bohemian  and  entrepreneurial  parts  of  the  city’    ‘A  system  of  knowledge  exchange  to  get  information  across  about  innovation  and  creativity  in  a  city’  ‘It’s  about  new  products,  services  and  systems…  the  added-­‐value  the  creative  industries  can  bring  to  other  sectors’  ‘It’s  about  culture-­‐led  innovation  leading  to  social  outcomes  with  a  strong  community  focus’    The  project  works  along  four  sub-­‐themes  of  Cross  Innovation    Smart  Incentives  –  innovative  types  of  finance  that  enable  cross  innovation;  Culture-­‐based   Innovation   –   schemes   that   unleash   innovation   in   business   and   the   public   sector   by   introducing   artistic   and  creative  practices;  Brokerage  –  services  that  build  bridges  between  sectors  by  connecting  cross  innovation  enablers  with  beneficiaries;  Spatial  Cross-­‐Collaboration  –  supporting  cross  innovation  in  a  spatial  context:  co-­‐working  spaces,  incubators,  fab-­‐labs,  science  parks  and  local  clusters.    With  the  experience  from  the  case  studies  and  study  visits  we  can  now  further  define  specific  areas  of   interest  for  all  of  the  sub-­‐themes.    

Smart   Incentives  (Finance)  

Culture-­‐based  Innovation  (Culture)  

Brokerage   Spacial   Cross-­‐Collaboration  (Space)  

Smart   finance   in  times  of  crisis  

Design   thinking   in  SMEs  

Intermediate   roles   –  SMEs   and   policy  making  

Creative   spaces,  (labs,   co-­‐working,  management)  

Public  tendering   Cultural  management  strategies  

Growth   accelerators  (through  networking)  

Ecosystems   and  location  

Vouchers     Communication    

 We  think  the  following  approaches  should  be  used  as  a  framework  for  understanding  how  to  engage  with  each  of  the  four  sub-­‐themes.    

How   you   find   the  finance   to   make  Cross   Innovation  happen  

Identifying   the   new  thinking  

How   you   bring  people  together  

How   you   create  places   where   Cross  Innovation  happens  

 Steve  Harding,  Tom  Cahill-­‐Jones,  Nina  Lakeberg,  Dec  2012.