Inforegio panorama. 29, Spring 2009.
Date: 2010-01-28
Institutions: Directorate-General for Regional and Urban Policy
Subjects: regional development, regional policy, serial publication

panorama

inforegio

29Spring 2009

Creativity and 
innovation 

   Driving competitiveness in the Regions

en

CONTENTS

EDITORIAL
Danuta Hübner

3

OVERVIEW
An innovative and creative future for Europe

4–7

8–11

INTERVIEW

12–13

ACROSS THE BOARD
European Capital of Culture: Liverpool 2008

14–17

ON THE GROUND
Employ the whole person – art as path to a creative work space
Employ the whole person – art as path to a creative work space
Employ the whole person – art as path to a creative work space

18–19

COMMON GROUND
Acting together to promote creativity and innovation
Acting together to promote creativity and innovation
Acting together to promote creativity and innovation

20

FIND OUT MORE 

21

BEHIND THE SCENES
The future of European Cohesion Policy
The future of European Cohesion Policy
The future of European Cohesion Policy

22

INSIDE THE MUSIKPARK MANNHEIM

23

INSIDE THE CENTRE FOR NANOHEALTH

24–25

NETWORKING 
Fifth Regions for Economic Change conference – Networking for Results
Fifth Regions for Economic Change conference – Networking for Results
Fifth Regions for Economic Change conference – Networking for Results

26

LAST ISSUE, NEXT ISSUE

27

28

AGENDA

MAKE YOUR VOICE HEARD

Cover  © EC
Pages 3, 4, 5, 8/9, 18, 19, 21, 24/25, 26 - © EC
Page 6/7 - © Conseil général de la Savoie
Pages 9, 11, 12/13, 27 - © iStockphoto
Pages 14-17 - © Peter Claesson
Page 22 - © Ivo Kljuce ( Musikpark Mannheim GmbH)
Page 23 - © Tim Claypole

Editor: Raphaël Goulet, European Commission, Regional Policy DG
This magazine is printed in English, French and German on recycled paper.
It is available online in 22 languages at 
http://ec.europa.eu/regional_policy/sources/docgener/panora_en.htm
The opinions expressed in this publication are those of the author and do not necessarily 
refl ect the views of the European Commission.

EDITORIAL

ON THE GROUND

COMMON GROUND

BEHIND THE SCENES

INSIDE THE MUSIKPARK MANNHEIM

INSIDE THE CENTRE FOR NANOHEALTH

We live in the middle of a richly diverse, vibrant EU which is brimming with creative energy and innovative 

ideas. As a recent conference speaker has said, being “big enough to matter and small enough to care,” 

the regions are ideally placed to foster this natural wealth and to do everything possible to promote it.

This edition of Panorama highlights the importance of creativity and innovation to a healthy and prosperous Europe, something 

the Commission as a whole is recognising in its designation of 2009 as the Year of Creativity and Innovation. Throughout the 

Year, the Commission will promote debate on how to increase Europe's creative and innovative potential and to raise awareness 

of the importance of creativity and innovation as key drivers of personal, social and economic development. 

The debate raises questions. How do we defi ne the central words, creativity, innovation and culture? How do they interrelate? 

How can culture and creative thinking drive innovation? Art and business – are they oil and water, or can one fuel the other? 

How can we help people attain their potential to be creative and innovative thinkers? What is the role of education and lifelong 

learning in making our populations more dynamic, confi dent and creative? Panorama examines some of the central issues and 

looks at several projects that best represent how creativity and innovation can spark change.

I hope that designating 2009 as the Year of Innovation and Creativity will act as a constant reminder to us of the need to persist 

with our eff orts to modernise and innovate.

Against the background of ever increasing competition and serious global challenges, innovative practices and creative solutions 

are a springboard to the growth and well-being of our regions and countries. Skills, ideas, processes: all combine to help us gain 

a competitive edge. 

Europe should not react to the current economic crisis by cutting back on its investment in skills and innovation. We must have 

the confi dence to rely on the quality of our ideas and our capacity to adapt, while making available public fi nancing work 

harder and deliver better results.

Danuta Hübner

Commissioner for Regional Policy

practices and creative solutions are 
a springboard to the growth and 
well-being of our regions 

“Innovative 
and countries„

panorama 29

3

OVERVIEW

AN INNOVATIVE AND CREATIVE 
FUTURE FOR EUROPE

The EU’s overarching policy is the Lisbon Strategy for growth 
and jobs, and the Year sets out to sharpen the emphasis on 
imagination, culture, creation and innovation to further the 
goals laid out in the Strategy. 

But there is a danger that as public and private organisations 
tighten their belts, they’ll also tighten their budgets for activities 
whose results are hard to quantify and take time to pay off. 
“Europe should not react to the crisis by cutting back on its 
investment in skills and innovation. We must have the confidence 
to rely on the quality of our ideas and our human capacity to 
adapt. At the same time we must of course make the available 
public financing work harder and deliver better results,” warns 
Commissioner Hübner. 

As the EU considers its strategic orientation for the next decade 
and  beyond,  it  is  asking  us  to  consider  what  we  mean  by 
creativity and innovation and how to foster these at all levels, 
politically, professionally, and personally. 

2009  –  The  European  Year  of  Creativity  and 
Innovation sets out to inspire a general rethinking 
of what creativity and innovation mean and how 
they contribute to our personal, economic and 
social development. The idea is a broad one, the 
words hard to define and, although the field is 
drawing  ever  more  researchers,  for  now  the 
results remain difficult to quantify. Yet there is 
no doubt that if the EU wishes to stay competitive 
and  foster  the  values  shared  by  its  Member 
States, these issues require exploration. 

Defining ideas, developing policy
Innovation and the knowledge economy, the shift to a creative 
economy, education for creativity and innovation, public sector 
creativity and innovation, cultural diversity as a vehicle for 
creativity  and  innovation,  the  challenges  of  sustainable 
development, the potential of creative and cultural industries 
– all these issues will be aired as a series of debates unfolds 
throughout the year.

As these key debates get under way in Brussels, in the regions of 
the EU the Year of Creativity and Innovation will be working to: 
•  forge closer links between the arts, business, schools and 
universities;
•  raise young people's awareness of entrepreneurship 
through cooperation with the business world; and
•  develop innovative capacity in public and private 
organisations.

To  help  keep  people  focused  on  the  themes, 
prominent personalities from around Europe have 
been selected as the Year’s ambassadors. Many of 
these well-known figures from, for example, the 
worlds of music, scientific research and architecture, 
have published their ideas of what is meant by 
‘creativity’  and  ‘innovation’  on  the  website 
dedicated to the Year. 

Keeping Europe competitive
Creative ideas and innovative solutions are proving 
crucial to helping Europe emerge from the shadow of 
the economic crisis which erupted at the end of 2008. 
"Stimulating Europe's competitiveness and employment, 
particularly in this difficult economic climate, calls for new 
ideas and progressive thinking,” explains the Commissioner 
for Regional Policy, Danuta Hübner. 

4

panorama 29

demonstration of how Cohesion Policy can make a difference and are a clear 

“ The innovative projects under the spotlight today, provide a clear 
inspiration to other European regions„ 

Commissioner for Regional Policy, 
Danuta Hübner.

Europe’s most innovative 

projects recognised at the 

RegioStars awards

From Wallonia to Réunion, the 2009 RegioStars awards held in 
Brussels, 16 February, welcomed the brightest and best ideas 
from the four corners of the EU.

Projects co-funded by the ERDF, vied for recognition as the 
most innovative in their field, under one of three categories: 
research,  technological  development  and  innovation; 
adaptation  to  or  mitigation  of  climate  change;  and  the 
audiovisual spot highlighting the contribution of Cohesion 
Policy. 

Diple Printing Technologies from Wales were joint winners in 
the innovation category, along with Cenaero Research from 
Wallonia, Belgium. Diple was recognised for its success in 
researching cutting-edge, industrial printing with a reduced 
environmental impact. This knowledge was then transferred 
to the wider printing industry in Wales, one of the region’s key 
sectors.

Cenaero Research is a centre of excellence supporting Walloon 
aeronautical companies in their innovation efforts by providing 
them focused expertise in numerical simulation and modelling 
methods.

FOOD FOR THOUGHT

“Creativity and innovation 
cannot lead to sustainable economies 
without respect for cultural diversity, which 
is itself a source of creativity 
and innovation.” 
Ján Figeľ, Commissioner for Education, Training, 
Culture and Youth – Regions for Economic 
Change, 2009

The Centre for the Production of Photovoltaic Electricity in a 
Tropical Environment, Réunion Island, France, won the climate 
change category. The project rose to the challenge of adapting 
solar cell technology to the rigours of a tropical island with very 
little flat, open land. By working out solutions to the problems 
caused by extremely high wind speed, such as using folding 
panels, and lack of open space, solved by placing panels on 
covered landfill sites, the project helped the island move toward 
energy self-sufficiency.

'Do you know about ESPA?' was the public information short 
film which won the audiovisual category. Created by the Greek 
Ministry for Economy and featuring a well-known actor, the 
film explained how the priorities of Cohesion Policy are achieved 
in Greece.

“The innovative projects under the spotlight today, provide a 
clear  demonstration  of  how  Cohesion  Policy  can  make  a 
difference and are a clear inspiration to other European regions,” 
explained  the  Commissioner  for  Regional  Policy,  Danuta 
Hübner.

"A key factor for 
future growth is the full 
development of the potential for 
innovation and creativity of European 
citizens built on European culture and 
excellence in science." 
Presidency Conclusions, European 
Council, 13-14 March 2008

“Creativity can be regarded as the 
ultimate source of innovation – that is 
turning creative ideas into products or services.
 In this sense creativity is always involved when 
innovation leads to economic results.” 
Hübner – Regions for Economic Change, 2009

panorama 29

5

OVERVIEW

The study 'The 
Economy of Culture' (KEA) 
vividly illustrated the multifaceted 
potential of the cultural sector: in 2004, 
5.8 million people in the then EU-25 were 
employed in this sector (3.1% of the total 
employed population in the EU-25); while the 
sector accounted for 2.6% of EU GDP, representing 
turnover of €654 billion. The same study also 
explained that the economic function of culture 
is extremely relevant at regional/local level, as 
culture is an engine for the emergence of 
creative hubs and local development (i.e. 
festivals, cultural tourism).

Innovation and Cohesion Policy – the 
story so far
“The regional level is highly relevant for actions when it comes 
to putting innovation and creativity in place for economic 
development. They are big enough to matter, and small enough 
to care. The regions and cities are the main drivers.” Rudolf 
Niessler, Director at Directorate-General for Regional Policy, 
Regions for Economic Change, 2009.

European Innovation Policy has evolved over time. In the 1970s 
it focused on R&D, in the 1980s it was based on knowledge 
transfer. In the 1990s it was recognised that innovation is not 
a linear process, (research – development – exploitation), but 
is the product of a more complex system involving a network 
of  players,  among  others,  universities,  researchers,  public 
authorities and businesses. 

For the 2007–13 Cohesion Policy programme, innovation is 
understood to be the overarching means to attaining sustainable 
growth. It embraces the idea of encouraging clusters of activity 
to maximise potential – strength in numbers. 

How innovation has benefited from 
Cohesion Policy support
Cohesion Policy supports innovation through the co-financing 
provided by Structural Funds and the development of regional 
governance based on what is, in itself, an innovative policy of 
partnership,  programmed  strategic  development  and 
evaluation. The regulations governing the European Regional 
Development Fund (ERDF) address innovation comprehensively 
in four articles. 

In 2006, the Commission called for a more integrated approach 
to innovation and identified new areas of action. This was 
followed by a call from the European Parliament for a significant 
proportion of funding from the Structural Funds to be invested 
in knowledge, innovation and training. 

Nevertheless, innovative practices can be slow to evolve and 
Nevertheless, innovative practices can be slow to evolve and 
bear fruit. Given that there is a degree of risk-taking involved 
bear fruit. Given that there is a degree of risk-taking involved 
and results are hard to quantify, time and security are needed. 
and results are hard to quantify, time and security are needed. 
By enabling public authorities to implement medium and long-
By enabling public authorities to implement medium and long-
term programmes, integrated support can be developed for 
term programmes, integrated support can be developed for 
different  aspects  of  economic  and  social  development. 
different  aspects  of  economic  and  social  development. 
Entrepreneurs and researchers or educational psychologists 
Entrepreneurs and researchers or educational psychologists 
and local authorities, for example, can be brought together 
and local authorities, for example, can be brought together 
and given time to collaborate innovatively. Mid to long-term 
and given time to collaborate innovatively. Mid to long-term 
funding allows for the strategic planning needed.
funding allows for the strategic planning needed.

Targeting the regional level, Cohesion Policy programmes are 
Targeting the regional level, Cohesion Policy programmes are 
a particularly effective vehicle for fostering innovation, since 
a particularly effective vehicle for fostering innovation, since 
regions provide the proximity essential to stimulating interaction 
regions provide the proximity essential to stimulating interaction 
between producers, users and mediators of knowledge.
between producers, users and mediators of knowledge.

Culture’s contribution to cohesion – a 
vector for creativity and innovation in 
Europe
While innovation is often welcomed as a means to progress to 
While innovation is often welcomed as a means to progress to 
a more cohesive and sustainable society, is does require change 
a more cohesive and sustainable society, is does require change 
which can make people apprehensive. As a tool for social and 
which can make people apprehensive. As a tool for social and 
territorial cohesion, culture helps to establish a balance 
territorial cohesion, culture helps to establish a balance 
between tradition and innovation, allowing for 
between tradition and innovation, allowing for 
intercultural and intergenerational dialogue, 
intercultural and intergenerational dialogue, 
and enhancing integration in multicultural 
and enhancing integration in multicultural 
societies.  As  a  catalyst  for  economic 
societies.  As  a  catalyst  for  economic 
development, culture can contribute 
development, culture can contribute 
to  urban  development  and 
to  urban  development  and 
regeneration and to local growth 
regeneration and to local growth 
and employment.
and employment.

Almost 30% of R&D expenditure in 
the EU-27 is currently concentrated in 12 
regions, of which six are in Germany, two in 
France, and one in Belgium, Denmark, Italy and 
Sweden, respectively.

The top 15 regions which spend at least 3.5% of their GDP 
on R&D are in Germany (6), Sweden (4), Finland (3), France (1) 
and the UK (1). 

More than €86 billion or 25% of the total Structural Funds are 
allocated to the innovation agenda, which covers research and 
innovation, ITC exploitation, entrepreneurship measures and 
innovation in the workplace. 

An additional €6 billion has been allocated to 
cultural infrastructure, services and the 
preservation of cultural heritage.

6

panorama 29

The regional and local strategies supported by Cohesion Policy 
have  successfully  integrated  culture  in  the  promotion  of 
innovation and creativity in areas such as:
• cultural heritage;
• development of sustainable tourism;
•  socio–economic development involving partnerships between 
the creative sector, industry, research and other sectors; and
revitalisation  of  local  economies  by  enhancing  cultural 
•  revitalisation  of  local  economies  by  enhancing  cultural 
infrastructure and services.
infrastructure and services.

An Alpine sentinel 
As you walk through the towering scenery of the Franco-Italian 
Alps, it’s not always just the work of nature that takes your breath 
away – occasionally it’s the work of man. Great fortified buildings 
rise above crags and cliffs, exploiting the natural advantages of the 
topography – dramatic reminders of turbulent times gone by.

Paying for the upkeep of these buildings is a serious challenge. 
Cultural tourism, however, can be part of the solution. 

A project funded under INTERREG IIIA, 2000–06, celebrated 
these imposing buildings, bringing together a network of people 
from the public and private sector in both countries. It provided 
training and seminars for them and promoted cross-border 
networking to keep managers updated on the latest thinking 
in site preservation and cultural tourism. As well as helping sites 
fully benefit from tourism, the project also supported research 
into the architecture, history and anthropology that gave rise 
to these monuments.

for 

A number of examples on the ground 
form a mosaic of regional strategies 
in which culture has been used as a 
tool 
local  and  regional 
development and social cohesion. 
An  independent  study,  to  be 
launched by the Commission over 
the coming months, will help give a 
more concrete illustration of culture’s 
the  economic 
to 
development of European regions and 

contribution 

cities through European Cohesion Policy. 

Certainly all further exploration of the positive 
links between culture, creativity, innovation and the 
wider economy is welcome. Although it is clear the cultural 
and creative sectors can foster innovation in other sectors of 
and creative sectors can foster innovation in other sectors of 
the economy, three questions arise:
the economy, three questions arise:

•  How can culture contribute to the development of creative 
How can culture contribute to the development of creative 
skills within a lifelong learning framework?
skills within a lifelong learning framework?
•  How can culture contribute to the development of creative 
How can culture contribute to the development of creative 
solutions  at  the  workplace,  including  through  social 
innovation?
•  How can culture contribute to the creation of new services 
and products? 

Regions 2020 – The role of creativity 
and innovation in addressing the 
challenges ahead 
“The  capacity  to  develop  new  ideas  and  turn  them  into 
“The  capacity  to  develop  new  ideas  and  turn  them  into 
innovative  products  and  services  is  essential  for  regional 
development.” Katarina Mathernova, Deputy Director General 
for Regional Policy.

In view of the turbulence facing global financial markets and 
In view of the turbulence facing global financial markets and 
the unpredictability of the changing dynamics facing the EU 
the unpredictability of the changing dynamics facing the EU 
as it moves into a new decade, an analysis of the challenges 
as it moves into a new decade, an analysis of the challenges 
facing Europe has been carried out. 
facing Europe has been carried out. 

Regions 2020 identifies four key challenges which can only be 
Regions 2020 identifies four key challenges which can only be 
met by creative and innovative thinking:

•  Globalisation
Scientific  and  technological  progress  is  being  driven  by 
Scientific  and  technological  progress  is  being  driven  by 
globalisation,  making  innovation  and  knowledge  more 
globalisation,  making  innovation  and  knowledge  more 
significant than ever. The opening up of new markets creates 
significant than ever. The opening up of new markets creates 
new opportunities but also tests Europe’s capacity to adjust to 
new opportunities but also tests Europe’s capacity to adjust to 
structural change and deal with the social consequences that 
structural change and deal with the social consequences that 
follow. The transformation to an economy based on knowledge 
follow. The transformation to an economy based on knowledge 
and services is as fundamental as the preceding change from 
and services is as fundamental as the preceding change from 
agriculture to industry. 

•  Demographic change
The age and employment structure of our society is set to 
The age and employment structure of our society is set to 
change. Economic efficiency and age equality are becoming 
ever more pressing issues, and innovative solutions are needed. 
The ways in which we have dealt with the problems arising in 
previous phases of the EU’s development need to change in 
response to the changing nature of the problems themselves. 
Migratory problems will also require an innovative approach 
Migratory problems will also require an innovative approach 
as the pressure on the world’s poorest regions increases due 
as the pressure on the world’s poorest regions increases due 
to climate change and scarcity of natural resources.

•  Climate change
The impact of climate change is central to the European agenda. 
The impact of climate change is central to the European agenda. 
Mitigation by tackling greenhouse gases and adaptation to 
Mitigation by tackling greenhouse gases and adaptation to 
inevitable changes ahead are in urgent need of all the creative 
inevitable changes ahead are in urgent need of all the creative 
and innovative solutions possible.

•  Secure, sustainable, competitive energy sources 
Limited  supply  coupled  with  increased  demand  and  the 
Limited  supply  coupled  with  increased  demand  and  the 
Limited  supply  coupled  with  increased  demand  and  the 
environmental imperative to cut carbon emissions calls for 
environmental imperative to cut carbon emissions calls for 
environmental imperative to cut carbon emissions calls for 
innovative solutions. 

Creatively and innovatively, we need to combine the policy 
Creatively and innovatively, we need to combine the policy 
Creatively and innovatively, we need to combine the policy 
fields  of  environment,  energy,  social  affairs,  economic 
fields  of  environment,  energy,  social  affairs,  economic 
fields  of  environment,  energy,  social  affairs,  economic 
development, education, innovation and culture, to address 
development, education, innovation and culture, to address 
development, education, innovation and culture, to address 
the challenges that lie ahead. 
the challenges that lie ahead. 

panorama 29

7

INTERVIEW

DIRK AHNER 

Director General, European Commission Directorate-General for Regional Policy 

A speaker at a recent conference put forward the 
idea  that  the  EU  can  no  longer  compete  in  a 
globalised world on the basis of productivity alone. 
Innovation  and  creativity  need  now  to  be  the 
watchwords. Would you agree?

Yes, I do agree with this view. If we want to continue to compete 
in an ever-globalised world, we shall need to move towards a 
greater knowledge-based economy. Unfortunately, today it 
seems that Europe’s innovation gap is still widening compared 
to some of its main competitors. Part of the problem would 
appear  to  be  that  the  EU  too  often  fails  to  transform 
technological development into commercial products 
and processes. This requires action on a number of 
fronts: more investment in research and technology, 
promoting innovation through new or improved 
products, processes and services which can withstand 
international  competition  and  providing  more 
support for the creative and innovative parts of the 
economy. Moreover, there is a lot of evidence that 
cooperation and proximity matter when it comes to 
enhancing creativity and innovation. This is why regional 
development policies can and should play a crucial role as 
motors of progress.

What  could  be  done  to  foster  creativity  and 
innovation in your field at European, national and 
regional level? 

Creativity  and  innovation  are  at  the  centre  our  efforts  to 
promote  faster  growth  and  more  jobs.  Within  the  area  of 
European Cohesion Policy, innovation has been recognised as 
a policy priority as never before and is a major focus of the 
2007–13 Cohesion Policy programmes. For the 2007–13 period, 
investment in innovation will triple, compared to the previous 
programming  period  (2000–06).  Cohesion  Policy  will 
contribute to R&D and innovation with around €86 billion 
– a quarter of total Cohesion Policy resources. A lot of this 
money is spent to foster networks, cooperation and clusters. 
As innovation is key to achieving and maintaining a competitive 
advantage in the global economy, this massive Cohesion Policy 
investment has the capacity to stimulate, accelerate and support 
the economic and social transformation of Europe's regions, 
and of the EU as a whole. An important element in this context 
is that regions work together, also across borders. Functional 
areas like industrial districts or clusters should not be hampered 
in their developments through borders between regions and 
countries. This is also what European integration is about. 
Territorial cooperation in the form of cross-border cooperation 
between micro-regions situated on a frontier, or transnational 

cooperation within a macro-region like the Baltic Sea area, can 
help stimulate creativity and innovation through multiple 
contacts, exchange and common development projects. 

What other opportunities are available for regions 
wishing  to  cooperate  more  closely  in  fostering 
creativity and innovation?

Commitment to creativity and innovation 
is  about  more  than  just  finance. 
European Cohesion Policy seeks 
to  promote  cooperation, 
supporting a vast network 
across Europe's regions to 
exchange experience and 
best  practices  and  to 
best  practices  and  to 
best  practices  and  to 
develop new opportunities. 
develop new opportunities. 
develop new opportunities. 
New initiatives include the 
New initiatives include the 
New initiatives include the 
Regions 
for  Economic 
Regions 
for  Economic 
Regions 
for  Economic 
Change  networks,  which 
Change  networks,  which 
Change  networks,  which 
have been designed to spur 
have been designed to spur 
have been designed to spur 
further exchange of experience 
further exchange of experience 
further exchange of experience 
in support of innovation. One of the 
in support of innovation. One of the 
in support of innovation. One of the 
major themes of Regions for Economic 
major themes of Regions for Economic 
major themes of Regions for Economic 
Change has indeed been improving knowledge and innovation 
Change has indeed been improving knowledge and innovation 
Change has indeed been improving knowledge and innovation 
for growth. Important for us in the context of the initiative is 
for growth. Important for us in the context of the initiative is 
for growth. Important for us in the context of the initiative is 
that the lessons drawn, and the ideas developed, in the networks 
that the lessons drawn, and the ideas developed, in the networks 
that the lessons drawn, and the ideas developed, in the networks 
find their way into the regional development programmes and 
find their way into the regional development programmes and 
find their way into the regional development programmes and 
are translated into concrete action.

policies can and should play 
a crucial role as motors 

“Regional development 
of progress„

8

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KARLHEINZ BRANDENBURG

Professor and inventor of MP3

One of the ambassadors for the Year of Creativity 
and Innovation, Professor Karl-Heinz Brandenburg is 
a researcher in information and communication 
technology, Head of Research Area 'Electronic Media 
Techniques', and Director of Fraunhofer Institut for 
Digital  Media  Technology  (IDMT).  Professor 
Brandenburg's    work  enabled  the  development 
of  MPEG Layer-3 (MP3), MPEG-2 Advanced Audio 
Coding (AAC) and many other modern audio-coding 
method.

A speaker at a recent conference put forward the 
idea  that  the  EU  can  no  longer  compete  in  a 
globalised world on the basis of productivity alone. 
Innovation  and  creativity  need  now  to  be  the 
watchwords. Would you agree?

This statement has already been true for a long time. In the 
globalised economy, Europe is not the region that possesses 
the natural resources, nor is it any longer the workshop of the 
world. Only the latest technologies and innovative ideas will 
allow Europe to compete in the global economy. These new 
ideas are the wealth of our era – whether for products or 
services. 

There are studies showing that, even today, many companies 
generate a large percentage of their sales with products that 
were only developed in the last five years. In some fields, there 
is already a split between businesses that only develop and sell 
ideas, those manufacturing them, and the companies that 
market those products, often under their own brand names. 
In  this  international  division  of  labour,  it  is  important  to 
contribute  as  much  as  possible  to  both  ideas  and 
innovations.

What  could  be  done  to  foster  creativity  and 
innovation in your field at European, 
national and regional level? 

We must think globally and promote 
creativity  and  innovation.  This 
happens  at  many  levels:  the 
school system is part of the 
picture,  as  are  continuing 

education institutions and 
universities.  If  we  lag 
behind in this field, it will 
not be possible for us to 
be  more  creative  and 
innovative  than  others. 
Creativity and innovation 
are  also  a  question  of 
mentality: those who only 
want  to  know  about  and 
advance their own specialist 
subjects  will  fail.  What 
important for creativity is to ‘think 
outside  the  box’,  going  beyond 
compartmentalised thinking.

is 

Science has long been global. Scientific publications 
are accessible throughout the world, and scientists are used to 
cooperating worldwid  We must encourage this way of working 
and set aside national egos – that is what will best serve our 
own  interests,  at  a  regional,  national  and  European  level. 
Research and development and the creative industries must 
be promoted beyond our regions and recognised by society 
to a greater extent than today. The ‘Year of Creativity and 
Innovation’ is helping to increase awareness of these necessities, 
but  we  also  need  the  right  priorities  for  education  and 
research.

How  would  you  see  the  relationship  between 
creativity, culture and the challenges presented by 
living in a modern society?

Even in engineering, it is important to think ‘outside the box’. 
Engineering science is all about developing technologies to 
help people and also make our lives easier and more worth 
living. If I simply trod the same path all the time, things would 
then become dull and it would no longer really be possible to 
resolve the problems we face today. The point is that ‘it cannot 
be done’ is an unacceptable answer as long as the basic laws 
of physics remain inviolate. Engineers must always be prepared 
to unearth unexpected answers to well-known problems – this 
is what we refer to as ‘invention’. Incidentally, at the same time 
many engineers are also creatively active in the arts, many of 
my colleagues at the Fraunhofer institute also perform as 
musicians.

the latest technologies and 
innovative ideas will allow 
Europe to compete in the 

“Only 
global economy„

panorama 29

9

INTERVIEW

ODILE QUINTIN

Director General, European Commission Directorate-General for Education and Culture

A speaker at a recent conference put forward the 
idea  that  the  EU  can  no  longer  compete  in  a 
globalised world on the basis of productivity alone. 
Innovation  and  creativity  need  now  to  be  the 
watchwords. Would you agree?

Innovation and creativity are key for our future living standards. 
Europe must become more inventive, innovate more and react 
better to market trends. This has been acknowledged at the 
highest political level. A broad-based innovation strategy for 
the European Union was put forth a couple of years ago and 
significant steps have been taken in this direction. 

The capacity for innovation depends on a multitude of factors. 
Creativity is one of them, yet not fully exploited. The nexus 
'creativity-innovation' calls for smart investments which can 
bring new, sustainable solutions and benefits for our economies 
and societies. This is the key message of the European Year for 
Creativity and Innovation. It becomes more meaningful against 
the backdrop of the current financial downturn. 

What  could  be  done  to  foster  creativity  and 
innovation in your field at European, national and 
regional level? 

To develop environments conducive to creativity and innovation, 
we need to step up action at all levels of governance. Public 
and private stakeholders must be involved in this process. 

Creativity  is  more  than  the  cultural/creative  sector  and 
innovation is more than R&D. We must encourage partnerships 
between diverse sectors such as culture, education, 
research,  technology,  industry,  and  public 
services. We need to strengthen the skills 
for an innovation-friendly society. 

When  launching  the  new  phase  of  the  Lisbon 
Strategy for growth and jobs 2008–10, the EU's 
political leaders acknowledged that 'a key factor 
for future growth is the full development of the 
potential for innovation and creativity of European 
citizens built on European culture and excellence 
in science'. How do you see this relating to culture 
as a driver for creativity and innovation?

Culture relates not only to the arts, but also science, education, 
industry and the wider economy. Cultural and creative industries 
contribute to stimulating research, product development and 
service innovation, marketing and communication, 'branding 
of  cities'  or  community-building.  Using  networks  and 
partnerships, where cross-cutting skills are needed, they 
present a new model for growth in a globalised world. 
Examples across European cities and regions show 
how culture can be used within an integrated 
approach  to  sustainable  development  in 
economic and societal terms. 

The challenge is how to exploit positive spill-
over effects produced by culture. We need 
well-targeted  strategies  at  all  levels  of 
governance maximising the links between 
culture, creativity, innovation and socio-
economic development. Making space for 
culture in our policies is making space for 
creativity and innovation. 

Community  instruments  support 
clustering of businesses as vehicles 
for creativity and innovation, along 
with  mobility  and  knowledge 
transfer. Same support is required 
at  national,  regional  and  local 
level. 

Concrete  evidence  is  necessary  for 
building  a  sustainable  and  effective 
strategy for creativity and innovation. 

 “ The challenge is how to 
produced by culture„

exploit positive spillover effects 

10

panorama 29

JAMIE OLIVER

Chef

Jamie Oliver is an internationally renowned chef and the founder of 
Fifteen Restaurant, a registered charity that offers apprenticeships to 
young people who need a second chance to establish their place in the 
world. Oliver, who received regional funding for Fifteen in Cornwall, is also 
a key mover behind the UK’s healthy eating in schools campaign.

A speaker at a recent conference put forward the 
idea  that  the  EU  can  no  longer  compete  in  a 
globalised world on the basis of productivity alone. 
Innovation  and  creativity  need  now  to  be  the 
watchwords. Would you agree?

What’s more, Fifteen is a living example of innovation in action 
in the sense that it takes young people in need of a chance in 
life – often a second chance – and turns them into chefs with 
a skill and the opportunity of a good career. This in turn has a 
wider impact in both the local community near to Fifteens as 
well as the hospitality industry in general.

I’m not a politician so I’m not promising to be an expert in this 
area. All I do know is that whichever business you’re 
in, you need to keep adapting, improving and 
– yes – innovating. But there’s no point in 
innovation if your product isn’t up to 
scratch.  When  we  start  a  new 
business we always ask ourselves 
how we can over-deliver. How 
can we make certain that the 
public will come to us again 
and  again  because  of  the 
quality and the affordability 
of  what  we  offer  and  the 
very real creativity that goes 
into it. 

That’s real creativity and if 
you  match  that  with  class-
leading productivity you’ll be 
on to a winner – any successful 
restaurant kitchen is like that … 
all the Fifteens are like that including 
the one in Cornwall which has already 
been recognised and supported by the 
EU for its innovation … that kitchen serves 
over 80 000 a year, so a quarter of a million so far 
since  opening  in  May  2006  …  creative,  innovative, 

productive … successful. 

Over  200  top-class  meals  a  day  is  impressive 
productivity but people don’t come for that …
they expect that … what they want is what 
they personally get on their plate and that 
comes from the creativity in the kitchen. 

What  could  be  done  to  foster  creativity  and 
innovation in your field at European, national and 
regional level? 

I think often you find that some companies or organisations 
aren’t set up to inspire innovation – they’re happy to plod along 
with the status quo and then when times get tough, those 
companies are the ones to suffer. In a lot of cases, I think 
companies, as well as governments of course in some cases, 
need to either inspire existing staff to be creative or bring in 
staff who can be creative and shake things up a bit. Be bold 
and don’t be afraid to experiment with new ideas.

European money can help that happen … 'enable' it I think is 
the  jargon  …  all  that  dosh  and  all  that  talent  …  a  whole 
continent  of  brilliant  people  to  work  with!  Recognises  it, 
embrace it, nurture it, fund it … and don’t tear your hair out if 
some fail … it happens.

How  would  you  see  the  relationship  between, 
creativity, culture and the challenges presented by 
living in a modern society?

I think that modern society actually presents opportunities as 
opposed to challenges when it comes to creativity. Some of 
the British business people that I admire – Paul Smith, Richard 
Branson, for example, thrive in a society where creativity is 
valued and I think we should encourage more creative 

individuals to bring forward ideas.

business you’re in, you need to 
keep adapting, improving and – 

“Whichever 
yes – innovating„

The  public  is  very  savvy  these  days  to 
creativity in everyday life – they want good 
design, they demand smart thinking, look 
at what they eat and drink these days 
compared with just 20 years ago … they 
won’t put up with yesterday. They're in 
tune with modern culture.

panorama 29

11

ACROSS THE BOARD

EUROPEAN CAPITAL OF CULTURE: 
LIVERPOOL 2008

The World in One City 
The Capital of Culture programme started back in 1985, in Athens. Since 
then, all EU Member States have been allocated a year where they can 
put  forward  their  own  choice  of  city.  2008  saw  Liverpool  nominated, 
with an impressive programme under the title ‘The World in One City’.

EU  investment  of  €1.5  million  contributed  to  infrastructure  projects  in 
the city. This in turn provided a focal point for attracting other commercial 
investment, with the promise of much bigger economic spin-offs in the 
longer term.

Liverpool has benefited significantly from the €1.405 billion the European 
Regional  Development  Fund  (ERDF)  put  into  Merseyside,  from  1994 
to 2006. From a city in economic decline to one which is now a vibrant 
centre of business and cultural activity, the funding helped Liverpool to 
be a successful runner for the title European Capital of Culture.

Opening Event
40  000  visitors  celebrated  the  start  of  this  unique  year  in  Liverpool. 
Former  Beatle  Ringo  Starr  topped  the  bill  of  an  electrifying  evening 
involving by 800 performers.

Performing Arts
Inspirational music events ran right through the year, involving every 
classical  and  modern  style.  Sir  Paul  McCartney  returned  to  his  roots, 
performing  a  long-awaited  gig  at  Anfield  Stadium,  joined  by  other 
leading Liverpool bands.

Visual Arts
Groundbreaking  art  exploded  in  every  possible  venue  across  the  city, 
partly  in  conjunction  with  the  Liverpool  Biennial  arts  festival.  New 
exhibitions  drew  unprecedented  levels  of  visitors  to  galleries  and 
museums.  A  Klimt  exhibition  at  Tate  Liverpool  was  a  focal  point  for 
many, but vibrant street art also proved popular. 

Transition
By  the  end  of  the  year,  Liverpool  had  celebrated  its  past,  hosted  an 
amazing array of cultural events and was geared up with new ways of 
seeing  the  future.  In  2009,  both  Vilnius  and  Linz  will  be  European 
Capitals of Culture.

12

panorama 29

Many of the cultural partners 
that staged events in 2008 are 
staying in touch through local 
networks. Further afield, 
other networks are being 
created between the 
European Capitals of Culture.

Culture Liverpool is 
at the heart of 
promoting the 
long-term future of 
Liverpool as one of 
Europe’s best cultural 
destinations.

The new Liverpool

A range of business programmes and 
initiatives continue to bring small 
businesses together across the North 
West of England, building on the 
positive profile the region has gained.

An opinion poll found 
that 79% of people 
thought that 
Liverpool was 'a city 
on the rise'.

The wider benefits

Immediate benefits 
for all
Investment  has  brought  beautiful  new  facilities  to  Liverpool.  The  Echo 
Arena and BT Convention Centre brought in €216 million in 2008 and already 
have  bookings  through  to  2014.  A  vast  new  retail  development,  Liverpool  One, 
linking the city centre with the Albert Dock, generated €2.16 billion during the year. 

Every school child in 
Liverpool was involved, 
with 67 000 children 
taking part in activities 
and performances.

A  four-year  build-up  to  2008  brought  in  €11.89  million  of  investment  in  community  and 
public art. The Creative Communities Programme set themes for each year between 2004 and 
2007 to build the city’s vision for what 2008 could achieve.

During the year, 15 million people attended a cultural event; most of these were directly related 
to the Capital of Culture. 70% of people in Liverpool visited a museum or gallery.

3.5 million visitors came to the city, spending €864 million while they were there and booking 
1 million hotel beds. Hotel occupancy hit record levels, as high as 81% in one month.

Many of them visited the Tourist Information Centre, The 08 Place, which itself won an award 
for its brilliant service. Visits to Tourist Information Centres generally were up 150%. The 
Welcome Programme took on over 5 000 local people to work with the tourism sector 

and improve customer service.

12 000 articles were written about Liverpool worldwide, boosting its profile 

and making it more attractive to visitors.

All parts of the community 
were caught up in the 
atmosphere and took part. 
Commissioned works and 
events were used to engage 
with the locals, even daring 
to start dialogues on tricky 
subjects like crime and 
social exclusion.

The Volunteer Programme 
inspired 1 000 people to 
help staff events and 
spread the word about 
what you could see, do and 
create. Taxi drivers boned 
up on Klimt at the Tate and 
some even went on to take 
modern art courses. People 
challenged themselves to 
see new types of art across 
the range of media.

panorama 29

13

ON THE GROUND

EMPLOY THE WHOLE PERSON 
ART AS PATH TO A CREATIVE WORKSPACE

Panorama visits Sweden where one project is 
building creative alliances between artists and 
the work place. TILLT places artists in organisations 
to help employees develop creative solutions to 
today’s challenges.

As you walk down the corridors of a hospital just outside 
Göteborg, Sweden, all seems as you would expect. The floors 
reflect the strip lighting overhead, people in white coats walk 
past in a preoccupied manner. But had you been in these same 
corridors a few months ago, you would have joined the patients 
and staff as they looked on, entranced by dancer/choreographer 
Mattias Olaison’s performances around the wards. 

“By seeing ourselves through his eyes we got to see some things 
that validated us and some things we had lost sight of,” said 
Marianne Olsson, Project Director at Angereds Närsjukhus 
hospital. “He caught what we were about and made us see it 
more clearly”. This project, the result of two months’ research 
by the artist around the hospital, is an example of TILLT in 
action.

TILLT, a Swedish company based in Göteborg, 
runs a variety of programmes which place 
artists  in  people’s  workspace.  The 
programmes, long-, medium- or short-
term, all have one thing in common; 
they harness a way of thinking specific 
to a given artist and unleash that in 
a workplace, providing a catalyst for 
change.  Artist,  employer’s  needs, 
goals, problems, length of programme 
– all elements are matched assiduously, 
leading to an experience which is as 
unique as the people involved in it.

And change comes about. Change in mutual 
recognition, communication and approach to 
the unknown. Change also to levels of productivity 
– research carried out by the Institute of Management Innovation 
and Technology (IMIT) in Göteborg shows it goes up, while 
levels of sick leave go down.

Back at the hospital, Olsson is in no doubt, “There is far less 
resistance to uncertainty than before,” she says of her staff. 
Uneasy and guarded when Mattias first arrived, they didn’t 
know what to expect and many found that perturbing. “We 
are in the middle of constructing the hospital, so the unspoken 
question was: ‘Why are you doing this to us?’” Olsson laughs. 
But when it was done, people were very positive – something 
managers are now able to use when approaching new ideas. 
“We can remind them how they can be surprised by daring to 

do something that feels alien or seeing something from another 
do something that feels alien or seeing something from another 
angle. So that is an important tool for me as a manager. My 
angle. So that is an important tool for me as a manager. My 
co-workers are more open, more receptive.”
co-workers are more open, more receptive.”

These  changes  have  been  observed  by  all  the  managers 
These  changes  have  been  observed  by  all  the  managers 
interviewed. “You cannot imagine what a joy it is to be managing 
interviewed. “You cannot imagine what a joy it is to be managing 
people who are motivated and not afraid to show initiative,” 
people who are motivated and not afraid to show initiative,” 
says Berit Hallersbo, head of human resources at the Vara 
says Berit Hallersbo, head of human resources at the Vara 

About AIRIS 
AIRIS – a year long programme run by TILLT, in which the artist 
spends the first two months doing research, working alongside 
employees, observing the workspace, asking questions and, later, 
devising tasks designed to achieve the organisation's objectives. 

Artist and organisation are paired by Roger Sarjanen, project manager 
at TILLT, who sees himself as an early warning system available at 
any time, to both artist and client, should they feel alarm bells 
ringing. 

As  time  passes,  he  and  the  artist  both  take  steps  back, 
ensuring that the concepts and motivation come from 
the employees. So when TILLT walks away at the 
end of the year, following a final meeting with 
the organisation to wind the programme up, 

they leave lasting change behind them.

Commune  public  authority. 
After having acquired 19 annual 
artists-in-residence AIRIS pro-
grammes, the Commune is well 
judge.  Half  their 
1 300 strong staff have been involved 
in a TILLT project, and they intend to 
run 21 more. “We want to stimulate ways 
that will contribute to how our staff develop 
that will contribute to how our staff develop 
their working methods,” adds Hallersbo, clear that 
their working methods,” adds Hallersbo, clear that 

placed  to 

by bringing in the TILLT artists she has done just that.
by bringing in the TILLT artists she has done just that.

How did it all start? 
Early 20th century Swedish society embraced the notion that 
 century Swedish society embraced the notion that 
art and the need for culture were fundamental to the lives of 
art and the need for culture were fundamental to the lives of 
its citizens. From a desire to recognise everybody’s right to 
its citizens. From a desire to recognise everybody’s right to 
explore art and culture came the notion of integrating art into 
explore art and culture came the notion of integrating art into 
daily working life. By 1970 the impulse had taken the form of a 
daily working life. By 1970 the impulse had taken the form of a 
national chain of organisations selling theatre, exhibition and 
national chain of organisations selling theatre, exhibition and 
opera house tickets to private and public sector employees, at 
opera house tickets to private and public sector employees, at 
a discount.

14

panorama 29

EMPLOY THE WHOLE PERSON 

ART AS PATH TO A CREATIVE WORKSPACE

When  Pia  Areblad  became 
involved at the Göteborg branch, 
it  was  2001:  the  internet  was 
established and the world felt closer 
– ticket selling didn’t feel like the solution. 
“We had a remit from the culture and art sector, 
the Business and Cultural Affairs Committee and the 
Regional Affairs Committee – both at the regional level – to 
examine ways in which art and culture can develop working 
life and vice versa” explains Areblad, CEO of TILLT.

Although they were commissioned to work throughout the 
region, there was no extra money to cover the 48 communes, 
besides Göteborg. “That was a challenge and I like challenges 
because you have to think in a different kind of way and you 
have to shift your mind.” 

The shift worked – she started with only one other colleague 
offering cut price tickets to events and relied totally on grant 
funding. Now TILLT – even the name is new – is 10 people strong 
and 65% of their income is self-funding. They have just been 
awarded two EU grants and have the Confederation of Swedish 
Enterprises, the Trade Unions and the cultural sector on their 
board.  

Replicating TILLT elsewhere – how to 
get the concept off the ground
Areblad started by bringing together the cultural organisations 
in  the  target  area,  asking  them  how  professional  cultural 
activities could reach out to working life in their commune. She 
then invited them to become member organisations of TILLT. 
The next step was to find clients – first stop: local authorities 
and  getting  the  director  of  the  commune  on  board.  “The 
decision to work with art and culture as a way of developing 
working  life  within  a  commune  needs  to  come  from  the 
director,” explains Areblad. 

Once she had the agreement of the head of the commune, she 
then approached the civil servants responsible for business 
development and human resources inside the commune – 
public authorities are big employers in Sweden, the city of 
Göteborg alone employs 50 000. A creative plan was then 
drafted explaining how the local authority would work with 
art within its organisation.

That having been established, it was a logical step for the 
business development department to think about involving 
the private sector by approaching businesses located in the 
commune. “If they understand how artistic competence can 
really develop the sector, they will communicate that,” says 
Areblad.  

“All  you  need  are  artists  of 
“All  you  need  are  artists  of 
professional  quality,  public 
professional  quality,  public 
authorities and a private sector, and 
authorities and a private sector, and 
you can follow this model anywhere”, 
you can follow this model anywhere”, 
she adds. You do also need the person with 
the  vision  and  the  will  to  bring  them  all 

together.  

Art and creativity drive innovation 
and growth
Bertil Törsäter is the CEO for Regional Development, West 
Götaland. He is certain that organisations exploring new ways 
of thinking now will be in a stronger position to exploit the 
opportunities that will arise with the eventual economic upturn. 
“A creative mind is open to change, and change is what we are 
living,” he says. Proportionally, West Götaland is one of the 
world’s highest investors in research and development, to which 
Törsäter believes creativity is intrinsically linked. 

AstraZeneca,  a  multinational  pharmaceutical  company 
employing 60 000 people globally, has 2 000 employees – 
mostly  researchers  –  working  at  their  Göteborg  site.  Site 
manager Peter Nyström is sure Törsäter is right. “Culture, health, 
innovation and competitivity, there’s something there.” There 
is a growing realisation at the company that it is the interface 
between chaos and order which, as Nyström puts it, creates 
the magic. 

Like all businesses, AstraZeneca’s success as a company depends 
on its ability to think up new ideas; something Nyström believes 
is triggered by blending different perspectives. The creative 
perspective they were seeking was generated by participation 
in two AIRIS programmes. Mikael Werner, a manager at the site 
explains, “It takes courage to involve your company in a TILLT 
project because there is no knowing what you will end up with.” 
What they did end up with was an organisation more prepared 
for change, “We see changes every month and there is no doubt 
that, post-project, people were more open to that, less stressed 
by it.”

Keeping people stimulated is the main challenge identified by 
Nyström, “The stuff we do is not far off Nobel Prize level – and 
it is difficult to exceed your own expectations when you are 
operating at 80% of your capacity. You need to be at 120%. 
Ways of thinking we can use as a result of the AIRIS project have 
helped us in that respect.”

Törsäter maintains that support for art and culture at regional 
level has another key benefit, it makes the region attractive to 
foreign companies, “We really have to create a place in which 
people want to work,” he says. Volvo, AstraZeneca and other 
multinationals have sites in Göteborg, employing staff that are 
used to choosing between the big metropolitan areas, “We 
used to choosing between the big metropolitan areas, “We 

panorama 29

15

ON THE GROUND

have to make it clear why they should come here,” explains 
Törsäter.  Creating  new  systems  and  arenas  to  encourage 
cooperation between the business and creative sectors is a 
solution. “TILLT is one example of a new way to merge two 
strengths  and  get  something  stronger  because  of  the 
synergy.” 

Who picks up the bill?
Cultural  organisations  pay  a  small  fee  to  become 
members  and  get  promoted.  Public  authorities 
contribute, as does the private sector, to take part in a 
TILLT–run programme, be that a year-long AIRIS project, 
a tailor-made ‘Creative Kick’ or having members of their 
staff trained and supported by TILLT to perform the 
role of ‘Cultural Ambassador’ in the organisation.  “This 
way we don’t have to go to the politicians and ask for 
vast amounts of money. The cost is spread out: everyone 
contributes, everyone benefits,” explains Areblad. 

Culture and business – more than a 
sponsorship deal
In West Götaland, business involvement with culture goes 
beyond sponsorship and is no longer simply about logos on 
an opera programme. “If we use an artist in an AIRIS project, 
we  can  see  that  reflected  in  the  figures,  the  benefits  are 
quantifiable,” says the Development Director for the Swedish 
Trade Federation, Hans Löwlund. 

He feels artists are the most open-minded, creative, flexible 
people, but they are not interested in being hired. “They want 
to be free,” he explains, “So even if an HR manager wanted to 
find this exceptional personality, they wouldn’t be able to.” 
Löwlund feels the only way to get a person with these qualities 
into a company is to bring them in for three, six or twelve months 
under a project like AIRIS. “Suddenly you can see the company 
becoming more open-minded, more innovative, more self-
confident.” 

The artist as a guide to new solutions 
Klas Ålander, Corporate Communications Manager, and Eva 
Degerman, Global Human Resources Director, work for FlexLink. 
Both  agree  with  Löwlund.  Their  company  is  involved  in 
production logistics and 2007 was a tricky year for them. A 
decision to change a supplier had backfired badly at the start 
of  the  year  and  as  the  months  passed,  there  were  some 
redundancies.  “Co-workers  fought  hard  to  keep  up  with 
demand, it was problematic and stressful. I’m convinced having 
the  artist  here  helped,  since  it  was  about  opening  up 
perspectives,” says Ålander. 

Although they bounced back from the internal difficulties, the 
global  financial  climate  remains  a  challenge.  Ålander  is 
convinced  that  now  is  the  time  for  thinking  innovatively, 
“Companies need to think in new ways. Art and culture are 
ways to safeguard the innovation in an organisation.” 

16

panorama 29

Managing an AIRIS Project takes commitment from the top, 
Managing an AIRIS Project takes commitment from the top, 
explains Degerman, “It is important this isn’t seen as an HR 
explains Degerman, “It is important this isn’t seen as an HR 
issue, this is a company project. You have to be very specific 
issue, this is a company project. You have to be very specific 
about what you want to achieve with it and formulate a project 
about what you want to achieve with it and formulate a project 
management group, not too big.” Organising the project and 
management group, not too big.” Organising the project and 
management group, not too big.” Organising the project and 
getting other managers on board is just part of the challenge. 
getting other managers on board is just part of the challenge. 
getting other managers on board is just part of the challenge. 
There are the employees to encourage. 
There are the employees to encourage. 

There was a lot of initial anxiety. The staff didn’t want to do it 
There was a lot of initial anxiety. The staff didn’t want to do it 
There was a lot of initial anxiety. The staff didn’t want to do it 
at all, “But once it got rolling they were 200% engaged and it 
at all, “But once it got rolling they were 200% engaged and it 
at all, “But once it got rolling they were 200% engaged and it 
was so fantastic,” says Degerman. They were asked to produce 
was so fantastic,” says Degerman. They were asked to produce 
was so fantastic,” says Degerman. They were asked to produce 
some art work and an exhibition was held. “Pieces kept coming 
some art work and an exhibition was held. “Pieces kept coming 
some art work and an exhibition was held. “Pieces kept coming 
in even after the event had ended. Once they had got going, 
in even after the event had ended. Once they had got going, 
in even after the event had ended. Once they had got going, 
people just didn’t want to stop,” Ålander recalled.  
people just didn’t want to stop,” Ålander recalled.  
people just didn’t want to stop,” Ålander recalled.  

This enthusiasm is something PAROC, a company producing 
This enthusiasm is something PAROC, a company producing 
This enthusiasm is something PAROC, a company producing 
rock wool insulation, also saw in their employees during, and 
rock wool insulation, also saw in their employees during, and 
rock wool insulation, also saw in their employees during, and 
after, TILLT’s involvement. Head of Human Resources, Lars 
after, TILLT’s involvement. Head of Human Resources, Lars 
after, TILLT’s involvement. Head of Human Resources, Lars 
Lindström, has invited TILLT to run two AIRIS projects so far – a 
Lindström, has invited TILLT to run two AIRIS projects so far – a 
Lindström, has invited TILLT to run two AIRIS projects so far – a 
third is in the pipeline. “It is never the right time, and people 
third is in the pipeline. “It is never the right time, and people 
third is in the pipeline. “It is never the right time, and people 
will argue that just because a project has worked 
will argue that just because a project has worked 
will argue that just because a project has worked 
well elsewhere, their work-space is different. 
well elsewhere, their work-space is different. 
well elsewhere, their work-space is different. 
People will look for excuses. But you 
People will look for excuses. But you 
People will look for excuses. But you 
have  to  jump  in.  It  demands 
have  to  jump  in.  It  demands 
have  to  jump  in.  It  demands 
courage,” he says. 
courage,” he says. 
courage,” he says. 

How an AIRIS 
project works in practice
“From the managers’ perspective, 
people are not going to love it from 
the start but you need to be confident and 
have the courage of your convictions so that you can 
steer it. You have to contain the anxiety of the staff 
while this thing is going on. But it is also a lot of fun. 
The patients loved it, sitting in a waiting room and 
some dancers come prancing in – it brought lots of 
laughter and fun into a time usually taken up by anxiety 
for  all  of  us.”  Marianne  Olsson,  Project  Director  at 
Angereds Hospital.

PAROC was suffering from stasis: heavy industry had been on 
the site for a generation, five shifts meant only 20% of the staff 
were ever under the roof at one time and although 
the two factories were back to back, the 
dividing  wall  could  have  been  a 
mountain.  They  were  in  a  rut.  “I 
wanted people to feel working here 
was something to be proud of.”

The media exposure can’t hurt? And in his answer Lindström 
The media exposure can’t hurt? And in his answer Lindström 
The media exposure can’t hurt? And in his answer Lindström 
reveals another vital ingredient in the success of an AIRIS project, 
reveals another vital ingredient in the success of an AIRIS project, 
reveals another vital ingredient in the success of an AIRIS project, 
the quality of the management: “The publicity is great, but 
the quality of the management: “The publicity is great, but 
the quality of the management: “The publicity is great, but 
what I really like is that it gives the guys something to 
what I really like is that it gives the guys something to 
what I really like is that it gives the guys something to 
brag about over a barbeque with friends, family or 
brag about over a barbeque with friends, family or 
brag about over a barbeque with friends, family or 
neighbours. They get to say, ‘Hey, we were in the 
neighbours. They get to say, ‘Hey, we were in the 
neighbours. They get to say, ‘Hey, we were in the 
paper  last  week’.  I  love  it  when  they  have 
paper  last  week’.  I  love  it  when  they  have 
paper  last  week’.  I  love  it  when  they  have 

something to show off about.”
something to show off about.”

And there are grounds for pride: 
the  rock  wool  insulation  the 
factory  produces  is  highly 
energy-efficient.  The  product 
has clear environmental benefits, 
insulating more efficiently than 
alternatives – something Lindstrom 
wanted  his  staff  to  be  proud  of. 
“Instead  of  thinking,  ‘Well  I  have  just 
ended up here and I’m paying the mortgage’, 
I wanted them to think, ‘I got the opportunity to work 
at PAROC and I’m doing something for the environment,’” 
he says. So he brought in TILLT.

The actor/director selected with care and precision by 
TILLT’s project manager, Roger Sarjanen, duly arrived 
and  spent  the  usual  two  moths  listening  and 

watching. 

The result: same staff, 
different people  
Then came the tasks. After some hints on 
how to ‘look’ through a lens, the employees 
were set to photograph each other in the 
way they felt best showed what they did. 
Taking  the  photos  and  then  later 
displaying them, brought the employees 
together. Conversation was made easy 
through the sharing of a task, the photos 
themselves gave them a new dimension 
on their colleagues and the quality of the 
images was a source of pride.

Silly competitions involved rib crushing – this 
between men, many in their 50s, who have worked 
side by side for 20, 30 years or more, without shaking 
hands. A spitting contest went down well too! Laughter, 

collaboration, mutual recognition.  

One worker, a forklift driver, took on the task of collecting 
sounds around the factory, which he called ‘The Song of the 
Machines’. He was on Swedish TV in March, talking about his 
involvement in the project, and said he now sees culture as the 
definition of being human. Lindström explains, “His task made 
him look at his working environment in a totally different way, 
and what he produced, as a result of that change of vision, he 
regards, correctly, with great pride.”

Factory  Manager  Michael  Gustavsson 
Factory  Manager  Michael  Gustavsson 
Factory  Manager  Michael  Gustavsson 
explains  that  in  the  year  following  the 
explains  that  in  the  year  following  the 
project  there  was  a  20%  increase  in 
project  there  was  a  20%  increase  in 
production, a dramatic rise they haven’t 
production, a dramatic rise they haven’t 
seen before. Sick leave is falling too. Polling 
seen before. Sick leave is falling too. Polling 
the  employees  before  the  project  was  a 
the  employees  before  the  project  was  a 
thankless  task,  only  5%  responded  to  a 
thankless  task,  only  5%  responded  to  a 
questionnaire  on  quality  of  life  at  work.  Post 
questionnaire  on  quality  of  life  at  work.  Post 
project,  95%  responded.  It  seems  the  PAROC 
project,  95%  responded.  It  seems  the  PAROC 
employees are engaging themselves. “They meet now, 
employees are engaging themselves. “They meet now, 
after work, share time together,” says Lindström. Thanks to his 
after work, share time together,” says Lindström. Thanks to his 
vision, they get to brag a bit too.   

Where to now? 
TILLT’s next step is to get a European dimension into their work 
– to share their knowledge and learn from others working 
towards a similar goal.

Two  EU  grants  have  just  come  through,  which  will  be 
fundamental in sharing TILLT’s best practice. They will receive 
€1.5 million a year, for the next three years – €780 000 annually 
from the EU’s INTERREG IVA fund and the remainder from 
participating regions in Scandinavia. This money will be used 
to continue the Creative Interaction in Working Life project, 
involving four regions: southern Norway; eastern Norway; 
northern Denmark and western Sweden. Building on TILLT’s 
experience,  the  focus  will  be  on  creating  new  methods, 
experience,  the  focus  will  be  on  creating  new  methods, 
conducting research to identify the impact of the work done 
conducting research to identify the impact of the work done 
so far and ensuring the quality of the work is consistently high. 
so far and ensuring the quality of the work is consistently high. 
The overall aim is to keep the essence of art as a developing 
The overall aim is to keep the essence of art as a developing 
force in Europe. 

TILLT has also been awarded a grant of €150 000 to work as a 
TILLT has also been awarded a grant of €150 000 to work as a 
partner in the development of the first EU Green Paper on 
partner in the development of the first EU Green Paper on 
culture, sharing their knowledge on the promotion of creativity 
culture, sharing their knowledge on the promotion of creativity 
and innovation in society by integrating art and culture in our 
and innovation in society by integrating art and culture in our 
daily lives.

“I’m certain we have to meet the challenge of developing 
“I’m certain we have to meet the challenge of developing 
creativity and innovation in Europe in order to become the 
creativity and innovation in Europe in order to become the 
most dynamic, knowledge-based economy in the world. It is 
most dynamic, knowledge-based economy in the world. It is 
about new horizons all the time and art is a means to keep 
about new horizons all the time and art is a means to keep 
growing. It’s a journey, with all that this means,” Areblad says. 
growing. It’s a journey, with all that this means,” Areblad says. 

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17

COMMON GROUND

ACTING TOGETHER TO PROMOTE
CREATIVITY AND INNOVATION

People and businesses thrive on finding new ways of working 
and living. In Europe, our cutting-edge thinking produces 
innovative science, better business solutions and an infinite 
variety of cultural expression. Whether selling a manufactured 
product or finding new ways of appreciating art, we excel at 
finding new dimensions.

The Lisbon Strategy for growth and jobs, all about combining 
economic growth with wider benefits for society and the 
environment, is a great framework for championing business 
ideas that do just that. In business, smart solutions are all about 
products which perform better and deliver wider benefits.

In cultural life, new ways of presenting and interpreting works 
of art, music, theatre or cinema mean that audiences are always 
inspired and challenged. Old pieces are given new life and 
novel forms of art are constantly appearing. 

Within the European Commission, creative and innovative 
products  and  solutions  are  already  given  top  priority  for 
funding. The Year of Creativity and Innovation is a focal point 
for identifying common priorities among diverse interests. It 
provides the impetus for discussion on a range of subjects, 
from medical research to fine art and opera, astronomy and 
space to lifelong learning and IT games in education. Here are 
some highlights from around the Commission directorates.

Shaping new approaches to research
DG Research is used to operating at the cutting edge of science 
and technology. Today’s projects are all about fully integrated 
research  which  meets  market  and  social  needs  on  many 
different levels. The key priorities of these projects are to 
underpin EU prosperity and competitiveness, promote the role 
of science in modern society and link national research with 
projects being run at European level.

This year, Research Connection ’09 was the big event, bringing 
scientists and researchers together with entrepreneurs and 
industrialists.  Held  in  May  in  Prague,  as  part  of  the  Czech 
presidency of the EU, it showcased many groundbreaking 
research  projects  that  are  already  receiving  EU  funding. 
Participants were inspired by existing work, but crucially, also 
found guidance on how to attract European research funding 
for their own projects and meet up with interested investors 
and collaborators who could become partners.

The European Institute for Innovation and Technology (EIT)
is a new body created by the Commission which sets out to 
boost collaboration between universities, research centres and 
businesses.  The  EIT  will  focus  on  knowledge  transfer  and 
demonstrate  that  research  really  does  lead  to  innovative, 

marketable products. Their first priorities will be in the fields 
of climate change, renewable energy and communication 
technology.

The Year of Creativity and Innovation 
– a business tool
The European flair for innovation makes the EU home to 
The European flair for innovation makes the EU home to 
companies  providing  the  most  technologically 
companies  providing  the  most  technologically 
advanced,  high-quality  products,  while 
promoting environmental sustainability and 
social  benefits.  To  help  even  more 
businesses  evolve  and  grow,  DG 
Enterprise  and  Industry  is  using 
several  new  ways  to  push  this 
agenda.

The first European SME Week 
took place in May, providing 
new businesses with support 
and  challenging  existing 
SMEs  to  broaden  their 
horizons ever further. Often 
the starting point for most of 
the big ideas we see around 
us, SMEs are particularly fertile 
ground  for  innovative  and 
creative  concepts.  The  week 
included  a  unique  interactive 
exhibition, the SME Experience, 
where a series of hands-on exhibits 
where a series of hands-on exhibits 
invited visitors to ‘see, smell, touch and 
invited visitors to ‘see, smell, touch and 
listen’ to get an idea of what it's like to be 
listen’ to get an idea of what it's like to be 
listen’ to get an idea of what it's like to be 
an entrepreneur.

Culture as a driver for creativity 
and innovation
In its role as coordinator of the Year, DG Education and Culture 
In its role as coordinator of the Year, DG Education and Culture 
In its role as coordinator of the Year, DG Education and Culture 
is using the rich diversity of innovation found in cultural projects 
is using the rich diversity of innovation found in cultural projects 
is using the rich diversity of innovation found in cultural projects 
to  prompt  new  approaches  to  business  and  European 
to  prompt  new  approaches  to  business  and  European 
to  prompt  new  approaches  to  business  and  European 
integration. With culture at the heart of the Year, there are 
integration. With culture at the heart of the Year, there are 
integration. With culture at the heart of the Year, there are 
opportunities for everyone across Europe to participate, as 
opportunities for everyone across Europe to participate, as 
opportunities for everyone across Europe to participate, as 
economic, social and ethnic differences are put aside.
economic, social and ethnic differences are put aside.
economic, social and ethnic differences are put aside.

As individuals, our ability to create and innovate builds a sense 
As individuals, our ability to create and innovate builds a sense 
As individuals, our ability to create and innovate builds a sense 
of satisfaction within us, allowing us to express ourselves better. 
of satisfaction within us, allowing us to express ourselves better. 
of satisfaction within us, allowing us to express ourselves better. 
Music, art, theatre, film and literature provide an outlet for our 
Music, art, theatre, film and literature provide an outlet for our 
creative expression in so many different forms. A great personal 
creative expression in so many different forms. A great personal 
and social benefit derives from this experience. 
and social benefit derives from this experience. 

18

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The  real  challenge  is  how  to  make  this  vision  a  reality  by 
introducing other creative skills enhanced through culture into 
the business sector, and encouraging new partnerships between 
the  fields  of  culture,  education,  research  and  technology, 
businesses, public services and our society as a whole.

New evidence on the rewards of 
culture and creativity
The recent study Economy of Culture in Europe was the first 
to measure the direct economic impact of the cultural and 
creative industries and the indirect gains for EU regions and 
businesses. A new study on the impact of culture on creativity 
explores the still largely underestimated links between culture, 
creativity, innovation and the wider economy. 

In economic terms, the cultural sector is leading the way in 
contributing to employment and growth. But crucially, it is also 
feeding creative abilities into other parts of the economy, 
especially those related to ICT, boosting their performance and 
taking jobs into more interesting domains.
taking jobs into more interesting domains.

Companies are now becoming better equipped to develop 
Companies are now becoming better equipped to develop 
innovative types of employment and more sustainable types 
innovative types of employment and more sustainable types 
of production. This growth is being seen across the EU regions. 
of production. This growth is being seen across the EU regions. 
The inclusive nature of cultural innovation is a powerful force 
The inclusive nature of cultural innovation is a powerful force 
in bringing communities together and giving them a concrete 
in bringing communities together and giving them a concrete 
vision for how EU integration can bring economic prosperity.
vision for how EU integration can bring economic prosperity.

At the same time, culture can also bring economic rewards and 
be the driving force for the regeneration of otherwise deprived 
areas. There is sound business logic in promoting cultural 
programmes  and  supporting  the  development  of  local 
economies through culture. Not only does it breed creativity 
and  innovation  among  those  who  participate,  but  also 
encourages  mobility  and  productive  exchanges  among 

businesses.

Putting culture at the heart 

of the economy and 

society

Demonstrating the links between 
culture, creativity and innovation 
is fundamental to the European 
Agenda for Culture
Agenda for Culture, the first-
ever political framework for 
ever political framework for 
in 
integrating  culture 
in 
integrating  culture 
European  affairs.  The 
European Culture Forum, 
taking place in September 
2009 in Brussels, will be an 
opportunity to take stock of 
achievements  so  far  and 
stimulate next steps. At the 
same  time,  other  political 
priorities such as encouraging 
new skills and job opportunities, 
lifelong  learning,  innovation  in 
industry and harnessing the strengths 
of culture in a global market, are also 
being  promoted.  It  is  all  about  using 
creative  and  innovative  ideas  to  build 
economic strength, as well as ensuring individual 

and social well-being. 

Building cultural experience into 
every sector
The Year is an opportunity for many different 
sectors to share common advantages and build 
on synergies and positive spillover effects, as is 
seen  clearly  in  the  programme  of  events  at 
national and EU level. Art events such as the 
interactive Orbis Pictus exhibition have been 
interspersed  with  scientific  innovation  in 
astronomy and space, while concerts share the 
limelight  with  new  developments  in  eco-
innovation. On another level, Imaginate 09, a new 
design competition for schools in Ireland, invited 
pupils to design an object for the classroom of the future 
and describe their vision for how it could enhance their 
learning.

panorama 29

19

FIND OUT MORE

European Year of Creativity and 
Innovation 2009
The official website of the European Year of Creativity and 
Innovation 
http://create2009.europa.eu/ 

Recommendation N° 2006/962/EC of the European Parliament 
and of the Council of 18 December 2006 on key competences 
for lifelong learning, Official Journal of the European Union, 
L 394, 30.12.2006, p. 10. 
http://eur-lex.europa.eu/en/index.htm 

Spring Day for Europe 2009 – Ideas move Europe
http://www.springday2009.net/ 

Links to projects mentioned in this 
issue
The Economic Clusters of Cultural Enterprises – financial advice, 
The Economic Clusters of Cultural Enterprises – financial advice, 
information and training for small businesses, entrepreneurs 
information and training for small businesses, entrepreneurs 
and individuals in the cultural and creative sector
and individuals in the cultural and creative sector
http://www.connectedcreatives.eu/default.aspx

Jamie Oliver’s Fifteen restaurants, registered charities offering 
Jamie Oliver’s Fifteen restaurants, registered charities offering 
young people vocational apprenticeships as chefs
young people vocational apprenticeships as chefs
http://www.jamieoliver.com/fifteen

Liverpool – European Capital of Culture
Liverpool – European Capital of Culture
http://www.liverpool08.com/

Swansea University Centre for NanoHealth
Swansea University Centre for NanoHealth
http://www.swan.ac.uk/nanohealth/

The Musikpark – Mannheim
http://www.musikpark-mannheim.de/web09/

TILLT
http://www.tillt.se/eng/airis.asp?m1=engAiris&m2=The%20
concept

Link to key website for the next issue
EU Strategy for the Baltic Sea Region
http://ec.europa.eu/regional_policy/cooperation/baltic/
index_en.htm

Decision N° 1350/2008/EC of the European Parliament and of 
the Council of 16 December 2008 concerning the European 
Year of Creativity and Innovation (2009), Official Journal of the 
European Union, L 348, 24.12.2008, p. 115.
http://eur-lex.europa.eu/en/index.htm 

European Commission
Directorate-General for Education and Culture of the European 
Commission
http://ec.europa.eu/dgs/education_culture/
index_en.html

Directorate-General for Enterprise and Industry of the European 
Commission
http://ec.europa.eu/enterprise/index_en.htm 

Other useful links
eTwinning – the community for schools in Europe
http://www.etwinning.net/en 

Euro Creator – a digital media network for schools
http://www.eurocreator.com/

European Business & Innovation Centre Network
http://www.ebn.be/ 

European Entrepreneurship Video Award 2009 
http://ec.europa.eu/enterprise/policies/entrepreneurship/
video-award/index_en.htm

European Institute of Innovation and Technology
http://ec.europa.eu/eit/

Programme and presentations from the Regions for Economic 
Change Conference (16–17 February 2009) ‘Networking for 
Results’
http://ec.europa.eu/regional_policy/conferences/networking/
programme_en.cfm?nmenu=4

Promoting innovation in lifelong learning
http://www.elearningeuropa.info/ 

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BEHIND THE SCENES

THE FUTURE OF EUROPEAN 
COHESION POLICY

Policies in the making – Panorama takes a regular 
look at what is going on at the nerve centre of 
Regional  Policy,  the  Directorate-General’s 
headquarters in Brussels.

Future of European Cohesion Policy 
– Independent expert report
To further the debate on the future of European Cohesion Policy 
after 2013, the Commission invited Dr Fabrizio Barca, a prominent 
economist at the Italian Ministry of Economy and Finance, to 
prepare an independent report to look into how effective 
Regional Policy actually is and to make recommendations on 
the way forward. The subject is a significant one – broader 
issues such as the EU’s budget and the future priorities of the 
Union are implicated.

The debate on the future of Cohesion Policy kicked off in 2007 
when the Fourth Report on Economic and Social Cohesion was 
published. This was followed by the Commission’s Regions 
2020 paper which came out in November 2008. The paper 
analysed, for the first time, the likely, long-term impact of the 
four main challenges facing us today: globalisation, demographic 
trends, climate change, energy use and supply. 

Over the course of more than a year, Dr Barca has organised 
discussions and seminars with academics and policymakers 
from all over Europe, the United States of America and New 
Zealand. The report is the result of these discussions. Reflecting 
on  the  achievements  and  governance  behind  European 

Cohesion Policy, the Barca Report discusses the economic 
rationale  and  motivation  for  a  development  policy  which 
focuses on the importance of place: policies that take into 
account the characteristics of the location in which they are to 
be implemented and an understanding that where a policy is 
implemented is integral to how it will be implemented.

Along with considering the importance of place-based policies, 
the Barca Report also looks at the successes and failures of 
Cohesion Policy so far and provides recommendations on key 
issues of governance.

It offers some suggestions on how the principle of shared 
management, in essence the relationship between the Member 
States  and  the  Commission,  should  be  streamlined  and 
strengthened.  The  report  also  recommends  that  impact 
evaluation should form the backbone of Cohesion Policy and 
that a formal Council Committee for Cohesion Policy be created 
to debate annual strategic reports by each Member State.

The report is fully independent and does not necessarily reflect 
the views of the Commission. Its conclusions will be taken on 
board when the future of the Policy, post-2013, is considered. 

Dr Barca and Commissioner Danuta Hübner presented the key 
findings of his report to the public on 27 April in Brussels. A 
series of discussions with Member States and stakeholders will 
take place in the coming months at various events organised 
by  the  Czech  and  Swedish  presidencies  of  the  European 
Union. 

report 

The Barca Report: a quick look
The 
for 
finds  a  need 
comprehensive  reform  of  Cohesion 
Policy. A more place-based approach is 
needed, along with a clearer distinction 
between economic and social objectives 
and an awareness of existing problems in 

the use of indicators and impact evaluation.

Using Cohesion Policy as a source of funding to create a level 
playing field is not the way ahead, the report stresses. So 
what does the Union do to ensure all territories and all 
European citizens have the chances to make the most of the 
opportunities offered by the Union itself and to cope with 
the connected risks and threats?

Three requirements, the report suggests, need to be met 
to further that aim:
•  well-defined objectives, based on a verifiable economic 
rationale, which are open to evaluation;
•  explicit and powerful political justification based on the 
present  condition  of  Europe  and  responding  to  the 
expectations of those living there; and 
•  a system of governance which can learn from itself, actively 
encourages democratic participation and can credibly 
undertake to perform adequately.

For the full report, see http://ec.europa.eu/regional_policy/
policy/future/barca_en.htm.

panorama 29

21

INTRODUCING THE INSIDE PROJECT FEATURE

In each edition, Panorama finds out how two projects are unfolding from the perspective of the people 
managing them. We look into the highs and lows of managing an ERDF funded project: identifying the 
problems and sharing solutions.

PROJECT 
1

INSIDE THE MUSIKPARK MANNHEIM 

Facts and figures
Just over €5 million is to be invested in Musikpark, and the 
related Popakademie projects, under Objective II. The funding 
started in 2004 and runs over 15 years. 

A strange thing about the creative industry: the sector generates 
a lot of income, turning over more than €654 billion in 2003 – 
2.6% of the EU’s GDP for that year. But when it comes to investing 
in a group of teens in torn jeans, banks aren’t that keen. After 
20 years in the music industry, Christian Sommer is in a position 
to know. 

His expertise and extensive network of contacts have made 
him the driving force behind the Musikpark, Mannheim – a 
project that gives start up SMEs in the music sector their first 
step on the ladder. 

Meet Project Director, 

Christian Sommer 

Music really took over Sommer’s 
life  in  the  late  80s  when  he 
walked the boards as a singer/
guitar  player  but  it  wasn’t 
until 1990 that he went into 
the profession full time. In 
1992 he swapped his role, 
going  backstage  and 
becoming the manager of a 
group called Master Boy who 
enjoyed  more  than  their  15 
minutes of fame. “They went gold 
and platinum all over the world. It was 

a really steep learning curve”, recalls Sommer.

The sharp lessons, the stress and, above all, the contacts he 
made, were invaluable, but by 1997 he’d had enough. His next 
move took him into the heart of a multinational record company 
where he spent a year learning the ropes from the production 
and marketing side. By 2000 he was working out of Munich as 
the Director of Marketing, Artist and Repertoire. 

But he is Mannheim born and bred and when the city needed 
a manager for their cutting edge project to cluster music services 
together and incubate start ups, he leapt at it.

Helping artists break into the industry
Around 40 businesses, employing 140 people, take up the 
Musikparks’s 4 300 m2. With all that space, there is also room 
for a choreography and performance room, a workshop, several 
sound studios, a TV studio and smart meeting room in which 
to negotiate that all important, first commission. 

“One of our main roles is to bring in the clients who will book 
our companies”, says Sommer. Where corporate doors remain 
firmly closed in the face of an unknown band or dancer, they 
open more freely for the Musikpark. “We act as a bridge to help 
one side understand the other”. 

When it comes to finance, projects that foster start-up SMEs 
tend to focus on creating business plans. “This model doesn’t 
adapt itself to the creative industries,” explains Sommer. They 
don’t get loans from the banks and they handle very little 
‘external’ money. What start-ups in the music industry need 
are gigs – the opportunity to work, a chance to show what they 
can  do  and  so  generate  more  bookings.  So  this  is  where 
Musikpark steps in. 

A comprehensive service
For those planning corporate entertainment, Musikpark is a 
one stop shop, providing dancers, musicians, audiovisual crews, 
not to mention sound technicians and lighting engineers. They 
host events too and a gallery of 150 m2 offers young music 
photographers the opportunity to exhibit their work.

And it is the diversity of the services operating under one roof 
that helps the artists too. They feed off each other, generating 
ideas, finding solutions – each discipline working to make the 
next more innovative. “It’s tough to produce good, creative 
work in a vacuum,” Sommer maintains. The creative core of the 
industry: artists and producers; and the creative professionals: 
marketing,  sales,  layout,  events,  legal  and  financial  work, 
websites and internet portals, promotion – all have their place 
under the park’s roof.

Finally, in the position of mentor is Sommer, who keeps a 
respectful  eye  on  how  his  start-ups  evolve.  “The  young 
entrepreneurs work proactively and independently. We are just 
helping them to help themselves,” he says. 

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PROJECT 
2

INSIDE THE CENTRE FOR NANOHEALTH (CNH) AT SWANSEA UNIVERSITY

Facts and figures
Just  over  €21  million  is  to  be  invested  in  the  Centre  for 
NanoHealth under the Convergence Objective. The funding 
started in 2009 and runs over five years.

Inside the Centre for NanoHealth 
(CNH) at Swansea University
As healthcare systems face the strain of expensive treatments 
and juggle the ethics of subsidising costly palliative care, the 
development of tools to help with early diagnosis becomes 
ever more urgent.

By bringing together the worlds of academia, the private sector 
and  the  National  Health  Service,  the  CNH  works  to  apply 
nanotechnology to the detection of disease and identification 
of appropriate treatment.

Meet Dr Tim Claypole, member of the 
CNH Executive Committee
The leap from research on pollutant 
formation in fumes to printing bio-
materials seems a large one, and 
yet a touch of serendipity in 
1990  provided  Claypole’s 
career with a new focus.

After  completing  his  first 
degree 
in  mechanical 
engineering, in the mid 1970s, 
Claypole  worked  as  project 
engineer on the construction of 
a new steel works in Cardiff. From 
the world of steel production, it wasn’t 
long before he went back to university to do 

his PhD on pollutant formation in flames. 

Combustion and dust separation kept him occupied from the 
mid 1980s to 1990 when he moved into full-time academia. With 
a Youngblood lectureship from the Engineering and Physical 
Sciences Research Council, Claypole took up a research post at 
Swansea University, looking into gas turbine bearings. Laser 
measurement for flows in nuclear reactors also became one of 
his areas of research. 

Making the connection
Although he had been working on flows, bearings and the 
statistical  design  of  experiments,  it  wasn’t  until  a  printer 
approached him with the problem of ink flow, that Claypole 
suddenly realised all the know-how he had acquired from his 
research could be put to use in the printing industry. This was 
back in 1990 and, since then, the concept has snowballed. So 
much so that the company set up to explore the synergy, Diple, 
was one of the 2009 RegioStars winners.

Where once it was ink, now it is ‘printable fluids’ that keep him 
occupied. And the properties of the fluids: conductive, pH-
sensitive, magnetic, bio-fluid and so on, mean that what can 
be done with the printed material is boundless.

Who is involved?
Four  prestigious  UK  Research  Council  Fellowships  in 
Nanomedicine had been awarded jointly to Swansea University’s 
Institute  of  Life  Sciences  (ILS)  and  the  Multidisciplinary 
Nanotechnology Centre (MNC). Such successful collaboration 
made it logical to combine them and form the Centre for 
NanoHealth.  At  the  end  of  2008  the  centre  became 
operational. 

Both the institute and the multidisciplinary centre have a lot 
to  bring  to  the  table:  Blue  C,  one  of  the  world’s  fastest 
supercomputers dedicated to medical research, 25 specialist 
research teams at the ILS, over 100 at the MNC and the backing 
of  the  National  Health  Service  and  IBM.  “We  have  real 
opportunity here,” says Claypole.

Prevention better than cure
Nano-devices and nano-biosensors will be used to detect and 
measure biomarkers present in fluid or tissue samples at a level 
of sensitivity far beyond current detection methods; in the 
parts per billion range. Such refined detection will allow earlier 
diagnosis and more rapid treatment of conditions such as 
cancer, diabetes, obesity and others. 

Claypole will be leading the centre’s printing section, which 
includes a pilot-scale, ‘ink’-making plant. It is here that bio-inks 
will  be  developed  –  nanoparticles  and  wires,  enzymes, 
biomarkers and DNA. “I like to think we can have a long-term 
impact on the way in which disease is treated and monitored,” 
he explains.

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23

NETWORKING

FIFTH REGIONS FOR ECONOMIC  CHANGE
CONFERENCE – NETWORKING FOR RESULTS

Headlined as Networking for Results, the Regions 
for Economic Change conference, Brussels 16–17 
February, was anything but an excuse to share 
anecdotal evidence over a sandwich and passively 
listen  to  experts  exploring  their  fields.  The 
conference was challenging and wide-ranging: 
workshops  covered  subjects  as  diverse  as 
migration and satellite information.

Pooling know-how to maximise 
results
As a means to help people involved in URBACT II and INTERREG 
IVC funded projects get together and share best practice under 
the label ‘Regions for Economic Change’, the Commission 
arranges a major conference every year. This, the fifth, centred 
around three themes: innovation and creativity, climate change 
and sustainable development. The bottom line was summed 
up neatly by Job Cohen, Mayor of Amsterdam, “Find a solution 
to a shared problem and spread that solution throughout 
Europe.” 

Nine workshops on subjects including water management, 
universal broadband access, the impact of climate change, 
industry’s effect on urban economies and risk management 
through satellite services, attracted 603 people from all over 
the EU.

Towards an innovation-driven 
economy
Panorama went to the workshop on creativity and innovation 
as drivers for urban and regional development, where speakers 
discussed bridging the gaps between culture and business, 
how to be a successful Capital of Culture and the fundamental 
equation ‘creativity+entrepreneurship=innovation’.

entrepreneurial Flanders more creative and 
creative Flanders more entrepreneurial. 
“An economy's main strength lies in 
its ability to be creative, not in its 
efficiency  anymore,”  he  said, 
adding,  “Regions  are  at  the 
best 
innovation.  We  are  big 
enough  to  matter  and 
small enough to care.”

tackle 

level 

to 

The Flanders District of 
Creativity  network  is 
active in an international 
web of regions working 
towards  the  goal  of 
greater innovation, from 
Oklahoma to Osaka. Cools 
described the complexity of 
plugging into an international 
web of partners with members 
in six different time zones, “When 
is  the  right  time  to  hold  a 
teleconference  if  everyone  is  in  a 
different  zone?”  Other  difficulties  he 
mentioned were differing cultural contexts 
and members’ access to finance which also changes 
and members’ access to finance which also changes 
and members’ access to finance which also changes 
depending on where they are. “We are different sizes, face 
depending on where they are. “We are different sizes, face 
depending on where they are. “We are different sizes, face 
different challenges and share our different solutions, but this 
different challenges and share our different solutions, but this 
different challenges and share our different solutions, but this 
way, we don’t have to reinvent the wheel.” People do wonder 
way, we don’t have to reinvent the wheel.” People do wonder 
way, we don’t have to reinvent the wheel.” People do wonder 
why they are involved in such a large network, “I am sometimes 
why they are involved in such a large network, “I am sometimes 
why they are involved in such a large network, “I am sometimes 
asked if I’m mad to be giving our tools to other regions,” says 
asked if I’m mad to be giving our tools to other regions,” says 
asked if I’m mad to be giving our tools to other regions,” says 
Cools,  “But  we  get  things  back  in  return.  You  need  to  be 
Cools,  “But  we  get  things  back  in  return.  You  need  to  be 
Cools,  “But  we  get  things  back  in  return.  You  need  to  be 
open.”

 Running through the presentations was the understanding 
 Running through the presentations was the understanding 
that networks are about more than just talking – they 
that networks are about more than just talking – they 
need to embrace concrete projects with ambitious 
need to embrace concrete projects with ambitious 
goals, turning theories into realities. As Neil 
goals, turning theories into realities. As Neil 
Peterson,  coordinator  of  Liverpool’s 
European  Capital  of  Culture  2008, 
admitted, he and his team could not 
have imagined the year would have 
been as successful as it turned out, 
“We set out the ambitions early 
on  and  went  for  them,”  he 
explained.

Opening  the  workshop,  Chairman  Rudolph 
Niessler, Director for Policy Coordination, DG 
Regional  Policy,  explained  that  the 
intention behind the Year of Creativity 
and Innovation is to make creativity a 
real issue that has an impact on how 
we live and conduct our economy. The 
workshop set out to provide a better 
working knowledge of the role that 
culture, creative industry and creativity 
can play in that context.

Big ambition, bite-sized chunks – 
practical things you can do to achieve 
your goals. 

Neil Peterson – Liverpool, 
European Capital of Culture, 

“ 
2008 „ 

Speaking on behalf of the Flanders District 
of Creativity network, Pascal Cools summed 
up  the  organisation’s  goals  as  making 

24

panorama 29

Having a clear goal can inspire different organisations 
to work together. Five years ago cultural institutions 
in Liverpool were competing against each other 
to get funding. “As a great by-product of our 
year as Capital of Culture, the approach is 
more collective. We are working together 
to keep culture at the top of the agenda,” 

explains Peterson.

2008 provided Liverpool with a way 
to use culture to engage with the 
city’s residents. Art projects brought 
together  people  from  different 
backgrounds and areas of the city, 
encouraging  debate  on  how 
migration  and  immigration  have 
benefited Liverpool over the years, 
and on the damage caused by violence 
and homophobia. 

Economic  benefits  flow,  but,  Peterson 
warns, “You need to know what success looks 
like.” This echoed a previous comment made 
by Cools that the economic benefit of culture and 
creativity on a community takes time to filter through 
and  can  be  hard  to  measure  –  they  are  long-term 

investments in a region’s capacity to be innovative.

Culture as a vector for creativity and 
innovation
The regional level is highly relevant for activities which place 
creativity as a driver for economic development. Linking the 
unique relationship of place and culture boosts that creativity. 
When it comes to cooperation between the artistic and business 
sectors, Areblad and Niss are clear: each sector has its own 

legitimacy. It’s not a question of turning artists into business 
legitimacy. It’s not a question of turning artists into business 
people or vice versa. There is a common ground in which we 
people or vice versa. There is a common ground in which we 
can make the most use of the results of a synergy between the 
can make the most use of the results of a synergy between the 
two. “Let’s really test out experimentation and share out good 
two. “Let’s really test out experimentation and share out good 
practice, without fear and envy, in a situation where there is a 
practice, without fear and envy, in a situation where there is a 
lot to be gained for all the partners involved,” said Niss.

Clustering for growth
Economic Clusters of Cultural Enterprises (ECCE) is a network, 
co-financed by the European Regional Development Fund 
(ERDF) and offering advice and training for entrepreneurs in 
the cultural and creative sector.

These services are available via local resource centres operating 
in cities of the ECCE network: Nantes, Rennes and Angers in 
France, Aachen in Germany, Eindhoven and Utrecht in the 
Netherlands and in Huddersfield, UK. 

Growth in the culture sector and creative industries is not a 
question of large companies evolving into huge companies 
but, instead, how smaller businesses can benefit notably from 
clusters, networks and internet promotion. The network’s 
clusters, networks and internet promotion. The network’s 
biggest challenge was to develop a user-generated, online, 
biggest challenge was to develop a user-generated, online, 
transnational community of people involved in creativity and 
transnational community of people involved in creativity and 
culture. 

The  platform  is  free  to  use  and  visitors  can  upload  their 
The  platform  is  free  to  use  and  visitors  can  upload  their 
personal or business profiles, identify fields of interest and 
personal or business profiles, identify fields of interest and 
start a weblog. It can also be used to match people in the 
start a weblog. It can also be used to match people in the 
same location or with common interests. Curious? Take a look: 
same location or with common interests. Curious? Take a look: 
www.connectedcreatives.eu

Regions for Economic Change – defining good practice, refining policy

The diversity of Europe’s regions has resulted in the development of different solutions to deal with the variety of 
challenges faced – one is never quite the same as any other. The range of expertise is as diverse as the solutions it 
generates. 

Since areas of knowledge can complement each other, the Regions for Economic Change initiative was launched. It 
follows a move within Cohesion Policy to focus more on the key objectives of the Lisbon Strategy for growth and jobs, 
particularly human resource development, increased investments in innovation and the knowledge economy, business 
support and critical EU infrastructure development. 

Its aim is to reinforce good practice exchanges, making networking a tool for sharing ideas that work. This is done mainly 
through two pan-European networking programmes INTERREG IVC and URBACT II.

panorama 29

25

LAST ISSUE, NEXT ISSUE

NEXT
ISSUE

the 

out 

to  make 

The first EU Strategy for the 
The first EU Strategy for the 
Baltic Sea Region will be the 
Baltic Sea Region will be the 
focus of the next edition of 
focus of the next edition of 
Panorama.  The  strategy  sets 
Panorama.  The  strategy  sets 
region 
environmentally sustainable and 
to  boost  prosperity.  Improving 
increasing 
links  and 
maritime safety and security are also 
key priorities. Involving a wide range of 
actors: Member States, regions, cities, the 
private sector, interest groups and the public, 
the strategy will be one of the main priorities of the 
Swedish EU Presidency during the second half of 2009. 
Panorama will take a look at the issues affecting the region 
and talk to experts involved in forming the policy. 

transport 

LAST 
ISSUE

The  way  ahead  for  Territorial  Cohesion  was  the  theme  of 
The  way  ahead  for  Territorial  Cohesion  was  the  theme  of 
Panorama’s last issue. The European Commission received more 
Panorama’s last issue. The European Commission received more 
than 380 responses to its Green Paper on Territorial Cohesion. 
than 380 responses to its Green Paper on Territorial Cohesion. 
Contributing  to  the  reflections  on  the  policy’s  future,  EU 
Contributing  to  the  reflections  on  the  policy’s  future,  EU 
Member  States,  regional  authorities,  regional  and  local 
associations, cities, economic and social partners, civil society 
organisations, academic and research institutions as well as 
citizens generally welcomed the Green Paper. Many shared the 
view that Territorial Cohesion complements and reinforces 
economic and social cohesion.  A summary of the contributions 
to the debate will be published by the European Commission. 
A factual presentation of the contributions will be part of the 
6th progress report on economic and social cohesion.  As a next 
step, the European Commission will examine the way in which 
Territorial Cohesion can be integrated into the EU’s Cohesion 
Policy after 2013.   

26

panorama 29

AGENDA

DATES

10 June 2009

11–12 June 2009

15–16 June 2009

17 June 2009

18–20 June 2009

22–23 June 2009

17 July 2009

Deadline: 15 August 
2009

EVENT

Adoption of the EU Baltic Sea region strategy by the European Commission
http://ec.europa.eu/regional_policy/cooperation/baltic/index_en.htm

PLACE

Brussels (BE)

The Baltic Sea Strategy – Regions and Cohesion Policy in action
http://ec.europa.eu/regional_policy/cooperation/baltic/visby_11062009_en.htm

Visby (SE)

Third meeting of the INFORM Community network of Regional Policy 
communication officers
http://ec.europa.eu/regional_policy/country/commu/index_en.cfm 

Brussels (BE)

JESSICA network platform
http://ec.europa.eu/regional_policy/funds/2007/jjj/jessica_network_en.htm

Brussels (BE)

Lisbon (PT)

Den Haag (NL)

Innovation Days 2009
http://www.innovationdays.eu/ 

Regions and Cities implementing Sustainable Energy Strategies – The 
added-value of Satellite Information and Services
http://www.eurisy.org/ 

Deadline for RegioStars 2010 applications
http://ec.europa.eu/regional_policy/cooperation/interregional/ecochange/
regiostars_en.cfm?nmenu=4#2010

European Economic and Social Committee Design ZeroNine – European 
Award for a Sustainable Present
www.design-competition.eesc.europa.eu
Students and design professionals are invited to enter this competition and 
submit their ideas by 15 August 2009

5–6 October 2009

From the European Charter for Small Enterprises to the Small Business Act
http://ec.europa.eu/enterprise/enterprise_policy/charter/index_en.htm 

Stockholm (SE)

5–8 October 2009

Open Days – European Week of Regions and Cities: Global Challenges, European 
responses
http://ec.europa.eu/regional_policy/conferences/od2009/

Brussels (BE)

14–16 October 2009 Creativity and Innovation Conference 2009 

Maastricht (NL)

http://www.creativityandinnovation.nl/

Find out about key Regional Policy events at http://ec.europa.eu/regional_policy/conferences/agenda/index_en.cfm 

panorama 29

27

MAKE YOUR VOICE HEARD

This  edition  of 
Panorama is the first with our 
new graphic design and editorial concept. 
While  Panorama  continues  to  highlight  a  specific 
topic  in  each  edition,  we  have  added  new  sections  to 
explore  regional  policy  from  the  different  perspectives  of  all 

those  involved. 

‘The  Inside  Project’  article  features  projects 

Panorama hopes to follow over a longer period of time to show the ups 
and  downs  of  managing  and  realising  ERDF  co-financed  projects,  for 
example,  while  ‘Common  ground’  explores  what  other  organisations  are 
doing in the same field. 

From  the  next  edition  onwards  you  will  have  the  opportunity  to  put  forward 
your questions on practical project issues, policy or the theme explored in the 
issue.  We  hope  to  publish  the  questions,  answers  and  comments  of  most 
interest  to  our  readers.  The  next  edition  of  Panorama  will  focus  on  the  first 
EU Strategy for the Baltic Sea Region. The aim of the strategy will be to 
coordinate  the  efforts  of  various  actors  in  the  region  (Member  States, 
regions,  financing  institutions,  the  EU,  pan-Baltic  organisations,  non-
governmental  bodies,  etc.)  so  that  by  working  together  they  can 

promote a more balanced development of the region. 

Get in touch to ask questions or express your views 
on this or any other regional policy issue at 
regio-panorama@ec.europa.eu 

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ISSN 1608-389X

© European Communities, 2009
Reproduction is authorised provided the source is acknowledged.

Printed in Belgium

OFFICE OF THE OFFICIAL PUBLICATIONS
OF THE EUROPEAN COMMUNITIES
L-2985 Luxembourg

European Commission, Directorate-General for Regional Policy
Unit 01 – Information and Communication
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Avenue de Tervuren 41, B-1040 Brussels
Fax (32-2) 29-66003
E-mail: regio-info@ec.europa.eu
Internet: http://ec.europa.eu/regional_policy/index_en.htm