Date
Company Name
Canal & River Trust & Mellor Archaeological
Trust
Digital Learning Package
Revealing Oldknow’s legacy: Mellor Mill & The
Peak Forest Canal in Marple
Invitation To Tender (ITT)
23rd February 2015
All correspondence relating to this tender should be addressed to:
John Brown
Procurement Manager
Canal & River Trust
First Floor (North)
Station House
500 Elder Gate
Milton Keynes
MK9 1BB
E-mail: john.brown@canalrivertrust.org.uk
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Invitation to Tender. Digital Learning Package
CONTENTS
SECTION 1
INTRODUCTION
SECTION 2
INSTRUCTIONS TO ORGANISATIONS
SECTION 3
ABOUT CANAL & RIVER TRUST & MELLOR ARCHAEOLOGICAL TRUST
SECTION 4
SCOPE OF SERVICES
SECTION 5
THE PROCUREMENT PROCESS
SECTION 6
DATA FOR PREPARATION OF TENDERS
SECTION 7
EVALUATION
SECTION 8
ORGANISATION DECLARATION
SECTION 9
QUESTIONNAIRE
APPENDIX A
DRAFT CONTRACT (TO BE PROVIDED)
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SECTION 1
INTRODUCTION
This Invitation to Tender (“ITT”) dated 23rd February 2015 is issued to Organisations who have
expressed an interest in providing a Digital Learning Package to Canal & River Trust (CRT) &
Mellor Archaeological Trust (MAT). (“The Services”).
This ITT is the First stage of the tender process and responses to this ITT will enable CRT & MAT
to assess the ability, competence and financial standing of Organisations.
Following an assessment of responses to this ITT, a minimum of three top scoring Organisations
will be invited to participate in the second element of this process – presentations.
.
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SECTION 2
2.1
INSTRUCTIONS TO ORGANISATIONS
General
This ITT is issued by CRT & MAT for the exclusive use of Organisations (and their advisers) who
expressed an interest in tendering for the contract to provide the Services (the “Contract”). It has
been prepared for the purpose of providing information in connection with that Contract. If there
is a need for any changes to this ITT, Organisations will be informed of the changes and given
adequate time to respond.
This ITT (and the information contained in it) does not form the basis of any contract nor does it
constitute an invitation or offer to participate in the Contract.
CRT & MAT reserves the right to terminate the tender (or part of it), to change the tender basis
or procedures, to procure the project by other means, or to do any combination of these.
CRT & MAT also reserves the right to procure any of the services referred to in this ITT separately.
2.2
Conflicts of Interest
Organisations are required to notify CRT & MAT immediately of any actual or potential conflicts
of interest in relation to this tender process that it becomes aware of. CRT & MAT requires all
actual or potential conflicts of interest to be resolved to CRT’s & MAT’s satisfaction prior to the
delivery of the Organisation’s response to this ITT. Failure to declare any such conflicts and/or
failure to address such conflicts to the reasonable satisfaction of CRT & MAT could result in an
organisation being disqualified.
2.3
Canvassing
CRT & MAT reserves the right to disqualify (without prejudice to any other civil remedies available
to CRT & MAT and without prejudice to any criminal liability which such conduct by an
Organisation may attract) any Organisation who, in connection with this ITT:
2.4

Offers any inducement, fee or reward to any member or officer of CRT or any person
acting as an adviser for CRT & MAT in connection with this ITT;

Does anything which would constitute a breach of the Bribery Act 2010; or

Contacts any officer of CRT & MAT prior to financial close about any aspect of the
ITT in a manner not permitted by this ITT, unless advised otherwise during the course
of the tender.
Non-Collusion
CRT & MAT reserves the right to disqualify (without prejudice to any other civil remedies available
to CRT & MAT and without prejudice to any criminal liability which such conduct by an
Organisation may attract) any Organisation who, in connection with this ITT:

Fixes or adjusts their tender by or in accordance with any agreement or arrangement
with any other Organisation;
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2.5

Enters into any agreement or arrangement with any other Organisation to the effect
that they shall refrain from making a tender or as to the amount of any tender to be
submitted;

Causes or induces any person to enter such agreement as is mentioned in either
bullet point above; or
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Communicates to any person other than CRT the amount or approximate amount of
their proposed tender (except where such disclosure is made in confidence in order
to obtain quotations necessary for the preparation of a tender).
Intellectual Property
The copyright in this ITT is vested in CRT and may not be reproduced, copied or stored in any
medium without the prior written consent of CRT except in relation to the preparation of a tender.
All documentation supplied by CRT in relation to this ITT is and shall remain the property of CRT
and must be returned on demand, without any copies being retained.
2.6
Publicity
Organisations shall not undertake (or permit to be undertaken) at any time, whether at this stage
or after financial close, any publicity activity with any section of the media in relation to the
Contract other than with the prior written agreement of CRT & MAT. Such agreement shall extend
to the content of any publicity. In this paragraph the word "media" includes (without limitation)
radio, television, newspapers, trade and specialist press, social media, internet and email
accessible by the public at large and the representatives of such media.
2.7
CRT & MAT’s Right to Reject Tenders
CRT & MAT reserves the right to reject or disqualify an Organisation where:

A tender is submitted late, is completed incorrectly, is materially incomplete or fails to
meet CRT & MAT’s submission requirements;

The Organisation is guilty of material misrepresentation in relation to its application
and/or the process;

The Organisation contravenes any of the terms and conditions of this ITT; or

There is a change in identity, control, financial standing or any other factor impacting
on the selection and/or evaluation process affecting the Organisation.
The disqualification of an Organisation will not prejudice any other civil remedy available to CRT
& MAT and will not prejudice any criminal liability that such conduct by an Organisation may
attract.
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2.8
Confidentiality
The information in this ITT is confidential and is made available to each Organisation on this basis.
Please see Section 7.2 for further details of the confidentiality requirements.
2.9
No Liability for Information Provided
None of CRT & MAT, its advisers or any of their respective directors, officers, employees and
agents owes any duty of care to any Organisation either in relation to this ITT or any other
information that they are provided with at any time, other than as may arise out of a written
agreement between the relevant parties at some future date. Organisations must undertake such
investigations as they see fit before entering into any contract.
None of CRT & MAT, its advisers or any of their respective directors, officers or employees or any
other person makes any express or implied representation or warranty and no responsibility or
liability (except in the case of fraud) is accepted by any of them with respect to the adequacy,
accuracy, reasonableness or completeness of the contents of this ITT or the facts, opinions,
estimates, forecasts, projections or other information included within this ITT or of any other
information (written or oral) supplied at any time in connection with the tender procedure.
2.10
Costs
Organisations will be solely responsible for all costs incurred in developing, preparing and
submitting any response to the ITT. CRT & MAT will not in any circumstances accept responsibility
for any costs incurred by Organisations.
2.11
Submission of the completed ITT
Your complete tender proposal should be uploaded to your own personal folder. The link along
with “Username & Password” will be emailed week commencing 30th March 2015.
All tender submissions should be uploaded before the tender deadline of 12:00 on 9th April 2015.
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2.12
Any queries in relation to this tender process should be directed in writing (email) &
not telephone to the CRT Contact. This a matter of transparency and equal fairness
to all Organisations
Your tender document should be in original format and not Pdf and be in one
document not a series of documents.
The title of the document for uploading should not contain “Ampersands”, “slants” or
“asterisks” as they are unable to be uploaded. E.g. Canal & River Trust Digital
Learning Package Tender
All questions should be asked as soon as possible but at the latest before 12:00 on
2nd April 2015 otherwise a reply cannot be guaranteed.
CRT Contact
Please register your interest before 12:00 on 23rd March by emailing john.brown@canalrivertrust.org.uk.
This will ensure you are allocated a “Username & Password” week commencing 30th March.
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John Brown
Procurement Manager
Canal & River Trust
First Floor (North)
Station House
500 Elder Gate
Milton Keynes
MK9 1BB
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SECTION 3
ABOUT CANAL & RIVER TRUST & MELLOR ARCHAEOLOGICAL TRUST
Canal & River Trust (CRT)
The Canal & River Trust is the new charity set up to care for England and Wales’ wonderful
legacy of 200-year-old waterways, holding them in trust for the nation forever. The Canal &
River Trust is among the UK’s biggest charities, with responsibility for 2,000 miles of canals,
rivers, docks and reservoirs, along with museums, archives and the country’s third largest
collection of protected historic buildings. The Canal & River Trust formally took over the
responsibilities of British Waterways in England and Wales on 2 July 2012.
We help transform places and enrich lives by creating, caring for and giving everyone access to
living waterways, today and tomorrow. We aim to:
 Breathe new life into our canals and rivers
 Ensure our canals and rivers are cherished by and make a difference to the communities
they serve
 Help more people discover and enjoy the magic of the waterways
 Increase access to our canals and rivers for current and future generations
Our work
Our canals and rivers are today used by more people and for a wider variety of purposes than
ever before, with over 35,000 boats and 10 million towpath visitors using them as an escape
from the hurly burly of modern life. Once Britain’s most important transport system, our
waterways are now a focus for economic renewal in the towns and cities they helped to create.
The Canal & River Trust is the guardian of a 200-year old working heritage, a remarkable legacy
of the Industrial Revolution, and a nationally important wildlife corridor. It is responsible for an
enormous network of bridges, locks, embankments and reservoirs and for maintaining them for
the benefit and safety of our millions of visitors and neighbours.
Mellor Archaeological Trust (MAT)
The Trust was formed in 2000 following the discovery in 1998 of an Iron Age ditch in the garden
of The Old Vicarage next to Mellor Church. Excavations continued to 2009 and have been
described as the largest excavation for a generation of a hill fort in North West England "with
results as important as those at Beeston Castle". There have been finds from Mesolithic,
Neolithic, Bronze Age, Iron Age, Romano-British and Medieval times. In 2007, the Trust
extended its activities to cover the whole history of the whole Parish of Mellor. Digs, which are
continuing annually, at the Bronze Age burial site of Shaw Cairn on Mellor Moor included finding
of nearly 100 beads of an amber necklace in 2008/9. Current work is focused on Mellor Mill, the
largest and most impressive cotton mill in the world when it was built in 1790-92. It was burnt
out in 1892. The area became woodland, which is now being converted into a small country
park showing the remains of the mill and other buildings.
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SECTION 4
4.0
SCOPE OF SERVICES
INTRODUCTION
Dame Jenny Abramsky, Chair of HLF:
“In the fast moving world of digital, HLF wants [to make] the most of harnessing
important digital opportunities. … should fund projects … using
digital technology to give access to our heritage, … to
develop the interactive experiences of heritage that engage
and excite people.”
Mellor Archaeological Trust and Canal & River Trust have joined forces to secure £2.3 million of
investment, including a grant of £1.5m from the Heritage Lottery Fund to deliver Revealing
Oldknow’s Legacy: Mellor Mill and the Peak Forest Canal. Running until July 2017, the project
will reveal, conserve and interpret Oldknow’s Legacy, putting Marple on the map as a visitor
destination.
There are three main locations where physical works are being carried out.
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Mellor Mill
Marple Aqueduct
Marple Lime Kilns
New interpretation will bring them back together as key parts of Samuel Oldknow’s story, and
put them into context as part of the wider changes in the Industrial Revolution.
Visitors will enjoy learning about Oldknow’s legacy in a variety of ways, including new walking
routes, maps and traditional fixed interpretation boards and plaques. Innovative digital
interpretation will form a large part of the visitor experience, making use of technology to
enhance the visual and auditory experience of these locations and help visitors of all ages and
abilities learn.
The project aims are embedded in the aspirations of the local community, and we see ourselves
as a crucial part in the wider Vision for Marple:
http://www.marplecivicsociety.org.uk/A-Vision-for-Marple.html
During, and on completion of the project, our audiences will engage and learn in the following
ways:
 Through bespoke tours and outreach sessions.
 At events and activities planned across the project area.
 As volunteers working with audiences to help them learn, on guided walks for example.
 As volunteers learning to carry out physical tasks, such as archaeology and recording
finds.
 Through printed information such as worksheets and publications.
 Through our website and social media.
 Through fixed interpretation boards and plaques at key points on location.
 Sharing, recording and listening to oral histories.
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Research and archiving of documents.
A project website, functioning as a shop front and engagement & interpretive tool.
An innovative locative audio tour, and more traditional audio tours of the project area.
A film, and film clips, which will tell the story of Samuel Oldknow’s life and legacy, using
footage to be shot on site during the project, alongside historic clips, re-enactments,
CGIs and other content to be suggested by filmmaker.
CGIs to recreate significant physical elements of Oldknow’s Legacy, for example
showing machinery working in Mellor Mill. They will be accessed in situ by mobile
device, but should also be available to view on the website.
More information about the project is available on our blog: www.canalrivertrust.org/oldknow.
The Mellor Mill blog www.mellorarchaeology.org.uk/mellor-mill-1792-1892/bobs-mill-diary.html
An expert report was prepared during the development stage of this project. This will be made
available to the successful contractor. It is not prescriptive and we wish contractors to develop
their own plans for the best way to address the remit.
We are currently tendering for both the Film and Virtual Reality (CGI) package and the Digital
Learning (DL) package, and we welcome applications from contractors for either package, or for
both (these would have to be submitted individually). We will put the successful contractors in
touch with each other after appointments have been made.
4.1
Purpose of the brief
To develop and deliver a package of DL opportunities that will both complement other learning
and stand alone as engaging and meaningful learning experiences for specified audiences,
within the allocated budget of £120,000+ VAT.
This package is expected to include (but is not limited to):
 Development and delivery of the project website, including content development. It will
have multi-functional role as a ‘shop front’ for the project and as a host to any apps,
interpretation and a repository for project discoveries and research. The style will be
informed by the outcomes of the branding project due to be completed in March 2015.
 A Digital Learning Curator who will manage the development & implementation of the
digital learning package across the life of the project and work with the Film and CGI
curator to ensure seamless integration of this with the CGIs and film.
 Devising, delivering and implementing an innovative Locative Audio Tour, which visitors
should be able to access on their mobile device, allowing multiple entry points and
layering of information.
 Devising, delivering and implementing a selection of more traditional route based audio
tours covering different strands of themes and aimed at different audiences.
4.2
Aims and objectives
The digital learning solutions should:
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4.3
Excite and engage visitors with the heritage of the project area and the story of Samuel
Oldknow’s legacy.
Encourage enquiry based and ‘discovery’ learning in which people are not passively
acquiring knowledge but actively and critically co-constructing it as they experience the
project areas.
Attract new audiences to the project location through the provision of enhanced
visitor experiences that build on the existing digital practices of target audiences.
Integrate multiple strands/layers and stories interactively, appealing to diverse
audiences on different levels. For instance, making visible in depth information about
industrial architecture whilst also telling stories about the people who built them.
Enhance the real world experience (rather than trying to replace it). Digital resources
can enhance the sensory experience that people have when they visit the project areas
and allow those unable to visit to experience it from a location of choice.
Enable the resources of the project to be available in many formats and settings,
in turn increasing and allowing for different levels of participation through different
platforms, online off-site and online on location.
Create a dynamic experience, a returnability that brings people back to the visit again
and again for multiple experiences. Digital resources would enable the project to
constantly update their learning materials.
Enable audiences to be involved in recording and sharing their own experiences and
participation in the project.
Make the most of the rich cultural artefacts prevalent throughout the locations
through object based storytelling where people are encouraged to make sense of
artefacts they discover in relation to history as well as their own lives and experiences.
Key Audiences for digital learning
The project wishes to provide access to our heritage to as many people as possible. As the
project area is not yet developed, the majority of our existing audiences are people who use the
outdoor spaces for leisure pursuits such as walking, boating and fishing and happen upon our
sites. On completion, our project area will be a visitor destination with the following audiences:
Formal & Informal Learners. This would include primary, secondary and further education
groups, plus informal special interest groups like archaeology groups, canal enthusiasts and
local history societies. They may be booked groups on a structured visit, of which digital
learning would play a part, or they may just turn up and want to access digital learning on their
own terms.
Families. Mixed groups of children and adults who are looking for something to entertain
themselves whilst learning at the same time.
People with disabilities who cannot easily access all of the locations and could use digital
learning to access the heritage and share in others experiences.
Young people aged between 10 and 19 who might be attracted to visit through groups such as
Scouts, young archaeologist clubs and drama groups, but also those who may not traditionally
engage with heritage but could be encouraged through use of technology and digital learning.
While we envisage that around 70% of these audiences will be local or within the SK postcode,
we aim to attract 30% from outside these postcodes as a mixture of tourists, day trippers, and
international visitors.
4.4
Project themes
Themes
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
Samuel Oldknow’s entrepreneurial work in the late 18th and early 19th Centuries has left
a lasting legacy in Marple and the surrounding countryside.

Water was crucial to Oldknow’s plans: he built his mill beside the River Goyt to harness
the waterpower and master-minded the building of the Peak Forest Canal to transport
lime from Derbyshire to his lime kilns in Marple and onto markets in Manchester.
Sub themes:
 The countryside around Marple provided the raw materials for building the canal, lime
kilns and the mill.
4.5
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When it was built in 1792 Mellor Mill was the biggest cotton mill in the world.

In the late 18th Century water was essential for most industrial development for both
transport and power.

Lime was a valuable commodity in the 18th and 19th centuries and the lime kilns by the
side of the Peak Forest Canal would have been a hive of activity.

A small group of entrepreneurs, particularly Richard Arkwright of Cromford who funded
much of Oldknow’s work, but also Oldknow himself and Samuel Greg at Styal,
spearheaded the industrial development of South Manchester, East Cheshire and
Derbyshire.

Oldknow’s numerous projects and schemes contributed to Marple changing from a
scattered farming community into a thriving town, and Mellor into an industrial village.

Samuel Oldknow’s various projects generated work for hundreds of men, women and
children, including apprentices.
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Edwin Furniss, the former Mill Manager, had the vision to convert the former mill ponds
into the successful Roman Lakes tourist attraction after Mellor Mill was burnt down in
1892.

Local people have worked to conserve Oldknow’s legacy by restoring and re-opening
the Peak Forest Canal and excavating and interpreting the remains of Mellor Mill.

The mill and canal are once more peaceful places for wildlife and recreation as nature
has re-colonised the former mill and lime kilns.
Approach
In this project the task of designing digital learning resources would involve liaising with key
specialists in the relevant fields, e.g. historians, archaeologists and educators to co-design
learning resources, and working with digital designers to ensure the educational quality and
‘build’ of the digital learning solutions. The package must build on sound educational theories
and practical ways of engaging the public, to build the right digital technologies.
We expect the digital resources to be developed by a team that includes learning and digital
development specialists. This allows for the right balance of skills and expertise and creative
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exchanges that will ensure the ‘digital’ and the ‘learning’ aspects of the project are the best they
possibly can be.
The successful contractor will deliver this project through close work with the Learning &
Interpretation Officer (LIO) and wider Project team. It is envisaged there will initially be an
intensive development phase where the project curator will meet regularly with the LIO and the
wider Learning & Interpretation team and the LIO will feedback recommendations for approval
by the Project Steering group. Appropriate regular update meetings will be scheduled following
this phase.
The success of this digital learning package depends on an inclusive approach to the audiences
we want to engage. We expect a consultative and open approach to development of content
and structure specifically with regards to working to test themes, ideas and methods with
potential audiences. The HLF’s guidance on digital technology in heritage projects gives an
excellent overview of approach from a content and technology aspect Digital technology in
heritage projects | Heritage Lottery Fund. We expect all contractors to work within the HLF
guidelines and to deliver best practice, this includes obtaining written permission for any
recording of people.
We are also commissioning a Film and Virtual Reality Package. This will include the
development of 3D CGIs of key historic locations which we expect to form a large part of the
interpretation. There is an opportunity for the appointed contractor to influence the development
of the film and CGIs. The CGIs will be freely available to the DL contractor.
The project team, and the HLF, are keen that our experience of the development and
implementation of Digital Learning in this field is captured and made available for dissemination
at conferences and for use in evaluation reports and so on. The successful contractor should be
happy to allow access to and reporting of identified meetings by a PhD student or similar.
Commercial confidentiality will be respected, and this represents an opportunity for promotion
within the heritage field for the successful contractor.
4.6
Deliverables
Website requirements
We expect the successful contractor to fully exploit the potential of using the website and any
apps as the key mechanism for hosting content and delivering it in situ as users wander around
the various locations for this project, including traditional audio tour content, video footage, CGI
animations and ‘augmented reality’ clips, and photographs.
As a minimum, we envisage the website providing the following:
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Careful consideration of all the content that needs to go online, and how that should be
laid out for best user experience to create an intuitive structure.
A safe and ‘responsive’ site which will work well across desktop, tablet and mobile
devices.
Providing access to those who cannot get to our project area will be an important
function, so website should meet at least W3C Single A accessibility standard.
Brochure elements, including but not limited to: information about the project, learning,
volunteering, background, history, events & activities, donations, contact us, planning a
visit, latest news.
Searchable archive. To include digitalised SO archive & archaeology finds and anything
else relevant (supplied).
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Links to other relevant sites about conservation, archaeology, industrial revolution and
local websites.
Maps and other orientation and way finding information.
Pages to download PDFs of interpretive maps, schools templates and worksheets and
other project generated interpretation or information (supplied).
Access statement (supplied).
Blog/news page.
Area for user generated content & sharing experiences.
Development & hosting of layered learning content. Content could follow different
themes, or be aimed at different audiences with games and activities such as collecting
the facts/stories/knowledge, answering the questions. Based on project content &
discoveries (some supplied)
Incorporate appropriate elements of content from the film - such as footage of mill fires
and CGI animations.
Hosting & facilitating apps deemed necessary to deliver locative tours, audio tours and
any other digital learning output.
Maintenance of any apps or other software developed to allow access to interpretation
within the HLF’s timescale requirements to July 2022.
Info-points or other suggested means of downloading content across project area. Note:
WiFi access across Mill Site is planned as part of capital works to enable download of
larger files. This can be influenced by the DL contractor.
Appropriate storage & infrastructure to support all planned uses.
In built Evaluation tools – analytics & also responses and feedback to measure impact
and success.
Provision for charging to access specific content in the future (e.g. audio tours)
Driven by an easy to use content management system allowing members of the group
(staff and volunteers) to update the website, and replace locative content.
An admin area to access drafts of interpretation that could be used for pilots.
Basic maintenance and hosting until July 2022.
Ability for website to continue to be hosted or deconstructed after 2022 to allow elements
to be subsumed within MAT and CRT websites.
Locative audio tour
The locative audio tour will provide location based audio ‘snippets’ for visitors as they explore
the project area. As a minimum we expect:
 An inclusive, visitor led learning experience, which will allow audiences to choose their
own route and discover the area for themselves, based around a minimum of 25 points
across the project location.
 Suitable method of access designed and implemented, including any software or
hardware development or procurement needed. Using open technologies where
possible.
 Content development and scriptwriting based on themes and suitability for audiences
for each location point.
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Tour should have a sensory focus with a strong connection to the physical surroundings
to maximise learning potential.
Production of all content which should be a balanced mixture of (but not limited to)
narration, oral histories, facts, questions, sound effects, personal narratives, music and
voices from the past to enable visitors to make connections between what they’re
seeing, the history and the wider context.
Each point of interest should be short (around 2 to 3 minutes) and will function as a
stand-alone piece of interpretation and therefor assume no prior knowledge. Where
relevant, extra layers of information should be available to enable interested people to
hear more.
Recording should have high production values, including the use of binaural recording
where appropriate.
Way of access developed, agreed and implemented using suitable and sustainable
trigger points.
Development and implementation by contractor will be phased according to project
development, with 10 location points to be available in the first phase. The rest will be
agreed according to project schedule.
Built-in evaluative tool to allow listeners to feedback on key qualitative evaluation points
such as enjoyment, as well as capturing analytics for quantitative evaluation.
Audio tour
The more traditional audio tour with a prescribed route will offer a carefully planned learning
journey based around project themes and areas. As a minimum we expect:
 Development of at least two location options and two audience options: e.g family and
special interest.
 Production of a carefully planned (and illustrated if required) route based on suitability for
different audiences as well as best fit with development of themes and layering of
interpretation.
 Development and implementation of a simple and intuitive route map which will be easily
accessible to visitors.
 Suitable method of access designed and implemented, including any software or
hardware development or procurement needed.
 Development of tours which have a sensory focus with a strong connection to the
physical surroundings to maximise engagement and learning potential.
 Production of all content which should be a balanced mixture of (but not limited to) oral
histories, facts, questions, sound effects, personal narratives, music and voices from the
past to enable visitors to make connections between what they’re seeing, the history and
the wider context.
 Each point of interest should be short (around 2 to 3 minutes). Where relevant, extra
layers of information should be available to enable interested people to hear more.
 All recordings should have high production values, including the use of binaural
recording where appropriate.
 Way of access developed, agreed and implemented using suitable and sustainable
trigger points.
 Built-in evaluative tool to allow listeners to feedback on key qualitative evaluation points
such as enjoyment, as well as capturing analytics for quantitative evaluation.
4.7
Tasks
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These are the tasks that need to be delivered and we expect to see your response to these in
your tender documents.
Digital Learning Curator:
 Must understand other aspects of project to identify opportunities for multiple uses of
outputs.
 Will be responsible for working with and guiding their digital team to achieve the right
balance of learning & technology, making sure engagement and learning is at the heart
of the project.
 Should take a creative approach to their work and to the delivery of the digital learning
package.
 Will plan and manage/deliver the audience consultation and workshops.
 Write a mini-interpretation plan for the digital learning content, which ties in with overall
project interpretation strategy and sets out key learning outcomes for each element of
the digital learning package, and how they relate to the target audiences.
 Should agree the delivery strategy with L&I team and then implement delivery of the
content.
 Delivery will include responsibility for all scriptwriting, illustrating and sourcing images
needed.
 Will commission any design work in accordance project brand guidelines.
 Should devise the evaluation plan for the digital learning package, including a reporting
system which can be accessed by project team after the life of the project.
 Inform, integrate and make best use of CGIs and Film content developed by other
contractor.
 Should ensure that project works to allocated budget.
 Will be happy to work with a PhD student or similar who will document and evaluate the
process of incorporating digital learning into heritage projects to share with the HLF and
at peer group conferences.
Consultation workshops.
1. A minimum of 2 stages of consultation should be delivered with each of the identified
audiences and for each element of the digital learning package.
2. The consultation workshops should be held at concept stage to check that the outputs
are suitable for and desired by target audiences, and then again at the testing stage.
Evidence must be gathered and reported back to L&I group and plans should be
changed or adapted according to this feedback.
Website development & delivery
1. Develop and agree a plan for the delivery of a suitable website as described, with all
relevant parties, taking into account the need for a phased delivery which meets project
needs.
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2. Implement this plan to the agreed timescale, including all software development, content
development agreed and hardware procurement needed.
3. Training for project team and volunteers in updating and administering website.
Locative tour development & delivery
1. Prepare and propose an innovative plan describing how visitors will access the locative
tour, referencing website, software, hardware, maps and all other factors.
2. Agree a suitable method through consultation with audiences and LIO.
3. Develop, test and implement any necessary software, plus hardware needed to
implement.
4. Using project research (supplied) and the mini-interpretation plan, write, record and
produce the tours, on a phased delivery basis according to project schedule.
5. Implement the locative tour, combining the content with the agreed method of delivery
and test to ensure functionality.
Audio tour development & delivery
1. Prepare and propose an innovative plan describing how visitors will access the audio
tours, referencing website, software, hardware, maps and all other factors.
2. Agree a suitable method through consultation with audiences and L& I group.
3. Develop, test and implement any necessary software, plus hardware needed to
implement.
4. Agree number of tours (minimum of 4 to be delivered) and relevant audiences to be
targeted as agreed in mini-interpretation plan.
5. Using project research (supplied) and the mini-interpretation plan (prepared by DL
contractor as above), write, record and produce the tours, using binaural recording
where appropriate.
6. Implement the audio tours, combining the content with the agree method of delivery and
test to ensure functionality.
4.8
Additionality
The project team recognise that technology develops quickly and that new examples of best
practice in the fields of learning and interpretation are being shared all the time. As such, whilst
we wish to be clear about our expectations for delivery of this DL package, we also wish to allow
room for new ideas and give scope for creativity from Tenders and will look to the skill and
creativity of the contractor to provide additional ideas for an excellent package. With this in
mind, as well as tendering against the tasks listed for completing the deliverables please include
any other ways you could address our aims for digital learning for our audiences in this project
within the proposed budget. We would be especially pleased to know to what extent you could
offer an augmented reality experience in situ.
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Invitation to Tender. Digital Learning Package
4.9
Budget
There is £120,000+VAT available to deliver this DL Package. Whilst not wishing to be
prescriptive, to give you an idea of the relative weight of each element we would estimate the
following amounts.
Website & content including maintenance for
3 years and hosting until 2022.
Digital Learning Curator
Locative Audio Tours
Traditional Audio Tours
4.10 Timescales for delivery
£56,000
£14,500
£36,000
£13,500
Assuming contracts are agreed in June then we would like to set the following initial milestones
for delivery.







4.11
First phase of website (brochure part, with blog and content capacity) live by end of July
2015.
One section of school content for website delivered by end of September 2015, all by
end of March 2016.
Searchable archive ready for content by end of September 2015.
First 10 locations on locative tour delivered by end of January 2016.
The website should be completed and delivered by the end of December 2015.
The final points on the locative tour should be completed by the end March 2017.
The final audio tours should be completed by the end of March 2017.
Copyright
As set out by the HLF all digital learning will be licensed for use by others under the Creative
Commons licence 'Attribution Non-commercial' (CC BY-NC). Please see HLF’s thinking about
Good Digital Practice in the appendices. Full details of all terms for Intellectual Property Rights
and Copyright are included in the draft contract.
4.12
Project Area Visits
The Learning & Interpretation Officer, Pamela Pearson, will be available on Wednesday 11th
and Thursday 19th March to conduct project area visits and answer questions on the project. If
you wish to attend, please contact John Brown, Procurement Manager, on
john.brown@canalrivertrust.org.uk to book either a morning or an afternoon slot.
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SECTION 5
THE PROCUREMENT PROCESS
This section of the ITT explains the process that will be followed by CRT & MAT during this
phase of the procurement process.
ITT
This ITT forms the first element of the procurement process, with a presentation forming
the second element.
Following the deadline for return of your tender proposal, CRT & MAT will review as
follows:
Stage 1 - Compliance Check
This will involve checking that Organisations have returned their ITT responses by the
stated deadline, that their ITT responses have been completed in line with the instructions
contained in the ITT and that their ITT responses contain all the required information. CRT
reserves the right to exclude from further participation in this competition any Organisation
that fails to satisfy this compliance check.
Stage 2 - Eligibility Check
This stage will involve a review of Organisations’ responses to Sections 8 & 9 of this ITT,
which should be incorporated within your tender proposal.
Stage 3 - Assessment of ITT responses
If an Organisations’ tender proposal passes Stages 1 and 2, it will be assessed under
Stage 3. The evaluation criteria for stage 3 is split on a 25/75 ratio, see section 7.1 for
criteria headings.
This stage is your free text tender proposal and in order to give some structure, it should
satisfy the evaluation criteria headings and “Section 4” of this ITT.





A brief outline of the methodology proposed and an outline to demonstrate your
approach to this.
A note of your suitability to undertake this work, including examples of your relevant
skills and experience gained in similar projects.
How you propose to deliver both the content and technical aspects of the DL.
Outline of approach and how many days you would allocate, for each task.
An itemised budget breakdown for each of the elements described.
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
A proposed timetable for development and delivery.
CRT & MAT may seek clarification from Organisations at any stage in its review of your
tender proposal.
A copy of the proposed contract to be used, is included in Appendix A, any concerns
should be included within your tender proposal. There is no need to include the whole
contract, but rather highlight relevant extracts as required.
The overriding ethos for assessing your tender proposal is on the basis of the most
economically advantageous tender (“MEAT”). As this is a fixed price contract, this means
we’re looking for Value for Money.
A minimum of three top scoring Organisations from the ITT phase will be invited to make
a presentation
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Invitation to Tender. Digital Learning Package
SECTION 6
6.1
DATA FOR THE PREPARATION OF TENDERS
Evaluation
Organisations are encouraged to bear in mind that their tenders must contain all elements
necessary to perform the Contract and will be evaluated against the criteria set out in section 7.1
and Section 4 Scope of Services.
6.2
Post-Tender Clarifications
A minimum of three top scoring Organisations will be invited to conduct a 15 minute presentation
followed by a 45 minute question and answer session. This will be held on 29th April between
09:00 – 17:00 at Fred Perry House, Stockport, SK1 1EX.
6.3
Post Tender Visits
There may be a requirement to visit Organisation premises 12th – 15th May 2015.
Milestone
ITT submission deadline
Presentations – each shortlisted Organisation will be
given a 60 minute slot for a 15 minute presentation to
summarise their proposals as submitted in their
tenders and 45 minutes for Q&As.
Tender process concludes
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Timing
12:00 9th April 2015
29th April 2015 (No alternative date
can be offered)
22nd May 2015
Invitation to Tender. Digital Learning Package
SECTION 7
7.1
EVALUATION
Evaluation Criteria
The following evaluation criteria (with their respective weightings) will be used to evaluate tenders:
The award of this contract will be on the basis of Value for Money. 25% Price (Criteria 1) and
75% Quality (Criteria 2 – 7).
 Criteria 1 Financial and Fee proposal
25%}
25%
_________________________________________________________
 Criteria 2 Experience & Track record in delivery 20%}
75%
 Criteria 3 Technical Ability
15%}
 Criteria 4 Creativity in both technology & Learning 15%}
 Criteria 5 Ability to communicate & work with
10%}
People
 Criteria 6 Additionality
10%}
 Criteria 7 Support & Administration
5%}
Each “criteria” element should have its own individual heading within your tender proposal
and have sufficient supporting information to undertake a comprehensive evaluation. A minimum
of three top scoring Organisations will be taken forward to presentations.
7.2
Financial & Fee Proposal
Organisations should explain to what extent they can meet our requirements and should note any
savings made in an area due to experience or expertise, and how this would benefit other areas
of the package. Organisation’s turnover would be expected to be up to double of the expected
annual value of the contract. Organisations should possess insurances.
7.3
Experience & Track record
Organisations should demonstrate experience and expertise of working on areas specific to this
brief.
7.4
Technical Ability
Organisations should possess the necessary skills internally to undertake this contract.
7.5
Creativity in both technology & learning
The Candidate should be able to demonstrate an imaginative and creative approach to delivering
outcomes for their clients in both areas.
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Invitation to Tender. Digital Learning Package
7.6
Ability to communicate & work with people
The candidate should be able to communicate to different audiences and be able to work with a
variety of different people
7.7
Additionality
See “Scope of Services” paragraph 4.8
7.8
Support & Administration
A good support and administration team, who can quickly provide answers, resolve problems and
have access to information as and when needed.
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Invitation to Tender. Digital Learning Package
SECTION 8
ORGANISATION DECLARATION
I, the undersigned, confirm that the information contained in this ITT response is correct at the
time of completion. Any changes relevant to this requirement will be notified to the CRT Contact
without undue delay.
If you are completing this form electronically, please cross this box to indicate your acceptance
of this statement.
Signed
Date
Print name
Position
On behalf of
Company
Name
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SECTION 9
QUESTIONNAIRE
9.1 Organisation Details
Please provide the
following details:
Full company name
Previous company name
(and date of name
change)
Please list the locations of
your contact centres (town
and country)
Registered address
Street/building/PO box
Town/city
Postal code
County/region
Country
Telephone
Facsimile
web address
Name of contact for
this response
Mobile Telephone
Contact address
(if different from above)
Street/building/PO box
Town/city
Postal code
County/region
Country
Position
Direct Telephone
Direct Facsimile
E-Mail address
Organisation type (e.g.
PLC, LP, Partnership, etc.)
Country of registration
Registration number
Registration year
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Invitation to Tender. Digital Learning Package
9.2 Organisation Structure
If the Organisation is part of a group, please explain the group structure, including:

organisation chart;

The ultimate holding company and its controlling shareholders.
9.3 Financial information
Please provide the following information:
Financial year ending
Accounts (as registered)
for last 3 years
(day/month)
Latest accounting
Year
Accounting year
Annual turnover
Pre-tax profit
Total assets
Current assets
Total short term liabilities
Borrowings (excluding
overdrafts)
Total net assets
Issued share capital (if
applicable)
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Previous
accounting year
Previous
accounting
year
Invitation to Tender. Digital Learning Package
Further Details
Please provide details of any events since the date that the latest set of accounts was signed
that have materially changed the Organisation’s financial position.
Please provide copies of any company announcements made to the authorities of any stock
exchange or market on which the stocks or shares of the company are publicly traded, since the
date of publication of the latest set of accounts.
Please provide details of Parent Guarantees or equivalent to be offered by the Organisation
Name, Contact and
Address of Bankers
Name, Contact and
Address of Auditors
9.4 Insurance
Standards / insurance
Public liability
Year
Value per incident
Total cumulative value
Please provide details of
any claims within the last
three years under
professional indemnity
insurance
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Employer’s liability
Professional
indemnity
Invitation to Tender. Digital Learning Package
9.5 Litigation
Please provide details of any pending, threatened or determined litigation or other legal
proceedings within the last three years that may affect the Organisation’s ability to deliver this
contract.
Please provide details of any Digital Learning Package contracts that have been terminated or
nor renewed within the last three years due to breach of contract or non-performance by the
Organisation.
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Invitation to Tender. Digital Learning Package
9.6 Credentials – Existing Contracts
Each Organisation should provide details of three contracts that share similar characteristics to the
subject contract. Please provide contact information to enable CRT to take up references if
required.
Name of Client
Organisation
Address (inclusive of post
code)
Client Contact Name &
position held
Direct Dial Telephone
E-mail
Description of Contract
(include contract period
and value, scope of
services
Name of Client
Organisation
Address (inclusive of post
code)
Client Contact Name &
position held
Direct Dial Telephone
E-mail
Description of Contract
(include contract period
and value, scope of
services
Name of Client
Organisation
Address (inclusive of post
code)
Client Contact Name &
position held
Direct Dial Telephone
E-mail
Description of Contract
(include contract period &
value, scope of services
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Invitation to Tender. Digital Learning Package
9.7 Good Standing
The Organisation must disclose full details (including any sentence/penalties incurred) in
the space provided below if the Organisation has:






Been in a state of bankruptcy, insolvency, compulsory winding up, administration,
receivership, composition with creditors or any analogous state, or subject to relevant
proceedings;
Been convicted of a criminal offence relating to business or professional conduct including
but not limited to any offences of dishonesty, bribery and/or corruption;
Been committed an act of grave misconduct in the course of its business or profession;
Failed to fulfil its obligations relating to the payment of social security contributions;
Failed to fulfil obligations relating to the payment of taxes; or
Been guilty of serious misrepresentation in providing information required as set out in the
preceding requirements and/or information required to be provided in response to the ITT.
Directors of the company should disclose any criminal convictions other than motoring
or convictions that are “spent”. This should include Director’s name, penalty incurred
and details of the conviction(s).
The Organisation should also confirm below that, where applicable:
 Where licensing and/or membership of a specified organisation is required in order to
provide the Services, the it holds all relevant licences and/or is a member of the relevant
organisation; and
 It is registered on any relevant trade or professional register.
If the Organisation cannot confirm the above then it should give a full explanation as to why not.
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APPENDIX A
(DRAFT CONTRACT)
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