We make decisions everyday. If it’s a one off decision then you may as well use as much information as you have to hand then commit. You’ll be right or wrong quickly. But if the valuable work you seek is repeatable then you need a system. A way to help you make better decisions and measure the impact. Here at the culture team we realise that whilst quick decisions, assumptions and gut feelings can be good, there are many times that we could be better prepared at the point of decision. Especially where the pattern is repeated over and over. We “expect” various things to happen daily such as visits and enquiries. These patterns typically have a limited number of outcomes. We want to be better at spotting patterns to help us continuously improve.
Currently I am working on transforming how we use PERFORMANCE within the service to measure our success. Small wins and large wins. And before you shout that being data heavy can also be a burden, i know, i know. Let’s suspend disbelief for awhile though and trust that tinkering never hurt anybody… For data I keep coming back to the phrase “Collect, Share, Use”.
Collect – what minimum pieces of data can we collect in a consistent way over multiple cycles? e.g. daily/weekly/monthly/yearly and can we collect easily
Share – let everybody see the streams of data as they may have a use for your data eg school visits may impact retail so share it all
Use – take one or more data sets and use them to contribute to understanding user needs which in turn allows us to make business decisions. Pssst your business needs are to meet user needs. For example if we identify spikes in visits to events/retail/café what was happening that day? Was it a one off? Was it a school or coach visit? Can we replicate again and again? we can then resource accordingly. If we have a 4-6 week weather forecast for rain then we expect to be busy so let’s get casuals on stand-by as we can map the forecast to this year’s forecasted visitor figures and/or use last year for a comparison. We shouldn’t be surprised if there is a band of rain for a long period as that data exists out on the web and we can overlay to ours in theory. IF I want to do a lunchtime curator talk I want the best chance of being busy so which days are we busier? As I can see visitor flow hourly is 12pm ideal or 1pm? Etc etc or would 11:30 be best so I can then promote the café offer for lunch immediately after?
I want our workforce and partners to explore our data to help us make a ruckus. I really hope teams start to be interested in bits of data instead of thinking it is for management only. For now we are sharing two data points, satisfaction and number of visits publicly at https://performance.bristolmuseums.org.uk/
Internally we’re building dashboards using Google Data studio. The hope is that in addition to standard reports, individuals or teams will grow their own dashboards, customised to teams and/or individuals with the things that are important to them. This makes it more personalised for a member of staff instead of dozens of seemingly unloved/viewed data.
I will be chipping away at encouraging us collectively to Collect and Share for the next 12-18 months…onwards
I was invited to Oslo, Norway to give a talk and workshop to a network who represent 200 museums and galleries. I had previously visited Norway twice before and it’s definitely under the radar for most people. I arrived to Heathrow Terminal 2 early and used this as an opportunity to see how the shops were. Airports retail is often interesting as they usually invest in beautiful displays and make a lot of money. The mini John Lewis was a standout and I nearly fainted at the £68 at Dixon’s wanted for a MacBook air to hdmi connector which I passed on. The flight was full and they insisted my bag go into the overhead storage. This of course led to the breaking of my iPad screen. I still really really hate flying and my stomach felt like I’d been through the ringer even though the flight was smooth!
Oslo airport was impressive with great architecture and food shops as I whizzed by. The airport run into Oslo centre was via the efficient express train. It is only about 20mins and £20 each way. You can simply swipe your credit card for payment which is probably as frictionless as you can get. After a short walk to my hotel I went for dinner on the harbour at Olivia Aker Brygge with my host Elisabeth. Most of the city seemed closed which surprised me as they want to increase tourism. More food options on a Sunday evening please.
We had a very pleasant meal and chat.
The network met Monday to have a session with Innovative Norway to hear about the latest tourism plans. As the sessions were in Norwegian I had alternative plans to pass the time. After a nice walk through the Royal Palace Park and a glance at some royalty arriving with an escort I met with Ingrid who works at The National Gallery. The Gallery is most well known for displaying The Scream by Edvard Munch. I had an hour to really look around the retail offer and hear about the new plans for 2020 when the Gallery relocates to the the new location at Aker Brygge. I was stunned to hear that they will retain the existing building too. Great work whoever negotiated that deal. The retail offer had a really nice local artist and bespoke range that was also very popular. The long layout spread between two levels is challenging so I’m sure the team will be pleased to move to the new build where they will have three retail offers. I insisted on seeing the stockroom too as a lot is gleaned from the stockroom. I am very grateful to Ingrid for taking the time to host me.
Next I was due to meet Véronique from Astrup Fearnley Museet. Astrup Fearnley Museet is a private museum which re-located to the harbour in 2012. The building is stunning and set amongst law firms on the Fjord. I chuckled when I discovered that the collection store is under the water line. Brave! The retail area was designed by the architect so it has some very “interesting” challenges as is always the case with non-retail experts. That being said the shop looks amazing both as a piece of design and how Véronique and team have carefully considered the products and visual merchandising. Even the floor power had beautifully designed metal covers. I got to hear about how the team work with artists for in-store workshops and are constantly finding fun ways to engage with customers. I was mightily impressed with the retail. The product range was as good as anywhere i’ve ever been and they are quite rightly profitable.
I was visiting on a Monday when they were closed to the public which gave a rare chance to quickly explore the galleries including Jeff Koon’s latest exhibition and the permanent collection which includes Damian Hirst. The museum is a popular place to hire too and I enjoyed the visit. If the shop had been open and I had more time I’m confident I would have spent lots of money. The match boxes made using the collection were a personal highlight – the low light throughout winter means matches are a very popular purchase. They will launch an online shop before the end of the year.
Jeff Koon’s sculpture – Michael Jackson and Bubbles
By this point it was mid-afternoon and we rejoined the rest of the group to get a coach to a number of museums and galleries outside of the central. We started with the home of Roald Amundsen who was the first person to reach the South Pole in 1911. The house is located about 45min drive from the centre of Oslo on the Fjord in the type of location that these days money can’t buy. The house has pretty much been left as it since the day Roald left it for the last time. The home is restricted to 2000 visitors per year so I felt pretty lucky. The tour was in Norwegian but my partner in crime Mathilde Emilie Johnsen kindly kept me in the loop.
Our next museum was a cartoon museum with gallery called Avistegnernes Hus, DrØbak. The space was across two floors with plenty of cartoons (Newspaper cartoons) and was showing photography from Willibald Storn. Our host gave an overview of the history of the space which is famous in the newspaper cartoon world. Tasty local apple juice made for a very pleasant time.
Next we took a ferry boat across a Fjord to an island to Ank Oscarsborg. A fortress that was in use until about 2000. We had a wonderful dinner and great conversations about Norway. I really enjoyed the afternoon and evening not only to see the museums but to just “see” Oslo and surrounding area as the bus whizzed around. A quick beer at the hotel saw in midnight. Tuesday was my day to deliver a 90min talk with discussion and a practical workshop. I love days like this which hark back to my time delivering training at University of Leicester and for Jisc as part of the University of Bristol. I feed off the energy of the room and we all get to exchange ideas and challenge everything. I always learn a lot too even as the presenter. For example the majority of the room said they were running at 35%-40% gross profit margin. This makes it hard to be profitable and was a nugget for the day which I used for reference. The group seemed to really enjoy the day and I loved a short session where each person gave a 5min presentation with photos of their retail offer. A good way to see where they come from and the scale of the retail offer. If I had to guess which two areas they really engaged with the most I would say making a roadmap and learning what your museum “touch points” are. A roadmap using trello is a quick and easy way to work with colleagues on delivering incremental benefits. A touch point is any point of contact that any member of the workforce has with a visitor. There was a definite lightbulb moment when the room realised just how many interactions a visitor can have. The point is to surface opportunities to delight a visitor and to show that retail needs to be out in the museum not just in the retail space in order to maximise the opportunity to raise awareness. Follow the visitor. In practice it may be that placing a display in the cafe or a sign in the toilet is a way to become visible to visitor who would normally just skip the retail offer by default.
After the sessions I headed to the airport with a few of the group. I had a few hours to spare so got to people watch and relax after a long day on my feet. I had a quiet flight back and crawled into bed about 3am.
I would like to thank everyone that I had the privilege of talking to and Norway continues to be a delight. I hope to return for more workshops in the next year.
[Music I listened to: Belly – Immigrant, Edvard Grieg – The Best of Grieg, 6Lack – East Atlanta Love Letter, Travis Scott – Astroworld, Westside Gunn – Supreme Blientele].
In late June 2018 we ripped out our stockroom at Bristol Museum & Art Gallery shop to give us 20% more floorspace for selling during our refit.
Three months on and the decision remains a sound choice and acceptable risk.
When you think of a traditional shop and what is fundamental to success, having somewhere to store products is usually high up the list. Yet i was unconvinced. For various reasons our shop stockroom was full. Upon close inspection I estimated 50% or greater of the stock was very old and has long lost any sellable value. Unsold stock just stuck around. Unsold stock actually costs us money:
- Stock over 2yrs old is effectively worthless as it’s a sunk cost yet requires regular stock checking
- The space it occupies has a value and in our case approx 20% of the total footprint of the shop was lost
- Old stock literally gets in the way which makes quickly finding products difficult when a customer says “Please can you check if you have this product out back?”
- Restocking products is slower when the back up stock isn’t near the stock on the shop floor
- Having a high stockholding ties up cash on the shelf which in turn increases the risk
- Stock checking takes 2-3 times as long as much more products need checking and as it’s out of public view this increases costs because a dedicated member of staff is required as retail assistant cannot leave the floor
- Opportunity for shrinkage is higher through theft and/or the attitude that there is plenty of stock so less care may be taken – neither were an issue for us but I hear this is a problem for others
- Piling stock high introduces health and safety risks as ladders and lifting at high become a consideration
- There is a temptation to over order without any actual margin benefit (in theory if you order in bulk you can negotiate better margins)
- Modern ordering and fulfilment means typically an order can arrive the following day so there is less reason to bulk order
With quite the list of reasons to loath the stockroom myself and the retail manager decided to work though the stockroom. We discovered stock from the 1960s and each decade in-between I kid you not! I half jokingly said that any stock from before the year I was born 1983 automatically had to be removed. We made a sale table. If it failed to shift we offered it to charity groups and then finally recycling or the skip. The day we hired a skip was a turning point for rebooting the shop. After several months we managed to reduce the stockholding to approx 50% and mostly maintain this figure even when re-ordering.
[Fig 1] shows in the red and top 20% of the graphic is the original stockroom footprint.
Around this time we started to drum up the support needed to refit the shop itself. All the low hanging fruit had been uncovered and it was obvious the shop fittings wouldn’t help us grow. Initially the plan was to retain the stockroom but our exercise above proved it might just be possible to be effective with a reduced stockroom.
[Fig 2] shows Initial revised floor plan which retained a small stockroom and office.
I had asked others if the stockroom was needed as a way to sense check. Everyone told me to retain at least some stockroom OR place to sort products and just like that was the aha! Moment. I had just visited a whole lot of museum shops in recent months. All the newer designs included ample under bay storage. I calculated that the under bay storage was roughly equal to the amount we currently had. Furthermore I had just read The Toyota way which championed ordering “just in time”.
Armed with this information myself and the team decided losing the stockroom was worth the risk. At worst we would need to hide away products in one of the many random corners behind the scenes.
[Fig 3] shows the final design of the shop which eliminated the stockroom completely
Fast forward to three months post refit and we haven’t had an big problems coping without the stockroom. In fact having the back up stock directly under the bays has made improvements to stock checking and merchandising. The team have reported that it works well too which is vitial of course!
Back in 2014/15 when I was still Head of Digital we worked on a cutting edge ibeacon game called The Hidden Museum. Thanks to the Digital R&D Fund for the Arts including Nesta [Nesta is a global innovation foundation] and partners aardman, University of Bristol we had a grant funded fun time!
In a recently launched video showcasing Nesta you can see our game at Bristol Museum & Art Gallery in action in this 100 second video. Come to visit us and play the game on your iPad.
Two of my favourite things: Art and Hip-hop crossing over in this 4min video
1st July 2018 is a significant personal milestone for me as I turn five as an employee of Bristol City Council’s Culture team. Most importantly I’m happy. I absolutely love what I do and where I work. As a Bristolian, I feel immensely proud of helping the Council run such a great cultural service.
If you’ve ever heard me give a talk there is a good chance you have heard my tongue in cheek remark that “I originally came on a 18 month fixed term contract and by the time they work out how to get rid of me I’d be out the door anyway”.
In reality I set about using that first 12 months to show that digital was a key ingredient to the museum’s current and future success. I got to build a digital team from the ground up and since those early days my role has grown from one team to ten as well as shedding two job titles through promotion.
“We” have delivered lots of pieces of work in the past five years. I say “we” as no project is shipped without the effort from some of the most talented people I’ve had the delight to work with. We do so much that it is literally impossible to keep track 100% of what is delivered even though I try my best. Across the team’s there is at least 1-2 people working 7am to 2am most days of the week which is mind-blowing.
We are a team of teams and these five years have taught me a great deal about other people’s passions within the Culture team. I really love that both digital and transformation get to weave around all the corners of the Culture service so I get a glimpse behind the curtain of a much bigger picture.
I have met hundreds if not thousands of people across the globe who care deeply about using Culture as a force of good in the world. I have spoken at dozens of events and had the privilege of learning from lots of people who care enough to share time with me and the sector.
Do. Try. Deliver. Learn. Repeat.
I just wanted to pause to take the time to say thank you to anyone I’ve come into contact with, worked with, agreed with or “respectively disagreed” with. Transformation is a process not a project. Looking ahead, I continue to work on growing as a leader and helping the greatest city on Earth to deliver the best cultural offer. Getting better means regularly asking my colleagues what can I do more of, less of or what is good enough that should be kept as it is. Seth Godin says be “defenseless” in order to grow …also helps to keep the old ego in check.
I remember reading a guidance document that said a museum professional is somebody with “five” years or more experience. Totally incorrect way to foster good relations eh. I guess my tenture means I need to drop my joke that I’m a professional unprofessional…. and go make a ruckus.
Today I had the privilege of speaking at the excellent #culturegeek condference in London. Robots, Shakespeare, memes, failing, games and more was talked about. Below are my slides and thanks for all the positive feedback. Onwards.
I was waiting at the nearby DIY shop (i think I made the problem worse but I digress) and noticed that all the price labels offer a discount if you buy in bulk, 3 or more. They offered four or so tiers of discount the more you buy. an Interesting approach that I wonder could port well to museum shops. We already buy in bulk. We know what products sell well. Buy 3+ prints at a reduced rate for instance. I’ll see if we can experiment with this approach online. I’ll Let you know if we get anywhere.
UPDATE: Started with bulk discount on our Guide to the Art Collection