Catégorie : Actualité

« Imagine un désert» 
Récits d’hospitalité d’Hôtel du Nord n°3 
Textes: Christine Breton
Artiste invité : Valérie Jouve
Illustrations et photographies : École biblique et archéologique française de Jérusalem, Valérie Jouve…
Format 15/16 cm, 112 pages couleur
Année de parution : 2011
Prix : 15 euros

Quand la ville se développe sur un site qui a été une Solitude, un Désert, réservé au silence et au retrait du monde, les traces de cette confrontation contradictoire vivent dans le repli des mémoires des habitants. Du sommet aux piémonts de l’étoile, qui domine le nord de Marseille, les attitudes de la limite, vécues avant nous dans les Déserts, se transmettent et nous enseignent. Quel goût laissent-elles dans nos contraintes et rêveries urbaines actuelles ?

Le troisième récit d’hospitalité se laisse embarquer dans les lointains marseillais et continue d’interroger les modèles importés qui fondent la ville d’aujourd’hui, de Sainte-Marthe à la Galline. Saurons-nous traverser la fureur de la scène et des personnages portés par l’esthétique du Désert ? En réponse à cette question, l’artiste Valérie Jouve nous entraîne dans la plaine de Jéricho…

Les Récits d’hospitalité proposés au format 15/16 par l’historienne Christine Breton renversent le point de vue sur la ville et prennent pour centre l’ensemble des quartiers septentrionaux. Ecrire l’histoire de Marseille depuis son Nord, c’est chercher d’autres récits de fondation, c’est aussi ajouter une proposition de plus à tous les récits possibles autour des chambres de l’Hôtel du Nord.

Les récits d’hospitalité ont reçu la marque HduN et sont diffusés dans les chambres et les commerces en proximité.

Les numéros sont disponibles dans toutes les chambres d’hôte, dans les librairies suivantes et bien sûr, sur commande en écrivant à editionscommune@free.fr

Dans les 15 et 16iéme arrondissement :

• A l’encre bleue (86 boulevard Chieusse 13016, l’Estaque)
• Association Ancrages, centre de ressources et d’information 42, Bld d’Annam Saint Henri 13016
• Cité des arts de la rue : APCAR – 225 avenue des Aygalades 13015

Dans le centre ville : consulter le site des éditions commune

The nature of the heritage "to be protected" continues to increase: natural, industrial and intangible heritage. Public funding to keep it, they are experiencing a downward trend. In the Face of this situation, several public institutions have invested in the development of private financing methods. Sponsorship and "cultural tourism", at the centre of these new forms of financing, today show their strong sensitivity to an uncertain economic context. American museums like Italians have to face a sharp drop in their private resources. Cultural demand and even more sponsorship are experiencing a sharp drop. Long-term financial commitments such as restoration work or exposure preparation can hardly be dependent on economic hazards such as oil prices or financial speculation at the risk of mortgage The inalienable.  Critics of the use of private financing have hitherto focused on the risks of instrumentalization: loss of meaning, over-exploitation, haggling. The oil and then financial crisis of 2008 raises the question of its stability. This situation, the decline of public resources and the uncertainties of private resources that are supposed to compensate them, gives a special economic value to citizen participation in heritage policies. It helps to make the heritage economy less vulnerable. Until then under estimated, it allows to spread the risks better. It is based on diversified modes of financing (volunteering, public financing, participation, trade) and their sector (trade, agriculture, education,…). The distribution of roles and intentions between private and public actors is evolving. Public policy evolves in the direction of a culture of results: measure of performance, justification of expenditure, valorisation of resources. The Conservatives are called upon to become more managers. In the case of private actors, for-profit companies or not, take into account the defence of interests hitherto carried by public authorities: social responsibility, sustainable development, solidarity economy. People are undertaking to defend a threatened heritage. The traditional compartmentalization between economy and culture gives way to more interrelations. This situation raises as many hopes as fears. On the one hand, it raises the fear of an increasing instrumentalisation of the heritage: loss of meaning, overexploitation, haggling. On the other, it is based on the expectation of an increased contribution of heritage to the development of a more democratic and peaceful society. Rather than face each other, conservatives and entrepreneurs are looking to develop new forms of heritage economics based on cooperation. Our co-operative is positioned on the emergence of private public economic cooperation conducive to sustainable development. At the request of the General Association of Curators of the public collections of France, Section d'azur (AGCCPF), we realized in 2007 three economic diagnoses of cooperation between conservatives and companies Support for sustainable development. We have chosen as an analysis grid the one set up to accompany the modernisation of the French state: measure of the performance vis-a-vis the taxpayer (efficiency), the user (quality of service) and the citizen (socio-economic impact) to which We have added the performance vis-à-vis the Company (Sustainable development). One of the three cooperations is that developed in Marseille between the association Boud'mer and the MCEM, Museum of society devoted to the civilisations of Europe and the Mediterranean. The Boud'mer Association reconciles the Protection of the marine environment and the democratisation of its access. Its 300 members share the use of a dozen traditional boats and educate the general public about the Marine heritage: thematic outings, exhibitions. Since 2006, MCEM has entrusted him with the maintenance, conservation and development of the Swordfish boat. Cooperation is interesting for both parties. The boat is better kept at sea, accessible all year long and costs are shared. It helps to enhance and protect the local marine heritage. Each of these cooperation is proving to be effective. They are an effective way to accompany the implementation of the curator's missions: improving the accessibility of heritage, intervention in rural areas or in sensitive urban areas. It allows it to use complementary external skills. Costs are shared on diversified funding modes: volunteering, public funding, participation, trade. This cooperation strengthens the economic players as well in their choice of sustainable development. These companies, less lucrative in the short term, have difficulty access to the sales front to make themselves known and venture capital to invest. Access to a heritage allows them to benefit from a cultural capital, a notoriety or a mark of recognition that is not indexed on their profit in the short term. Interest is shared. Cooperation is not based on the ability of actors to grow heritage but on their capacity to contribute to heritage policies: conservation, protection and development. These diagnoses, disseminated in the professional environment by the AGCCPF via its website www.ateliermuseal.net, contribute to the enhancement of the potential of cultural heritage as a factor of sustainable economic development (article 10 of the Convention of Faro). The diagnosis has shown that the three experiences also share a structural fragility: these are unsustainable development initiatives. Cooperation is based on trust bonds and little on a contractual regulation of private public relations. Paradoxically, their success can quickly destabilise them in the absence of a well-established regulatory framework. There are few legal and scientific references to make these co-operations transparent (indicators, criteria) and in a democratic way (regulatory framework). Cooperation between private/public actors in heritage requires further signposting. Everyone has sought to adapt already existing frameworks, to pass bipartite conventions, to give authorisations or approvals to do the best. This lack of repositories hinders the development of cooperation between public and private heritage actors. The passage of so well-identified benchmarks – public heritage policies – towards processes of cooperation with the private sector is all the more a risk-taking. Few conservatives are now considering cooperation as a possible expansion of their mode of action. The Faro convention is in this essential sense. It calls on the parties to develop the legal, financial and professional frameworks which allow for a combined action on the part of the public authorities, experts, owners, investors, companies, non- and civil society (article 11) by exchanging, developing, codifying and ensuring the dissemination of good practices (article 17). In February 2009, with these three diagnoses, the departmental Council of consultation of Bouches-du-Rhône, bringing together some 100 representatives of civil society divided into four colleges, unanimously adopted article 17 of the Faro Convention as a recommendation to the elected officials of the Bouches-du-Rhône General Council. Prosper WANNER . SCOP PLACE February 2009: Contribution to the Council of Europe's work "heritage and beyond" on the Framework Convention on the Contribution of cultural heritage for society, known as the "Faro Convention". Reference article: Article 10 of the Faro Convention "heritage and Economics".

Marseille and Venice compete for future cultural capitals of Europe. They highlight their historical situation in the growing "civilizations" and "cultural movements" where they have constantly "combined the reception and fusion" and "the dialogue between the various cultures of the East and the West".  Thus "based on the alliance of Immigration and the local population", they were able to "find new balances in them". Behind the official speeches what story git? The similarity between Marseille and Venice is strong. Historically, Marseille and Venice are the two cities of Europe to have sustained the "privilege" – Privata-Lex – of trade in the East with the Byzantine Empire and then the Ottoman Empire. The Golden Bull signed in 1082 by the Byzantine Emperor Alexis de com, gave the advantage to Venice in the Mediterranean trade. She kept it until the seventeenth century in large part following the rampage of Constantinople with his help during the 4th Crusade. The capitulations signed in 1536 between François Premier and Suleiman the Magnificent gives the advantage to French traders under the administration of the Chamber of Commerce of Marseille. Largely inspired by the privileges granted in Venice, they allowed Marseille to dominate the official trade and the race war in the Mediterranean until the French Revolution. Marseille and Venice develop as "port city", immense cargo shed with their canals, their carts and their houses sheds, sort of caravanserais. The defensive natural site – the lagoon for Venice, the Rocky Amphitheatre for Marseille – founded the first port. Istanbul is a dynamic company. When Marseille and Venice manage to go beyond the lines of conflict, they profit greatly at the economic, cultural and political levels. They both know in the nineteenth century an industrial evolution. On the lands initially occupied by rich dwellings, the "factory port" draws a new city made up of workers ' cities, cathedral factories and transport routes. The northern districts of Marseille and the island of La Giudecca, then almost "desert", are experiencing considerable growth. This period lasts more than a century to stop abruptly. The management of industrial wastelands and social effects of the post industrial period (unemployment, population departure) is still topical. The Centre of Venice loses 30% of its population in twenty years, from 100 000 inhabitants to 75,000 at the end of the century. Marseille loses nearly 150 000 inhabitants and 50 000 jobs. Two new ports emerged in the twentieth century. The petro-chemical port in Porto Marghera and Fos XXL. Marseille treats 100 million tonnes of goods of which 60% of hydrocarbons, making it the first port of the Mediterranean. The development of these new ports accentuates the pressure on an already fragile natural environment: the coves of Marseille and the lagoon of Venice occupy more than half of the area of the commune. As for the tourist port, taking place in the "Factory port", it welcomes more and more cruise ships. In the space of ten years, Marseille has multiplied by thirty the number of cruise (360 000 cruise in 2005). Over the same period, Venice has risen from less than half a million to more than 1.4 million passengers (2006). In 2007, Venice would have welcomed more than 20 million tourists. Access to land, or even public space, is clearly becoming a line of conflict. As everywhere in the Mediterranean, the management of natural and cultural resources is becoming a growing source of conflicts. The increase in market value (tourism [1], intangible economy) and the weakening of public intervention (control of public expenditure) favour the logic of privatization. Through their candidatures, Marseille and Venice pose immediately the conflicting dimension of heritage as a source of dialogue, creation of wealth and possible new balances. But while they have been able to dialogue with the other major ports of the Mediterranean and create long-term bridges (commercial counters, houses of commerce), they are struggling today to have their ports interconnected with each other. One cheek against the other. The dialogue seems to be broken between those who inhabit and make each of the ports: beneficiary of tourism, of petro-chemistry, of the lagoon, of industry or without employment. While everyone is helping to build their city, they meet little: a Venetian from the city centre goes little to the Giudecca, almost never to Porto Marghera and more to San Marco. The conflicts of interest are increasing, the interests in common not stated. The initiative at the moment is largely carried by citizens ' movements concerned about the fate of their city and their place. They seek to re-appropriate heritage management to reinvent their own future. Heritage becomes a means of reclaiming the city and its own social, economic and cultural future. Since 1994, in Marseille, the European Integrated Heritage Programme is being held in the heart of the northern districts so that their current conversion is not at the expense of the present heritage and those who live there, the last witnesses of the industrial adventure. He gathered around the Carmelite Valley a curator of the heritage and more than forty structures: parishes, collective of inhabitants, enterprises. For the European Heritage Days will be held in Marseille for the tenth year of the Heritage ballads in the Heart of the North co-districts organized this year by the collective of the Vallon des Carmes. In October 2008 will be inaugurated the "soap of the Carmelite Valley", a witness to the activity of the last soap factory of these neighborhoods and premise to the opening of a "Plant museum". This work should eventually lead to the creation of a foundation centered on the emergence of modalities of private public dialogue in the management of heritage policies, leaving a large part to the residents. The heritage pretext for its experiments will be the Carmelite sites in the Mediterranean with the first objective the cooperative management of Here 2013 of the only historical monument classified and registered of the northern districts: the Cave of the Carmelite and its valley. A first heritage ballad experience will be attempted at the Giudecca this year between an association of residents the 40x and the Casa della Memoria. The Molino Stucky, a huge mill symbol of this industrial era, renovated in luxury hotel, Congress Center and residence, will be at the centre of this heritage ballad. It symbolizes for the mayor of Venice the city "possible" capable of combining in it the memory and the innovation. The challenge is to go to meet the others so that they can tell us their different readings of the renovation in progress and that everyone will be able to reclaim the present heritage. This concern is shared by the Council of Europe, which is struggling to make an individual right to cultural heritage emerge.  This right is intended to move us from the status of "beneficiary" of heritage policies to that of "entitled": entitled to participate in its identification as to its interpretation or valorisation. It would inevitably emerge the lines of heritage conflict: Conflicts of use, interpretation, development, choice of mode of conservation. The individual nature of this right makes it possible to move towards a regulation of conflicts which takes into account the whole of the ethical, cultural, ecological, economic, social and political dimensions of heritage. It is in fact part of a conflict prevention and sustainable development perspective. Because it calls on States to share their monopoly on heritage policy and the companies to co-manage the heritage resource, there is little chance that it will end soon. Today, only 3 states out of 47 have ratified the so-called ' Faro ' convention which bases this right. Heritage Ballads are a realization of the land of the right to cultural heritage. They are a point of support for an immense project to open. What are the other possible actions? What openings are the candidature of Marseille as "Laboratory of Cultural democracy" and that of Venice as "multi cultural and tolerant society"? Are there possible links between the two cities? And with the Council of Europe? Christine Breton and Prosper Wanner, September 2008. Article published on the magazine Lagunamare, on the blog Marseille-Provence 2013 and on the social network 40xVenezia

Third portrait carried out in the context of the 3 diagnostics of innovative patrimonial cooperation on behalf of the AGCCPF PACA. We denounce the tourist or exotic heritage uses erected as a model. We propose to affirm "the heritage of all": Shared individual histories and common historical destiny without discrimination or exclusion. Extract Charter of the Mediterranean common heritage. AGCCPF PACA 2000. Preamble in order to protect the heritage threatened by the conversion underway in the Marseille hinterland, in 1994, the city of Marseille initiated an experimental integrated conservation mission. Since 2006, the reconversion of the perimeter of the Carmelite cave, one of the few historical Monuments of the Marseille hinterland, has accelerated. This perimeter of 72 hectares is at the heart of a sensitive urban area where the National Urban Renewal Agency – ANRU has recently intervened strongly. In the Face of this urgency, to lead the mission of integrated heritage – to identify, interpret, preserve, value – those who are directly concerned are strongly involved in the mission: inhabitants, businesses and associations. The diagnosis proposes to situate this cooperation, to understand the reasons and to measure the first results obtained. In order to measure and compare the impact of these private public cooperation, it is essential to use a common indicator system.  The diagnosis refers above all to the new indicators used in the framework of the Organic Law on the Finance laws of August 1, 2001-LOLF. These are the performance indicators of the State vis-à-vis the taxpayer, the user and the citizen. It proposes to answer the following questions: What are the reasons for this cooperation? Does it contribute to the current conversion? To the valorisation of the historical Monument?  In a context of controlling public spending, does it contribute to finding the necessary resources for the integrated Heritage Mission? Does it anchor economic actors more in sustainable development?

Virtual Expo in 2007, the Association of curators of the public collections of France section Paca (AGCCPF Paca) has launched an international invitation to young graphic designers from schools or in the course of training to dialogue on the news of Stakes in their trades. Curators and graphic designers are looking for the most suitable forms for the new forms of cooperation indispensable in the symbolic space today. The guest of the Virtual Expo 2007 was Marion Arnoux. She has just come out of the design school of Saint-Etienne and participates in the experimental structure IRB Laboratory, under the responsibility of Denis Coueignoux and Ruedi Baur. The project results from a collaboration with Mathieu Ehrsam, multimedia Designer to produce a graphical interpretation of portraits devoted to professionals of the economic world who seek with the curators durable solutions in the life of Objects of public collections entrusted to them. [Kml_flashembed Publishmethod = "static" Fversion = "8.0.0" movie = "http://hoteldunord.coop/wp-content/uploads/2013/08/expovirtuelle_carmes.swf" width = "800" height = "600" Targetclass = "Flashmovie"] Mr. Latour is the chief executive officer of Chimitex S.A., a limited company based in Saint Laurent du Var, whose main activity is the processing and packaging of cleaning products and maintenance textiles. In 2006, it had 70 employees and achieved a turnover of more than 14 million euros. In 1995 she acquired the soap factory of the Midi then in a situation of judicial recovery. The SOAP factory, located in the district of Aygalades in the north of Marseille, housed in the XIV iéme century a mill, starting from 1870 a flour mill, then the manufacturing plant of Couscous Garbit before becoming in 1920 one of the 108 soap factories existing at this Period in Marseille. For economic and standards reasons, the so-called "cauldron" activity has been halted to maintain only that related to formulation and transformation. The presence of the immense cauldrons, grain sieves and other equipment still bears witness to past activities. Marseille SOAP, a product recognized as effective, economical and natural, has experienced a renewed interest on the part of consumers in recent years. This renewal and the existence of a functional production equipment, too costly to the creation, have strongly conditioned the maintenance of the activity on the spot. Mr. Latour is anxious to register the economic development of Chimitex S.A. From a sustainable development perspective. The promotion of a recognized natural product, the Marseille soap, and the maintenance of economic exploitation in a sensitive neighbourhood are for him entrepreneurial motives that count in his decision making. Today it claims the ability of its company to have hitherto assumed without external AIDS parity, diversity and protection of the environment. remained to be permanently placed in a highly competitive market. Marseille soap is not a controlled appellation of origin. Of the hundred Marseille factories of the last century, only three remain active. Many SMEs rely on the renewal of Marseille soap to support their sales by associating it with essential oils or plant extracts. More than 80% of the production is carried out abroad as in Germany, Greece, Italy or Turkey. The soap factory of the Midi today produces 2500 tons of soap that it flows at national level (10% export). Unlike many local SMEs, it does not have its own outlets and has to face strong competition to access the sales front of large distribution centers. How to differentiate in a very competitive market? How to find new business opportunities? How do you value your choice of location? The Cave hermitage of Carmes is a historical Monument, classified in 1994 under the number PA00081517. The SOAP factory is located within its protective perimeter. The quality of the water that led the Carmelites to come and settle in the caves is the one that allowed the production of a high quality soap. In the twelfth century, the Carmelite order settled in this ancient hermitage, which originated in the ^5th century. The 500 metres of its heritage perimeter, or 72 hectares, have been included in the large urban renewal area of the 15th and 16th arrond^issement ^{of M}arseille for several years. The heritage perimeter encompasses other caves buried in 1933 by the A7 motorway, the city of social housing the niches, the Montleric condominium, the Midi soap factory, the Bee factory re-invested by the City of Street Arts, The important Provencal bastide la Guillermy has recently been abandoned and the "green flow" of the Aygalades Brook. The modification of this protected perimeter "in conversion" has accelerated with the launch of the construction of the city of the street arts, the amplification of the degradation of the Bastide la Guillermy and the Cave of the Carmelite, the intervention of the agency National urban renewal on the cities of the niches and the Viste (ANRU) and the prospect of shaving the whole of social habitat the niches. How to reconcile the conservation of this "historic terroir" while contributing to the necessary economic conversion of these districts? How to become a force for proposals? The experimental Integrated Conservation mission was initiated in 1994 by the city of Marseille, the university, the CNFPT and the Council of Europe. The municipality makes available a full-time curator and the scientific guardianship is assumed by the Council of Europe. This process is renewed until today within the framework of the city/State Conventions on urban planning. The experimental perimeter is that of the large Urban Project (GPU), which became a major city project (GPV), which encompasses ^the 15th a^{nd 1}6th arrondissement of Marseille. Christine Breton, first class curator of the city of Marseille, at the origin of this process, has since been responsible for its implementation. In connection with the Council of Europe, it has been implementing its recommendations on the integrated heritage approach for more than ten years on the ground [1]. The Carmelite Cave is one of the few points of support under heritage legislation on these two boroughs which bring together 11% of the population of Marseille and "only" 4 historical monuments on the 72 that the city counts. To build concrete proposals that start from the present cultural heritage, Christine Breton has partnered with the "Heritage Network of the Carmelite Valley" of private organizations – associations, companies, independents-present on the perimeter Heritage. These associations, these companies, these collectives of inhabitants are asked to give their time and means to the implementation of the heritage process. Whether in the form of participation in monthly workshops, data collection or material supply, the process has been implemented. Chimitex S.A. is part of this ten structures involved in the same way as the Aygalades District Interest Committee, the parish or city of the street arts. They are involved in the tracing, identification, interpretation or development of the heritage resources of the site, whether natural – identification of the source of water, the paths – cultural – existence of know-how, collection of Testimonials – or material – search for equipment, images. The public record of a year of work is done each year through a "heritage ballad" during the European Heritage days. The Carmelite cave, difficult to reach and in poor condition, has been open for three years to the public once a year on these European heritage days. A stroll through the meetings in situ with those of the network: entrepreneurs, inhabitants, institutional actors, artists and associative leaders. From 40 visitors the first year, it is 400 people who did the ballad in 2007.  

  Mr. Latour participates annually in the European days of valorisation of this heritage. In 2007 he opened the factory and he and employees brought their testimony to the 400 people present.  Today, he is pursuing fruitful heritage research on the site and on the subject of Marseille soap. The first reason concerns the visibility of its economic positioning. Chimitex S.A. Presents its brand "master soap of Marseille" as one of the last two distributed nationally whose products have been manufactured in Marseille according to traditional methods and recipes for more than a century. It enshrines its activity in the continuity of the millennial manufacture of Oriental soaps, which has continued and developed in Marseille since the Colbert Edit of 1688. And in the continuity of use of quality water, that of the Aygalades, valued by the Romans and then the Carmelites. It seeks to value the quality of its production by registering it in a historical continuity. Today Mr. Latour has created his own brand: Soap from the Carmelite Valley and claims Marseille soap made in Marseille. The second reason is the opening up of new economic opportunities. The participation in the European Heritage Day of 2007 showed him the interest existing for his approach (400 visitors). Today the company receives monthly groups of visitors and plans to develop a localised point of sale articulated to a space "museum" in connection with an association of soap enthusiasts of Marseille. It wants to be able to capture a local clientele and to drain some of the potential of customers linked to the activity of cruises. At present none of the routes that the thousands of cruise carry out every week from the Port of Marseille provide for a visit to the northern districts of Marseille. The company wishes to participate in the creation of an offer of this nature.   COOPERATIF indicator No. 1 – Economic valuation [2]-does private public cooperation contribute to anchoring economic actors in sustainable development?

  With regard to public policy, the presence of a historic Monument, even degraded and inaccessible, in an urban area in reconversion is an asset. Its integrated approach makes it a source of sustainable development. The State is committed to making the environment for people living in a sensitive urban area as pleasant as in the rest of the commune. And this by making greater efforts in the area of the development of external spaces, the enhancement of the environment and cultural supply [3]. The Ministry of Culture must in this context increase its intervention effort in the priority urban areas and further orient its subsidized actions to territories where the population is for social, cultural or Geographical distance from cultural offerings [4]. With the target, an effort made towards priority areas that is more important than the general effort. The heritage perimeter of the Carmelite cave is at the heart of these neighbourhoods, which experience significant territorial imbalances in terms of quality of life (noise nuisance, pollution), cultural supply, travel patterns and living environment ( Habitat, Public spaces.). Through the Heritage network of Vallon des Carmes, it is 6 000 people who are concerned by this cultural policy throughout the year. They contribute directly or indirectly, whether they are present or represented in the workspaces, requested for the collection of data and their interpretation or invited to benefit from this work during the European days of Heritage. Or 9% of the population of the borough and 0.8% of Marseille, which is directly concerned by this cultural policy [5].

At the level of the financial effort, the action on the Carmelite Valley represents 50% of the budget committed via the Integrated Heritage Mission (a post of curator), a budget that can be estimated at 38 000 euros. This is 5 euros per capita concerned and represents 0.03% of the city's Budget. The city of Marseille with 820 900 inhabitants (data 2005) and a Culture budget of 116 million euros (2007) spends an average of 141.31 euros per inhabitants. COOPERATIF Indicator N ° 2-efficiency [6]–does private public cooperation contribute to the ongoing conversion?

Preamble the MCEM has entrusted in 2006 the maintenance, conservation and extension to the general public of the boat the Swordfish, well inalienable, to the association Boud'mer which proposes to "share the sea together". The diagnosis proposes to situate this cooperation, to understand the reasons and to measure the first results obtained. In order to measure and compare the impact of these private public cooperation, it is essential to use a common indicator system.  The diagnosis refers above all to the new performance indicators of the state vis-a-vis the taxpayer, the user and the citizen used in the framework of the Organic law relating to the laws of finance of first August 2001-LOLF. He proposed to answer the following questions: What were the reasons for this cooperation? Two years later, what are the first assessments that can be drawn from this experience? How does this private public cooperation promote the accessibility of swordfish?  In a context of control of public spending, does it participate in limiting the costs inherent in the conservation of a traditional boat? Is it performing for the Boud'mer association?

Virtual Expo in 2007, the Association of curators of the public collections of France section Paca (AGCCPF Paca) has launched an international invitation to young graphic designers from schools or in the course of training to dialogue on the news of Stakes in their trades. Curators and graphic designers are looking for the most suitable forms for the new forms of cooperation indispensable in the symbolic space today. The guest of the Virtual Expo 2007 was Marion Arnoux. She has just come out of the design school of Saint-Etienne and participates in the experimental structure IRB Laboratory, under the responsibility of Denis Coueignoux and Ruedi Baur. The project results from a collaboration with Mathieu Ehrsam, multimedia Designer to produce a graphical interpretation of portraits devoted to professionals of the economic world who seek with the curators durable solutions in the life of Objects of public collections entrusted to them. [Kml_flashembed Publishmethod = "static" Fversion = "8.0.0" movie = "http://hoteldunord.coop/wp-content/uploads/2013/08/expovirtuelle_espadon.swf" width = "800" height = "600" Targetclass = "Flashmovie"] Mr. Thome is the director and founder of the association "Boud'mer, share the sea together". He created this association to reconcile the necessary protection of the marine environment with the development of access to the marine heritage for all. Created in 2001, it aims to safeguard the Mediterranean maritime heritage, to democratize its access and to raise awareness among the general public. Its members share the use of traditional boats and offer numerous thematic excursions at sea such as the discovery of coastal heritage or fishing. Their boats are stationed in Marseille marinas. In 2006, they were more than 200 people to share 5 boats. With an annual budget of 60 000 euros, 3 employees (2 full-time equivalents) and 12 active volunteers, the association carried out this year 150 outings at sea, of which more than half thematic. Through the "sharing of boat", as there are in Marseille the auto-partage, it proposes to anyone to have access to this heritage while going in the direction of a regulation of the pressure of the pleasure boats on the coast. Swordfish is a boat that has entered the collections of the Museum of Civilizations of Europe and the Mediterranean under the inventory number: 2004-90. Mr. Thome has participated in his expertise and restoration. The laborious and costly maintenance of traditional boats coupled with the lack of space in the harbour leads many owners to separate themselves from this heritage. The swordfish was built in Cannes in 1965 by the same. 7 meters long and with a capacity of 8 persons, it served until 1992 to the same artisan sinner. After thirty years of professional activities, she was disarmed with her fishing equipment and sold to a boater. Then in 2004, the boat was proposed as a donation to the Museum of Civilizations of Europe and the Mediterranean, the MCEM. The MCEM is a museum of society dedicated to the civilisations of Europe and the Mediterranean. This orientation given to the former National Museum of the popular arts and traditions goes along with its installation in Marseille, on the Mediterranean Sea. The objective is to stimulate debate by articulating exhibitions to major societal issues. The MCEM will be endowed in 2008 with an annual budget of more than 13 million euros, of 160 employees. Its current reserves are estimated at more than half a million objects. Denis Chevalier, chief curator at MuCEM, took charge of the follow-up to the Swordfish donation request. In charge of the Marseille antenna, his interest in industrial heritage leads him to take into account the potential of conservation in situ or "alive" heritage. And to wonder, as soon as possible, about the possibility that a property can be placed on deposit in a company and thus continue to live its own history. Hence the idea, for traditional boats, Euro Mediterranean maritime heritage, to go so far as to control their manufacture (maintenance of know-how), to film the construction site and to moor them at the feet of the MCEM. This project is initiated with a traditional Tunisian boat. In this continuity, the potential for in situ conservation of swordfish was one of the factors taken into account: possible uses, necessary equipment, capacity of reception and activity potential. Today, maintained by the association, Swordfish participates in the economy of the association Boud'mer. Following the favourable opinion issued by the Boud'mer Association on the status of Swordfish, its heritage interest and its potential for use, the MCEM initiated the application process for the Swordfish classification. Once the agreement was received, the reclamation of swordfish was entrusted to the Boud'mer Association and a Marine Carpenters company. The MCEM then made the choice to entrust the maintenance and shared use of the boat to the association. The Convention is annual and tacitly renewed every year. This Convention, lacking an existing reference, was based on that of the Pendwick II, which was made available to a sailing school. For the Boud'mer Association, the first plus value concerns its legitimacy. Its purpose is not to acquire traditional boats but to facilitate access and maintenance. It seeks to encourage owners to share their boat in return for the financing of maintenance costs, the main motivation for abandoning this heritage. The museum's confidence in the association strengthens its credibility with public and private partners. The second is economic. The participation of the users at each exit at sea allows Boud'mer to finance the costs of maintenance of the boats but not the costs of structure (office, coordination, etc.). The latter are financed mainly by temporary resources (exceptional grants, contributions, volunteering). To increase its profitability, the association should increase its tariffs and promote individual outings (go to the rental) while its associative object is more the discovery of the heritage (outings accompanied) and access to the largest Number. Not to mention the tax consequences related to the transition to an activity mainly of renter: subjecting to VAT, to the professional tax. This situation is different with swordfish, whose maintenance and repairs are taken care of by the museum. It is the only boat of the association to participate today in the financing of the structure costs. Such cooperation allows the association to eventually consider an economic model that allows it to defend its associative project without becoming a boat rental company. Today swordfish helps to finance 5% of the structure costs of the association. The economic equilibrium of the association could be based on equal funding between private financing (rentals, sponsorship, outings), public subsidies and the management of a "heritage" fleet of half a dozen boats.

• COOPERATIF indicator No. 1 – Economic valuation [1]-Is this private public cooperation effective for the Boud'mer association?

Leaving the reserves and putting in the water, swordfish is shared daily. This fishing boat does not in itself have a unique character. Its main richness rests more on the link it represents with all the other boats of the same type present throughout the Mediterranean rim. All the museums of ethnology have a priori boats of this nature and risk weakly to request one from other museums. To this is added the large size of a boat that makes it difficult to transport. Swordfish has little chance of being exposed permanently, temporarily or in a deposit. A gift of this nature is more likely to reach half a million objects in the MCEM reserves and few chances of exits. It would be kept but poorly accessible. And while the LOLF sets the objective for museums to make physically accessible a part of heritage growth (Mission Culture, Heritage, Objective 2) [2].  

The cooperation initiated with Boud'mer allows a better development of swordfish by giving it an exposed object status [3]. Swordfish carried out a full operating exercise in 2007. It carries out an average of 30 outings a year with 6 people per outing and fifteen thematic days with 50 to 100 people per day (Thalasanté, September at sea, etc). The rates are differentiated according to the outings and the public ranging from free to a maximum participation of 15 euros per person.

•  COOPERATIF indicator No. 2-efficiency [4]-How does this private public cooperation promote the accessibility of swordfish?

This shared treasure anchors the museum in sustainable Development. The ability to accept a gift of this nature and to provide economical access to it now represents a heritage issue. The recommendations of the Council of Europe, in particular the Faro Framework Convention [5], commits cultural policies to recognise the value of the cultural heritage situated in the territories under their jurisdiction, irrespective of its origin and To promote its protection as a major element of the combined objectives of sustainable development and cultural diversity (Faro Convention, article 5) [6].  What circulates is our identity. And if French art circulates well throughout the world, Swordfish's low circulation potential poses a question. In particular to a museum of society positioned on the civilisations of Europe and the Mediterranean. How can we reconcile the control of public spending with its conservation and accessibility? The conservation of a wooden bark is much more costly "dry" "than Water" [7]. The life of a boat out of the water is estimated at 2 years against 8 years at sea, before it is necessary to make large repairs. The choice of "dry" storage requires a costly technical vacuum installation. Conservation at sea requires a place in the harbour and regular maintenance. If in the long run the MCEM has as a project to develop a space at sea, today it keeps a boat "dry". The analysis of the financial data of the association Boud'mer allows to evaluate the cost of conservation "at sea" of swordfish. It is valued at EUR 30 000 per annum, after unposted resources are re-integrated (volunteering, provision of a place at the Port). The MCEM takes over 20% of the cost of which a part in a non-monetary way by making available a place at the Port. or 80% of external resources linked to cooperation [8]. This is important insofar as expenditure control becomes, with LOLF, a very decisive element in the management choices of a museum. The supervisory bodies of the Ministry of Culture must control their operating expenses as well as increase the share of own resources, such as sponsorship or entry fee (Mission Culture, Heritage, Objective 3) [9].

• COOPERATIF indicator No. 3:-efficiency [10]-in a context of control of public expenditure, does it participate in limiting the costs inherent in the conservation of a traditional boat?

 Today this cooperation is based more on people than on contractual mechanisms of regulation. The Convention which serves as the basis for the one passed between the MCEM and Boud'mer is that concerning the provision of Pen Duick II to a sailing school. There seems to be little reference in the heritage field to lay the groundwork for public/private cooperation. The regulation of the relationship between heritage interests and economic interests is based more on trust between people than on contractual elements. The association does not necessarily send its activity balances to the MCEM and the latter does not necessarily inform its visitors of the presence of swordfish (no common signs). This situation can be explained in part by the youth of this cooperation. 2007 was the first year of full exercise for swordfish. This situation makes it possible to maintain a flexibility favorable to an experimental process. However, its reproducibility on other sites, in other contexts or its durability depends on mechanisms of regulation of conflicts of interest more independent of the people who founded this cooperation. It raises a number of important new issues in view of the progress of the project: How to structure this cooperation without freezing or unbalancing it? What can be the contributions of France's ratification of the Faro Convention? How to translate them into common law? Prosper Wanner, S.C.O.P. Place-January 2008 additional Sources:

• Website of the Association Boud'mer: http://www.boudmer.org/
• MCEM Website: http://www.musee-europemediterranee.org/
• Council of Europe Website: http://www.coe.int/
• Site of the LOLF: http://www.performance-publique.gouv.fr/

Diagnostic Sources This diagnosis was finalized in January 2008 mainly from the following elements:

• 1 Interview with Denis Chevalier, chief curator of the MCEM;
• 2 Interviews with Philippe Tome, founder and director of the Association Boud'mer;
• The accounting data for the financial year 2006, the forecast budget 2007 and 2008 and the activity balance sheets from 2003 to 2006 of the Boud'mer Association;
• The agreement between the MCEM and the Boud'mer Association concerning swordfish;
• The presentation paper of the MCEM Scientific and Cultural Project 2002: "Reinventing a Museum: the MCEM"; and statistics of visits from 2003 to 2007 of the MCEM.
• Market prices related to the operation of a boat: place au port, skipper,…
• The LOLF documents on performance indicators;
• The Council of Europe's "Faro" framework convention.

Second portrait carried out in the context of the 3 diagnostics of innovative heritage cooperation on behalf of the AGCCPF PACA. We want to go beyond the disciplinary cuts and the decontextualisation of objects that are still too dominant in the exercise of heritage professions and the elaboration of collections. Extract Charter of the Mediterranean common heritage. AGCCPF PACA 2000. Preamble the Musée Gassendi, located in Digne-les-Bains, has incorporated in its collections The contemporary works of art "refuges d'art" located in the geological reserve of Haute Provence [1]. "Refuges d'art" is a collection of built-in barns, farmhouses, chapels – the restoration of which includes the creation of artist Andy Goldsworthy. The installation of these works outside the walls of the museum, their already effective attendance, the increasing interest of the public and the potential of economic development they represent, oblige the museum to qualify their accessibility in order to maintain the spirit of the project. Jean Pierre Brovelli, hiking guide and partner of the project, which accompanies those who wish to connect on foot the different places of "Art havens". "Private public" cooperation characterizes this process.  The first was the one developed between the museum and the Haute Provence Reserve (Association Loi 1901). The diagnosis proposes to situate this cooperation between Jean Pierre Brovelli and the museum, to understand the reasons and to measure the first results obtained. In order to measure and compare the impact of these private public cooperation, it is essential to use a common indicator system.  The diagnosis refers above all to the new performance indicators of the state vis-a-vis the taxpayer, the user and the citizen used in the framework of the Organic law relating to the laws of finance of first August 2001-LOLF. He proposed to answer the following questions: What were the reasons for this cooperation? In a context of controlling public spending, does it help to qualify the accessibility of works in open access? Is it performing for the museum? For Jean-Pierre Brovelli? Does it contribute to the economic development of this alpine territory? Enrolled it into sustainable development?

Virtual Expo in 2007, the Association of curators of the public collections of France section Paca (AGCCPF Paca) has launched an international invitation to young graphic designers from schools or in the course of training to dialogue on the news of Stakes in their trades. Curators and graphic designers are looking for the most suitable forms for the new forms of cooperation indispensable in the symbolic space today. The guest of the Virtual Expo 2007 was Marion Arnoux. She has just come out of the design school of Saint-Etienne and participates in the experimental structure IRB Laboratory, under the responsibility of Denis Coueignoux and Ruedi Baur. The project results from a collaboration with Mathieu Ehrsam, multimedia Designer to produce a graphical interpretation of portraits devoted to professionals of the economic world who seek with the curators durable solutions in the life of Objects of public collections entrusted to them. [Kml_flashembed Publishmethod = "static" Fversion = "8.0.0" movie = "http://hoteldunord.coop/wp-content/uploads/2008/01/expovirtuelle_cairn.swf" width = "800" height = "600" Targetclass = "Flashmovie"] Mr. Brovelli is an average mountain hiking companion, based in Seyne-les-Alpes in the Alpes de Haute Provence. He became an accompanist in the mountains after exercising other professional activities, particularly in the culture at the General Council. Located on the "niche" of hikes combining culture and nature, it seeks to reconcile its interests for culture, nature and roaming. Since 2004, it offers stays from week end to week all inclusive. Positioned on "The art of Walking", its "refuges d'art" stays represent an important part of its activity. The preparation of this route as a hiking route requested a substantial tracking job. Investment necessary to identify the possibilities of supply, to identify possible shelters in case of bad weather and to evaluate the level of difficulty at best. How to make this specific positioning visible? How to maintain a professional activity that responds to the motivations that founded the creation of the company (sustainability)?   "Refuges d'art" is a proposal by artist Andy Goldsworthy to the geological reserve and the Gassendi Museum. The Gassendi Museum ensures the cultural engineering of the project "refuges d'art" and the geological reserve of Haute Provence Financial management. To manage contemporary art proposals together, the museum and the reserve created the informal art Centre for Nature research – the CAIRN. The Musée Gassendi, Museum of France, hosts an average of 10,000 visitors a year and 3,000 school, its surface is 2,000 m2, its annual budget is 1.4 million euros and it has 10 employees. "Art huts" will eventually represent an increase in its permanent exhibition area equivalent to one sixth of that present. An additional cultural area in rural areas, in accordance with the objectives of the State for the years to come [2].

• COOPERATIF Indicator N ° 1.1-efficiency [3]-Is this private public cooperation performing for the museum?

This "re-invented museum" seeks to be in direct contact with its territory, in particular by making the original collections of the Museum-Fine Arts and Sciences-and contemporary works of art from The policy of artistic residency implemented within the CAIRN. Nadine Gomez-Passamar, curator of the Gassendi Museum, directs and implements the cultural engineering of the "Refuges d'art" project. She has been involved in the project from the outset and continues to develop it today. She's artistic director of the CAIRN. Started in 2001, the project will eventually be a pedestrian itinerary of 150 kilometers and comprising 10 works by the artist. The buildings can accommodate people for a stopover, sometimes one night. The works, donations made to the city of Digne-Les-Bains by the artist in 2006, are the first "off the walls" to be accepted by the Commission des Musées de France. Each building is owned by Public – Commons, NFB – and each work is part of the permanent collection of the Gassendi Museum. Mr. Brovelli participates in the collective process of realization. It is approved by the geological reserve of Haute Provence and authorised by the Gassendi Museum.  He participated in the definition of the itinerary by accompanying some recognition steps with the artist, the museum staff and the reserve. This open and collective approach is a factor of sustainable development. In line with the Council of Europe's recommendations on cultural heritage and sustainable development, it promotes an integrated approach to policies on cultural, biological, geological and landscape diversity and promotes a Balance between these components [4]. The Council of Europe encourages the participation of everyone in the process of identification, study, interpretation, protection, conservation and presentation of cultural heritage. This project could be the support of an indicator of "partnership diversity" to measure the degree of territorial cohesion of the project. The AFNOR [5] proposes various possible degrees of participation in this sense ranging from simple information to effective participation. The Council of Europe adds the recognition of a right to heritage that combines the governance of sustainable development. The four components of sustainable development – culture, environment, economy and social – are associated through the project. Their degree of involvement evolves over time.

• COOPERATIF indicator No. 2:-democratic governance [6] does this private public cooperation contribute to the inclusion of this alpine territory in sustainable development?

Today this pedestrian itinerary for 12 days is part of the commercial offers of Jean-Pierre Brovelli. It plans in 2008 to accompany about sixty people on this route in groups of 8 persons.  If the economic fallout remains important, it does not represent its main interest. The most economical value is based on finding a clientele with whom to share "the Art of Walking". The realization of the itinerary "refuges d'art" remains limited: it is physically and mentally difficult for an attendant. On the other hand, offering this course makes it possible to make visible its position on "the Art of Walking". The search for information via the Internet in connection with the project "Refuges d'art" (Artist, project, CAIRN) generates two daily enquiries on its professional site. These people are sometimes potential customers for other offers offered. And those who have made the course remain permanently connected with him. This increase in the visibility of positioning reinforces the sustainability of the Business Project. Jean-Pierre Brovelli's entrepreneurial motivations structure the offer of stay combining culture, nature and roaming. Being able to find a "market" that is consistent with these motivations was a daring gamble that has been strengthened here. At fifty years and after a diversified professional career, this economic commitment is more the culmination of a personal project than the search for such a gainful activity.

•  COOPERATIF Indicator No. 3.1 – Economic valuation [7] is this private public cooperation effective for Jean Pierre Brovelli?

 A work of contemporary art accessible in the wilderness, "refuges d'art" is a vector of sustainable development for the mountain. At the end of 2007, the municipality of Digne-Les-Bains commissioned a study on the economic and social benefits of the project to the Regional heritage Agency P.A.C.A.  At mid-term, the purpose was to produce data on the impacts generated by the project in terms of its implementation costs. This important study work carried out during the summer of 2007 allows to have a first measure of the economic and social impact of "refuges d'art" in Haute Provence. It represents 4.7% of tourists in addition to the country Digne – that they come especially for the discovery of the works of Andy Goldsworthy and/or the works of contemporary art – more than 30,000 annual nights, a tourist consumption valued at 1.6 Million euros per year and 131 jobs in the country Digne. Impact to be put on an investment of around EUR 90,000 per year, excluding the participation of museum and reserve staff-7 posts are directly involved. This rate of return on investment is consistent and seems sustainable.

•  COOPERATIF indicator No. 3.2 – Economic valuation-does this private public cooperation contribute to the economic development of this alpine territory?

The Regional heritage agency foresees a minimum growth of 8.8% of the annual attendance, well beyond the target of 1.9% set for the plastic arts throughout the territory by the State [8]. Within 5 years, 8,000 visitors to minima, not far from the 10,000 visitors of the museum Gassendi, first stage of the course. A significant cultural value for a rural territory: Digne-les-Bains, Departmental prefecture, has 18,000 inhabitants, 30,000 at the country level [9].

•  COOPERATIF indicator No. 1.2-effectiveness-is this private public cooperation performing for the museum?

 The difficulty lies in the fact that this economic recovery remains beneficial for the Digne country and is not at the expense of the spirit of the project. It is a matter of inventing the modalities of access adapted to its originality. Modalities that the museum had planned to develop once the project came to term and relayed to the general public, that is to say best in 5 years. The increasing fame of the artist at international level, the publication of articles in the National press – Telerama, Alpes Magazine-, the already effective use by local actors in the framework of their activity – hiking guide, tourist office – make The art huts are already frequented. As the study of the Regional heritage agency confirmed, there is not a single "canal" that leads to discover "Art huts": Internet, word of mouth, media. All communication and information activities cannot be carried out or self-financed: topo-guide, Access card, press review, book, website, audio guide, etc. For example, the IGN estimated the cost of making a map specific to the "refuges d'art" route at 50,000 euros. Relatively large Budget with regard to the 150,000 euros required on average by shelter. Today, the Gassendi Museum co-builds information and communication modalities with local partners. These co-productions are as numerous as the possible access modalities: A room dedicated to the museum in collaboration with the artist, a topo-guide book published by the Fage Edition, the formation of a new accompanist by Jean-Pierre Brovelli and the Proposal of a dozen hiking trips. Of all these actions, the Gassendi Museum finances 30% of the costs of implementation, the remainder being taken over by the partners [10]. Other co-produced projects are underway such as a press review with the Alpes-de-Haute-Provence development agency or that carried out by the Tourist office on the creation of an audio guide or the use of an association of Porters for Make shelters accessible to people with reduced mobility. The Internet sites-that of the refuges, the museum, the reserve and Jean-Pierre Brovelli, first in terms of consultation-will allow to download the access sheets made by the museum or direct to the book of Editions Fage. Attendance of the public will increase – forecast of 8,000 visitors to minima within 5 years-, the sources of information also (6 new media foreseen in 2008) and the tourist offer will gain in quality and attractiveness. With a mastery of the budget since, although all costs are difficult to assess accurately, the contribution of the project partners can be estimated at two-thirds of the total cost, which is more than the 48% of own resources that Targets the state by 2010 for museums.

•  Indicator COOPERATIF No. 3:-Efficiency [11]-In a context of control of public expenditure, does it contribute to finding the resources necessary to qualify the accessibility of works in open access?

The regulation of the relationship between these different actors of the project is based on a relationship of trust, and to a lesser extent in a discounted way (municipalities, providers: Guide, hosters, etc). The works are part of the collections of the museum, the building is communal property or the NFB, and the geological reserve of Haute Provence, Association Law 1901, manages these domains. If this situation promotes freedom of action for each member, it depends strongly on the personalities who animate the project. The increasing economic weight of "Art huts" in the local economy, the increase in attendance, the creation of new shelters or the arrival of new actors (tourist Office, escorts) may weaken this balance. It raises a number of important new issues in view of the progress of the project: how to find a regulatory framework adapted to multi-faceted private public cooperation? How to keep an open process without losing the spirit of the project? How can we not freeze the situation? What would be the current regulatory arrangements in the event of a dispute? Additional Sources:

• Gassendi Museum website: http://www.musee-gassendi.org/
• Site of the Geological reserve of Haute Provence: http://www.resgeol04.org/
• Site of Jean-Pierre Brovelli: http://www.etoile-rando.com/
• "Refuges d'art" Site: http://www.refugesart.fr/
• Site of the Regional heritage Agency: http://www.patrimoine-paca.com/
• Council of Europe Website: http://www.coe.int/
• Site of the LOLF: http://www.performance-publique.gouv.fr/

Source of diagnosis This diagnosis was made mainly from the following elements:

• 1 Interview with Nadine Gomez-Passamar, curator of the Gassendi Museum and Jean-Pierre Brovelli, hiking guide;
  • Presentation Document for the CAIRN project;
  • Internet search on sites associated with the promotion of the CAIRN;
  • The economic impact study of the CAIRN carried out by the Regional heritage Agency-2007;
  • The LOLF documents on performance indicators;
  • The Council of Europe's "Faro" framework convention.