#46 volume 9, issue 1

Global Immersion’s Martin Howe on joining the Electrosonic family, new strengths “as one”, and what’s coming next for the company & the industry supercharged theater

ormally, I take some time Nto talk about the world of museums in my column for this issue. As this issue is distributed at the American Alliance of Museums show #46• volume 9, issue 1 in Baltimore, and for the first time ever at the IMERSA Summit in Denver, our making public private primary focus is on the 4 a museum’s public and private partnership saves history to expanding and changing ensure a future • by Ashley Higson world of museums. And with our special feature story under the dome on Global Immersion and their acquisition by Electrosonic, 6 exploring challenges of dome convergence • by Joe Kleiman in this issue we take a close look at the technology side of museums. supercharged digital theater But I would be remiss if I didn’t take a few sentences to talk 8 Global Immersion, now part of Electrosonic, explains why it’s all about our own technology here at InPark Magazine. We about the programming • by Judith Rubin recently launched our brand new website at inparkmagazine. giving museums license com. Previously, our article archive, editor’s blog, news feed and digital issues were all housed in separate sites and undertaking an effective licensing strategy for museums and 12 different areas. Now, we’ve brought them all together in one science centers • by Wendy Heimann-Nunes, Esq. convenient location. midwest museums With one click you can find all the recent features and news 13 an update on what’s happening in the museum and attraction related to waterparks, theme parks, technology, and even sectors from the heartland• by Hilary McVicker, Judith Rubin, museums. Or you can view our latest issue, peruse special Elizabeth Mathews, David Smith & Linda Smith feature stories on a variety of topics (formerly the Editor’s Blog), or visit the ever-expanding archives to check out a museum directions back issue. 16 interactivity in exhibition trends / directions• by Wayne LaBar We are still tweaking things and working on improvements, but things are off to a running start with plenty of content seriously, the suburbs? tailored to exactly what you are looking for. 18 should museums be looking at satellite locations • by Dan Martin Finally, I have to thank our News Editor Joe Kleiman and my Co-Editor Judith Rubin for their efforts at continually updating the website and making it the best it can be. If advertisers you haven’t already, make sure you check out the NEW inparkmagazine.com Alcorn McBride 15 See you at IMERSA and AAM! Electrosonic back

The Elumenati 7 -Martin Palicki Evidence Design 11 [email protected] IAAPA Asian Attractions Expo 5 nWave 19 WhiteWater West 2 cover images

From left to right Top row: 4D theater at Moscow Planetarium showing nWave’s ‘The Little Prince.’ staff & contributors InPark Magazine (ISSN 1553-1767) is published five 2nd row: Typhoon Theater at Resorts World times a year by Martin Chronicles Publishing, LLC. Sentosa, Singapore. Morrison Planetarium, EDITOR CONTRIBUTORS 2349 E Ohio Ave. Milwaukee, WI 53207. Shipping California Academy of Sciences. martin palicki wendy heimann-nunes address: 2349 E Ohio Ave. Milwaukee, WI 53207. Phone: 262-412-7107. Fax: 414-377-0769. Printing 3rd row: The SECU Daily Planet at the North ashley higson by MagCloud Carolina Museum of Natural Sciences’ Nature CO-EDITOR joe kleiman Contents © 2013 InPark Magazine. All rights reserved. Nothing in the magazine may be Research Center in Raleigh, North Carolina judith rubin wayne labar reproduced or used in any manner without the courtesy of batwin + robin productions. Moscow dan martin prior written permission of the magazine. InPark Planetarium. Peoria Riverfront Museum’s Giant Magazine is not responsible for unsolicited CONTRIBUTING EDITORS elizabeth mathews manuscripts, photographs or illustrations. Such Screen Theater showing National Geographic’s joe kleiman hilary mcvicker material must be accompanied by a self-adressed ‘Sea Monsters’ and stamped envelope to be returned. mitch rily david smith 4th row: Adler Planetarium. The Museum of the kim rily linda smith Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207. Moving Image’s main 267-seat theater in Astoria, Subscriptions are available annually for $35 per year New York. Taiwan Astronomical Museum. ($50 international). DESIGN SALES 5th row: AT&T Dolphin Tales theatrical production mcp, llc martin palicki Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its at the Georgia Aquarium. publishers, Martin Chronicles Publishing, LLC. Editor’s Photo credit: David Lauersdorf  making public private a museum’s public & private partnership saves history to ensure a future byAshley Higson, Corpus Christi Museum Joint Venture

ocated on the bay in the S.E.A. (Sports, an updated vision and execution process. But facility. The management teams in place have LEntertainment & Arts) District in downtown more importantly, the question must be asked: extensive plans and ambitious goals for this near Corpus Christi, Texas, the Corpus Christi After reaching the brink, is the Museum still an forgotten gem. Museum of Science and History has been asset to the community that is worth saving? preserving and displaying the region’s past and Absolutely. The Museum introduced its first new exhibit in naturally abundant scientific beauty for over years in September of 2012, Big Big Bugs, and six decades. Founded as a junior museum and At least that’s what local businessman and Corpus is currently in the process of scheduling exhibit private institution by schoolteachers in 1956, Christi native, Bill Durrill, and the Durrill Family and gallery openings for 2013 that are cutting- the CCMSH became a department of the City believe, as do many others in the community, edge and advance from a more modernistic of Corpus Christi in 1967, where it remains according to recent attendance, membership approach than former exhibit offerings. today. The Museum has doubled in size since and event booking numbers following the Special event and group sales bookings are its inception, now totaling over 85,000 sq ft with new partnership and management transition. on the rise with the introduction of exclusive, almost 40,000 sq ft of exhibit space featuring Corpus Christi Museum Joint Venture (CCMJV), a in-house catering company, Diamond Point the natural history, archeology and geological private management firm formed by the Durrill Catering, and plans are in the works for a café wonders of the area, though its attendance and Family and led by a team of professionals with overlooking the Corpus Christi Bay, as well as popularity among locals and visitors to the area extensive and varied backgrounds in the Leisure school group programs based around the STEM has waned for more than a decade, resulting in & Tourism Industry, have partnered with the City (Science, Technology, Engineering and Math) significant financial losses. of Corpus Christi to work with Museum staff on curriculum. By continuing to execute fresh & a plan to breathe new life into the facility. The current programming, placing an emphasis on So how could a facility that’s located in a region first step was to hire a leader to navigate its exciting, educational and interactive exhibits steeped in Native American, American and future, following the retirement of the previous and introducing innovative revenue streams, Mexican history, flourishing diverse cultural Executive Director, who guided the Museum for the new team intends to increase traffic and heritages, industrial booms due to fortunate over twenty years. renew the childlike sense of wonder and awe proximity to increasing oil and natural gas in guests as they step into a world filled with finds and a thriving ecosystem come so close Carol Rehtmeyer, Chicago businesswoman and the science and history of South Texas and the to failing? Many factors can be discussed and former Executive Director of Sci-Tech Museum Coastal Bend. attributed to this: extensive and consistent in Aurora, Illinois, came on board in late 2012 to budget cuts leading to zero marketing dollars work hand in hand with her talented Museum For more information on the Corpus Christi that played catalyst to little exposure and staff, CCMJV and the City of Corpus Christi to Museum of Science and History or to make it part promotion within the market, exhibits in need perform a turnaround and ensure the Museum’s of your next trip, please visit www.ccmuseum.com of enhancement and an overall demand for future vitality by creating sustainability for the or call (361)826-4667.

Children play and learn at the Corpus Christi Museum of Science and History.  TAKE

YOUR

BUSINESS

TO

Hundreds of suppliers,

innovative ideas, and unlimited opportunities await you in Singapore.

REGISTRATION Asian Attractions Expo 2013 CONFERENCE: 4–7 JUNE 2013 NOW OPEN EXHIBITION: 5–7 JUNE 2013 Marina Bay Sands, Singapore

TO ATTEND OR EXHIBIT, GO TO www.IAAPA.org/AsianAttractionsExpoInPark under the dome exploring challenges of dome convergence byJoseph Kleiman

hen Denver socialite June Gates passed projector digital systems - has taken hold much the 2012 GSCA Dome Day, the issues of digital Waway in 2000, her obituary outlined a more quickly than in the giant-screen sector. convergence between dome and flatscreen complicated, if not contradictory woman. Her Digital projection is creating a convergence of sectors are not just technical, but extend into friend Marge Davis told the Denver Post, “She markets, technology and content, and there business models and theater architecture. For was very feminine-looking, a small blonde who is a knowledge transfer taking place, actively example, Fraser pointed out that while most looked like she should be on a chaise lounge fueled by associations such as IMERSA, working traditional planetarium domes are included with with a white poodle and a box of chocolates . . . to identify and leverage the common ground museum admission and showcase presentations But she also enjoyed something far more deadly. with GSCA (Giant Screen Cinema Association), shorter than 30 minutes, film-based giant screen She was a crack shot who went big-game IPS (International Planetarium Society), ASTC theaters carry an upcharge or independent hunting and shot trophy animals in Africa. She (Association of Science-Technology Centers), admission model with films of 40 minutes or was just a dead-eye dick.” PGA (Producers Guild of America), TEA (Themed longer. Entertainment Association) and other trade The dome industry is just as full of contradictions. groups. Members of these organizations will Currently, according to Fraser, around thirty giant At the IMERSA conference, taking place at the discuss the issues surrounding convergence screen films have been adapted for full dome planetarium funded by Mrs. Gates’ family in during the sessions Playing Together Under the digital theaters, twenty-five of them by E&S. In Denver between February 14 and 17, members Dome on Saturday, Feb. 16 and Profits, Producers, 2009, E&S became the exclusive digital dome of the planetarium, digital dome, and giant and Purists: Crossplatforming Between Giant distributor for National Geographic’s award- screen communities will meet to explore, Screen, Dome, and 3D, on Sunday, Feb. 17 at the winning giant screen film Sea Monsters. They among other things, how to take contradictory IMERSA 2013 Conference. utilized a patent-pending technology capable formats and business models and make them of warping the 4x3 image to successfully fill compliment each other. Giant screen has become a crossover market for most of the screen in either 2D or 3D. But this leading digital dome (“fulldome”) specialists well easily creates another problem, as Fraser points In the planetarium community, digital conversion known in the planetarium sector, such as Global out that fewer than 1/4 of digital domes feature - from the traditional starball projectors to multi- Immersion, Sky-Skan, Evans & Sutherland and unilateral seating like a traditional film theater. Spitz Inc., but the dome The majority are concentric, with all seats facing community has its own the center. The result is that usually 1/3 to half of unique challenges separate the seats end up being unused for these types from flat giant screen and of presentations. 3D theaters. These include the increasing use of digital While a giant screen film can be reduced in print cameras for filming 3D size to 35mm or even video for exhibition, and features. An entire panel at can also be modified for presentation on a dome last year’s GSCA conference screen, this is much more difficult to do with a was devoted to how presentation designed for digital full dome due to filmmakers can compliment the geometry of the presentation. For instance, the sweet spots of both 3D in order to maximize image size for the IMAX flat-screen theaters and 2D screen, the trailer for AMNH’s SonicVision, which domes while minimizing played at the GSTA conference in Boston in 2006 the compromise. Another on 1570 film, did not include the full exterior of issue that arose during that the image. When the fulldome feature CORAL: panel is that when digitally Rekindling Venus was shown at Sundance this shot 3D films are projected year, rather than being shown at a conventional onto a dome from 70mm theater, a portable dome was brought in with an film through a fish-eye lens, E&S Digistar 5 projector. And rather than being pixelation takes place. part of the main festival, CORAL was featured 9F¬SFPCTFTTFEXJUIEFWFMPQJOHTJNQMF in Sundance’s New Frontier series, which also FGGFDUJWFTZTUFNTBOEOPWFMBQQMJDBUJPOT Interior, Gates Planetarium, Denver Museum of Nature & Science. As Paul Fraser of Blaze Digital showcased media installations, performance PGJNNFSTJPOBOEJOUFSBDUJWJUZ Global Immersion was the integrator on the digital fulldome Cinema Works pointed out media, and transmedia experiences. retrofit.Courtesy of projectdesign. during a presentation at „1NOJ(PDVT6/MFOTFT „+OUFSBDUJWFTPGUXBSF 6/  %FMFCSBUJOHUFOZFBSTBTMFBEFSTJOUIFGJFME „1QFO&PNF TDSFFOT „%VTUPNJOTUBMMBUJPOT Ryan Wyatt, currently of the California Academy colors, providing full color fidelity and the full of Sciences, pointed out another issue in a 2006 brightness of a single set of projectors. online discussion at the Yahoo Fulldome Video Discussion Group: “A second-run [giant screen By installing digital projection, an exhibitor film] print can be made available for less because drastically reduces the cost of equipment and the print has already been used; this, of course, prints and, in the case of a dome, is able to install makes no difference in the digital world, which a system capable of showing product, including means that although your 1’s and 0’s don’t get 3D, mastered for the theater’s unique geometry. scratched or worn, they also don’t go down in The Denver Museum of Nature & Science, home price.” of the Gates Planetarium and host institution for the IMERSA 2013 Conference, experienced this According to Michael Dowling of Sky-Skan, digital advantage first hand in 2010, exchanging “Unlike flat-screen theaters where a generic DCP its IMAX 2D projector for a new digital 3D IMAX (digital cinema package) would usually work for system. a certain type of system, when we distribute a program, we have to create a specialized version Still from Sundance fulldome film CORAL: A longtime benefactor of the museum, June from the master for each individual theater, based Rekindling Venus. Courtesy Felix Media Gates passed away only a week after chairing its on its screen geometry, projectors and lenses, park attractions such as Universal’s upgraded Centennial Gala. She and her husband Charles and the placement of those projectors.” One of Amazing Adventures of Spider-Man and Disney’s felt strongly about experiencing the world and the newest trends in digital dome is fulldome Star Tours – The Adventures Continue, one set of allowing children to experience its wonders as 3D. Sky-Skan currently holds the Guinness projectors displays the left eye image and the well. Through the convergence of digital dome world record for brightest 3D planetarium with other displays the right eye image. Using a set of and giant screen, the world and the universe will its Definiti 3D installation at the Macau Science filters in the projectors, the left eye image shows become much more accessible for generations Center in China. Global Immersion also offers 3D the lower frequencies of the RGB colors and the to come. digital dome projection through its Fidelity 3D right eye image shows the upper frequencies of • • • system while E&S offers its Spherical 3D brand the RGB colors. Filters in the glasses cancel the for its Digitstar theaters. A preferred 3D format right image in the left eye and vice versa. The Joe Kleiman (www.themedreality.com) is a journalist, PR and marketing professional with a background in is Infitec. In this method, also used on theme combined images re-join both halves of the RGB museums and special venue cinema.

9F¬SFPCTFTTFEXJUIEFWFMPQJOHTJNQMF FGGFDUJWFTZTUFNTBOEOPWFMBQQMJDBUJPOT PGJNNFSTJPOBOEJOUFSBDUJWJUZ

„1NOJ(PDVT6/MFOTFT „+OUFSBDUJWFTPGUXBSF %FMFCSBUJOHUFOZFBSTBTMFBEFSTJOUIFGJFME „1QFO&PNF6/TDSFFOT „%VTUPNJOTUBMMBUJPOT supercharged digital theater Global Immersion, now part of Electrosonic, explains why it’s all about the programming byJudith Rubin Martin Howe

omewhere in the world, on a plane, in an Engineer-turned-entrepreneur Howe started his (from a variety of providers, including Global Sairport, paying a business call or from his UK career in the 1980s with 14 years of learning the Immersion): digital and film, flatscreen and office, Martin Howe, VP of Global Immersion, is ropes at Electrosonic, followed by stints at Barco dome, 2D and stereoscopic 3D, 24 fps and 48 thinking about your programming. and SEOS before leading a management buyout fps. that formed Global Immersion in 2007. He’s If you attend a meeting with Martin, you may found his way back to Electrosonic as the result Consistent exhibition standards are important have gone in thinking about projection systems. of that company’s December 2012 acquisition of to robustly fulfill this vision, as are resourceful But he wants you to come away pondering the Global Immersion. providers and dialog between the various digital strategy for your entire venue. Only then industry sectors, especially planetariums, giant will he feel he’s been doing his job. “Don’t think Before getting into the acquisition story, we’ll screen cinema and themed entertainment. of it as a theater. That’s not a good place to start. look a little more at the industry landscape that Global Immersion’s activity in this arena includes The question is not, ‘What will this digital theater is its context. Howe’s involvement with the DIGSS initiative do for me?’ It’s ‘How will this digital theater (Digital Immersive Giant Screen Specs) as chair of function as the hub of my facility infrastructure Amid variety, the need for the task force within GSCA (Giant Screen Cinema and guest experience?’ We’re not talking about standards Association), participation in IMERSA (Immersive ‘movie theaters’ but rather environments that According to Howe, as operators, designers Media, Entertainment, Research & Arts) and include movie theater capability.” and producers explore and begin to make the in IPS (International Planetarium Society), and most of their new digital powers, individual expanding the company’s professional scope It is in the digital dome (fulldome) sector - which institutions and venues will find compelling through the acquisition by Electrosonic. is mostly the planetarium sector - that Global new ways to differentiate themselves via unique Immersion has carved out its biggest niche with content and programming that builds brands, Howe will speak about DIGSS at the IMERSA more than 40 digital planetarium installations, fulfills missions, bonds with local communities Fulldome Summit in Denver this February, and and while remaining faithful to that market it’s and earns revenue. They’ll fuel an explosion of the company will also take up a visible position been frying other digital fish too, making its mark variety. at the GSCA Film Expo and Digital Cinema quickly in giant screen. A short list of flagship Symposium in Galveston, Texas this March. projects includes the Morrison Planetarium Conversely, the technology powers the kind of at the California Academy of Sciences (San widespread content distribution that lets many Distribution economics and the Francisco), Adler Planetarium (Chicago), Moscow more theaters get a crack at showing the latest 400 domes Planetarium, Peoria Riverfront Museum (Peoria, blockbuster. This recently happened with the “What do we need from producers right now?” Illinois), Reuben H. Fleet Science Center (San premiere of The Hobbit, spread out through says Howe. “Great content. What do producers Diego) and the JetBlue Sky Theater at New York’s a wide range of commercial and institutional need? A healthy distribution network. The Cradle of Aviation Museum. venues and exhibition formats and frame rates economics of great content are driven by the number of screens a show can be played on. A multiformat distribution model helps economies of scale; investors in production can be confident that there is a market to sell to.”

Priming a show for maximum digital distribution, therefore, calls for an umbrella of standards, specifications and best practices, reaching from domes to flat screens. There are the digital dome (fulldome) planetariums in all their various sizes and tilts – a network where digital conversion has spread quickly since the late 1990s. There are the giant domes in science centers, where digital conversion is just getting started. And Global Immersion installed a digital there are the 2D and 3D digital flat screens in fulldome system into the Giant many museums, existing and new. Screen Dome theater at the Taiwan Astronomical Museum in Taipei.

 Those flat screens have been the primary distribution circuit for years in the special venue world, but the sleeping giant of fulldome may now flip the model on its head.

Moreover, the digital dome shows signs of entering the mainstream and dramatically transforming the planetarium sector. Two recent signs: the Jackson Hole Wildlife Film Festival & Symposium’s incorporation of fulldome presentations in its screenings and competitions (the 2012 JHWFF Science Media Awards fulldome winner was Undiscovered Worlds: The Search Beyond our Sun by the Charles Hayden Planetarium at the Museum of Science, Boston); Inside the Giant Screen Theater at the Peoria Riverfront Museum, Peoria, IL – home to a and the 2013 Sundance Film Festival screened Global Immersion GSX digital giant screen system and the highest resolution and brightest the fulldome production CORAL: Rekindling digital giant screen cinema in the world. Venus, directed by Lynette Wallworth and produced by John Maynard. to match the quality of the specialty film systems ticket prices plus a marketing approach more they would be augmenting or replacing. “They akin to a giant screen theater than a planetarium. The size of the fulldome network – at this want to maintain their high standards in the This will foster an increase in money available point estimated to be well over 1,000 domes digital age,” says Howe. across all sectors and the gate that is received worldwide – is impressive, but the market is there. If some of that money is re-injected into segmented. Realistically, Howe estimates that an Appreciating the scope of the dome market the production world, the quality of shows will enterprising producer can aim for a maximum of is changing the way media producers and go up and growth will take an upward spiral.” some 400 domes in the 60-foot-diameter-and- distributors approach their projects. “The dome smaller category; enough to be an economic is the biggest frame, as well as the biggest The above model refers to playback or “pre- and strategic game-changer and empower potential market,” Howe says. “It doesn’t mean rendered” fulldome shows, not the real-time the dome community. All this facilitates cross- everything has to be produced for the dome, dome shows that navigate digital datasets platforming so that existing assets can be but a producer should have it in mind. There from sources such as NASA and NOAA. (These repurposed and new productions designed with are levels of complexity depending on whether image generators are part of the capability of multiple formats in mind from the start. a show is live action or CGI - and in terms of virtually all fulldome systems, and a factor in the camera geometry, the capture process doesn’t segmentation of the market.) “The story is a little The upward spiral readily translate between the two. That’s a different for live data presentations,” Howe says, Fulldome specifications, known as Dome chapter being written now in the real world of “and will probably take a different trajectory - Masters, are already in place and practice, the industry.” which is a whole other subject for another day.” enabling virtually any fulldome playback show to be distributed to virtually any fulldome theater, The situation looks favorable for dome theater Giant Screen and GSX™ although the range of theater configurations operators, and Howe urges them to make the The suppliers’ role in the upward spiral is to build complicates the task. DIGSS was launched in most of it. “Planetariums are facing revenue equipment that complies with the standards 2010 to pick up where Dome Masters leave off opportunities they have never had before,” he and specs, and anticipates future advances. Now and bridge the gap for large format film domes says. “They are in a position to build more lucrative that Global Immersion is part of Electrosonic, and giant flat screen theaters in museums that business models – to enjoy better attendance, the combined group has combined strengths are converting to or adding digital systems. more exhibition options and more revenue.” to further this goal. “We want to continue to “DIGSS will help speed up the migration to Enough, he indicates, to change the equation of lead the market in technology and innovation,” digital, and make it quicker and less expensive a facility: to sustain regular upgrades – for while says Howe. “We have more resources to do that to get content out there and earning a return,” the technology is considered to have reached a now. On our own, Global Immersion focused says Howe. “As digital formats continue to take stage of maturity, it will continue to evolve – and on the mid- to high-end, but as part of a larger hold throughout the industry, this will open the to support bigger production budgets, better group, we should be able to bring innovation market significantly.” For conventional digital flat shows and healthy marketing campaigns on a to smaller screens now as well. This year, you screens, there is the already well-established par with their giant screen cousins. will see us broadening our range of products. DCI (Digital Cinema Initiative) - but there are Something unique that we bring to the mix is some gaps to fill when it comes to giant screens, “The giant screen market is used to having $5-7 our experience in producing and distributing especially in regard to aspect ratios. million for a show, but in general planetariums media, borne of serving planetarium customers are accustomed to thinking much smaller,” who need a wide range of services.” The standards and specs should also help explains Howe. “For those wanting to broaden maintain quality across market sectors. Giant their scope beyond conventional astronomy Global Immersion’s existing strong base in the screen theaters have taken longer to get to the presentations, production budgets need to go planetarium sector appealed to Electrosonic stage of digital conversion because of the need up. The strategy that will support that is higher and provided an immediate market expansion  - but equally attractive was its growing presence in the worldwide giant screen markets and the product developed to serve that niche, the GSX system. Howe says, “GSX is a range of digital, high performance giant screen theater products for flat screen and domes that utilize the brightest, high-resolution cinema grade projectors to replace large format film. It is designed to go head-to- head with quality film systems and outperform them; to deliver the highest performance in all of the areas that we care to measure that we think are important: such as brightness, resolution, frame rate, screen size. Today GSX uses 4K resolution projectors, and all GSX systems are designed to be DIGSS compliant.”

Describing specific GSX installations, Howe elaborates, “The Fleet installation, in a 2D giant dome, has 4 projectors and is 3D-upgradable; Peoria is a 70’ x 52’ giant flat screen 3D system with 2 projectors. Both are capable of high frame rates up to 60 frames per second, and are simpler Typhoon Theater at Resorts World Sentosa, Singapore. Projection fills a 180º space about six meters high. The show simulates the amazing journey of an ancient ship- to operate than film systems. In Peoria, for instance, the wreck. AV systems by Electrosonic. Sentosa, Singapore shows are pre-loaded and the system will auto-configure to match the show it has been scheduled to play. At the push of a button it can go from 2D to 3D, 1.85:1 to 4:3 and from 24 fps to 48 fps, in 20 seconds or less. These GSX systems also integrate all the other capabilities that used to be acquired as separate extras – connecting a laptop to display PowerPoint slides, load the Internet, stream a satellite feed or even run non-DCI movies. They’re designed with a roadmap for upgrading to laser projection when it becomes available in the future.”

Creating industry-wide standards and specs to unite such a wide range of theater configurations will continue to be a challenge. “DIGSS provides a way to go forward,” notes Howe. “DCI is established and people know how to work with it, but it doesn’t cover other aspect ratios such as 4:3, nor does it cover domes. Fortunately the fulldome community and now the giant screen community Visual canvas spanning the three stories called the SECU Daily Planet at the North have provided standards and best practices that DIGSS Carolina Museum of Natural Sciences’ Nature Research Center. AV systems by can adopt. The specs being drawn up in DIGSS 1.1 are Electrosonic. Raleigh, North Carolina. Photo courtesy of batwin + robin productions. targeted to be ahead of the market.” Facts about Electrosonic Entertainment, novelty and spectacle • Operates from 14 offices globally with • Is one of the largest AV systems The Global Immersion-Electrosonic synergy will also flow locations in the USA, the UK, Sweden, integration companies in the world into the entertainment markets where Electrosonic has China and the United Arab Emirates. • Has a highly qualified engineering become well-established over the decades, with the • Offers some of the market’s most department with over 140 people leading theme park and attraction operators as clients and extensive managed services, with • Has a service solutions business with a long line of World Expo pavilions. As a supplier to media- remote monitoring and management over 180 dedicated staff based experiences in giant-screen, custom-dome and capabilities. curved-screen attractions, Electrosonic’s projects include • Has completed projects in over 60 • Offers one of the most comprehensive locations worldwide the SECU Daily Planet at the North Carolina Museum of projector lamp replacement programs Natural Sciences, the Typhoon Theatre at Resorts World in the market • Installed the world’s biggest video wall Sentosa, the Information & Communications Pavilion at with 850 monitors at Expo ’92 Seville, • Has completed over 50 World Expo Spain Shanghai Expo 2010, and the 4D experience “Beyond projects from Expo’67 Montreal to Expo All Boundaries” at the Solomon Victory Theater at the 2010 Shanghai • Its Los Angeles office exterior is a castle National World War II Museum in New Orleans. • Was established in 1964 and is privately owned Novelty and spectacle have always been part of the

10 appeal of specialty cinema, whether Cinerama, a giant movie dome, a one-off surround theater at a world’s fair or a curved-screen 3D experience. Eventually some specialty formats become standardized and appear in multiple venues; this part of the cycle engenders creative and commercial opportunities, but it also leads to the novelty wearing off, and then the onus falls on content. As the giant screen theater has gone from novel to familiar, what has lately brought people flocking back into those theaters is blockbuster content. As digital technology becomes omnipresent and transparent, the opportunity arises to look past technology, and deliver novelty again and again, through content and guest experience.

That brings us back to Martin Howe’s digital The 4D Cinema at the Moscow Planetarium , Russia. Global Immersion supplied the full strategy planning vision, and his thoughts about cinematic solution including projection system, screen, special effects, motion seating and audio. Shown is nWave’s “The Little Prince.” your programming. “Think about how a theater fits strategically within the whole institution; as a Howe continues, “One digital asset can join big questions to answer, but they are worth key hub in the whole business model. Consider up with other digital assets, and your digital answering. They lead to viable new business whether the media in your theater should be strategy can unify the whole space. At the models and incredible, new immersive guest related to the other media across the institution. Adler and in Moscow, Global Immersion helped experiences.” • • • Should it be linked to other infrastructure? That design and build the backbone of the museum could include interactives, ticketing, visitor even to the extent of integrating telescopes recognition and other technology in your exhibit with digital cameras that can send their images spaces and operations, inside and outside the to any theater in the building. Another part of building. All that will help you decide what kind the strategy: How will you brand, position and of programming you want. ” market your facility’s new persona? These are

InPark_Ad.FIN.PROD.indd 1 2/1/13 10:15 AM giving museums license undertaking an effective licensing strategy for museums & science centers byWendy Heimann-Nunes, Esq.

nce upon a time, undertaking an effective • Works of art (where work is inherently tied and retains all rights necessary to fully capitalize Olicensing strategy from a museum/science to MSC in ways that patrons are reminded on the value of its IP and avoid infringement center (MSC) perspective primarily meant of institution or artwork) claims, as well as ensure that its licensees are in licensing intellectual property (IP) from others at compliance with all financial and quality control the lowest cost and with the least risk possible. For a MSC to achieve its financial objectives fully, provisions (among others) in their license Now, MSCs are clearing houses of their own IP however, it is important to identify potentially agreements. (MSC-IP) and have the growing opportunity licensable assets that are not typically thought (and responsibility) to take advantage of MSC-IP of as licensable. For example: Lastly, a licensing strategy would mean nothing by licensing it to others to increase their bottom without a good license agreement. When line and enhance their brand. The following • Specialized collections management creating a license agreement, the underlying is a cursory overview of some important methods concept a MSC always should bear in mind considerations when undertaking a MSC-IP • Preservation techniques is control – a MSC must maintain control over licensing strategy. • Business methods and practices its licensees. The term of a license agreement, • Database of patrons, donors and together with any renewals, should always The first step a MSC must take in establishing sponsors accommodate the MSC’s workload and financial an effective licensing strategy is to identify • Organizational management structures pressures. Financial provisions within a license aggressively all of its potentially licensable agreement should always reflect the MSC’s cost assets. Virtually anything protectable by IP laws Once assets are identified, a MSC must understand structure in undertaking a licensing initiative is potentially licensable, so it is incumbent upon fully the IP status of each asset it seeks to license and must ensure that the license is financially a MSC to be creative. An effective strategy in in order to ensure the asset’s licensability. Does productive to the MSC. And, of course, securing this regard often is to appoint an individual or the MSC own the IP outright? Does the MSC quality control through robust approval rights, group of individuals with a deep awareness of have the right to sublicense IP it does not own? among other things, is critical to protecting the the MSC-IP to lead the identification process Are there underlying rights holders? Are their integrity of the MSC, its assets, brand, reputation (e.g. a creative director, exhibit director, etc., as moral or attribution rights with which to deal? A and legacy. opposed to administrative staff or counsel). The MSC must be sure to obtain from third-parties all more intimate an understanding of the property rights that are necessary to preserve its chain of While licensing can be very lucrative and one has, the more likely an individual will be to title to, and hence ability to license, its IP. So, for presents a revenue enhancement opportunity identify the property as a potential asset. example, a MSC may need to obtain copyright that every MSC should consider, MSCs must assignments or work-for-hire agreements (for be sure to undertake these initiatives carefully. Some assets are thought of already as typically MSC-produced content). The more thorough Aggressive identification of assets coupled with licensable and, accordingly, are more obvious: an analysis as to underlying rights, the greater mindful planning and management are great a MSC’s ability to pre-determine with greater harbingers of a successful, lucrative, brand- • Photographic images of artifacts and accuracy the overall strategy, related costs and enhancing licensing initiative. artworks in MSC collections associated risks. And, it goes without saying, that • • • • Audio recordings and publications the more proactive a MSC is in securing rights • Audiovisual works when first obtaining or developing assets, the • Multimedia productions easier it will be to undertake a robust licensing Wendy Heimann- • Publications and educational material program. A MSC should seek to obtain as wide a Nunes, founding • Databases of information about bundle of rights as possible when dealing with partner of Heimann collections third-party rights holders. In this way, a MSC can Galen LLP, offers a • MSC name and identifying logo(s) or preserve its ability to license as many of its assets unique expertise graphics as possible. in location-based • Artist or creator name or signature entertainment and • MSC building (particularly if highly Once assets are identified, a MSC must have the ever-growing recognizable) systems in place to manage them. Effective intersection of • Title of exhibition or program inventory and file management is critical in entertainment and technology. Her biography may • Packaging or color of MSC-based objects building an effective licensing program. In this be viewed at www.heimanngalen.com. (often sold in gift shops) way, a MSC can be assured that it has obtained

12 midwest museums what’s happening in the museum & attraction scene in the heartland by Hilary McVicker, Judith Rubin, Elizabeth Mathews, David Smith & Linda Smith

Minneapolis & Milwaukee business sponsorships and direct fees. This “little the opportunities they can offer students and planetarium that could” was recently ranked community members. Their initial focus is on GeoDomes • Immersive projection design the 4th best planetarium in the US by Listosaur. particle astrophysics, but UWRF programs in firm The Elumenati have developed a turnkey com. General Physics, Astronomy, Biotechnology, solution for Earth and space science education, Geography, Chemistry, Mathematics, and other the GeoDome that is proving to be quite popular Educators Joel Halvorson and Sally Brummel applied and social sciences will be involved with around the Midwest. guide the effort to promote the GeoDome as a this engaging way to explore data and images tool for teaching and learning. Their work with of all types. The first GeoDome project launched in 2006 in the MnPS project developed the Minnesota The Elumenati was incorporated in Minneapolis, MN, Minneapolis, when the Minnesota Planetarium Regional Planetarium Network, a mix of fixed and in 2003, but its founders have been involved in virtual Society (MnPS) was in search of a temporary portable GeoDome systems. Educators in both environments since the 1990’s. In 2007, the company moved to its current headquarters in Milwaukee, WI. solution to use for outreach while funds formal and informal education, from elementary From there, they’ve built a diverse client base around their were raised for a permanent planetarium. schools to universities and museums, share patented OmniFocus fisheye lenses, OpenDome inflatable The GeoDome combines the Elumenati’s costs and program development. Networked and semi-permanent immersive screens, and interactive dome and projection system with Uniview, “domecast” presentations enable collaboration software. Integrators use Elumenati products in a range of applications from location-based entertainment the software platform in use in the world’s with colleagues around the world, including to training simulators. The Elumenati creates custom leading planetariums, which uses videogame other GeoDome clients like NOAA’s Climate projects for museums, science centers, art installations, technology to bring NASA’s Digital Universe Program Office and NASA centers at Goddard, and creative clients like Cirque du Soleil. Find out more at Atlas to life in interactive 3D. More than thirty Marshall, and JPL. www.elumenati.com and www.geodome.info. GeoDome installations are now at work around the globe. The Minnesota Regional Planetarium Network St. Louis now boasts ten systems in the midwest, with Since 2006, the MnPS’s popular outreach dome several more on the horizon. The network includes The Loop Trolley • Developer, entrepreneur has reached over 120,000 students and other GeoDome Evolvers – the Elumenati solution and local legend Joe Edwards gave the St. Louis learners in Minnesota schools. The program is for digital planetariums - at Mayo High School, metro area The Loop. This thriving, pedestrian- now managed by the Bell Museum of Natural Mankato East High School, Como Elementary, friendly retail, restaurant and entertainment History at the University of Minnesota, which is Minnesota State University Moorhead, district began in 1972 to bring urban renewal also home to a second GeoDome system that Southwest Minnesota State University, and the to Delmar Blvd. with the founding of music lives on campus. The MnPS and the Bell Museum University of Wisconsin River Falls. GeoDome venue Blueberry Hill. Loop landmarks today have built a successful business model with the Theaters – based on the Elumenati’s 6.5m fully include the Tivoli Theater, Pin-Up Bowl, Moonrise outreach dome, generating revenue through enclosed dome – are in use at the Bell Museum Hotel, St. Louis Walk of Fame, The Pageant and and The Journey Museum. The Bell Museum’s everybody’s favorite new photo op, the statue of campus installation and the Jackson Middle favorite son Chuck Berry. The Loop was named School Observatory both use a GeoDome Portal, “One of the 10 Great Streets in America” by the a smaller truncated dome. American Planning Association in 2007.

The most recent addition to the network is the The Loop catalyzed development and economic GeoDome Evolver at the University of Wisconsin growth. Edwards’ $43 million Loop Trolley River Falls. The UWRF physics department will project seeks to galvanize more of the same. be working with the UW-Madison Wisconsin A major funding hurdle was cleared recently IceCube Particle Astrophysics Center to with approval of a $25 million Federal grant. bring new ways for students and community With completion projected for summer 2014, members to explore the Universe. Their goal is the Loop Trolley will travel a fixed track along to develop new content to show the incredible a strategic 2.2 mile route connecting The Loop advances that have fundamentally changed with the Missouri History Museum, bridging our understanding of the Universe, to exploit neighborhoods and connecting two major St. the multidisciplinary capabilities that the Louis visitor destinations. It will use salvaged, GeoDome offers, and to partner with other restored vintage streetcars from the mid-1900s. Photo credit: Alex Roob facilities running Uniview to fully leverage 13 Speaking at an AIA meeting in 2008, Edwards million in private gifts and grants will be raised explained that a fixed-track trolley is key to to help fund the $380 million project in Missouri spurring development because businesses can and endowment for the Foundation’s work as a rely on its permanence. More recently, he said conservancy.” www.cityarchriver.org. at a community traffic meeting that track-laying was planned to begin in late spring 2013. www. Zoo Expands • In October 2012, the Saint Louis looptrolley.org Zoo Association, a private nonprofit, purchased the 13.5-acre Forest Park Hospital site at 6150 CityArchRiver flows • The enduring icon Oakland Ave. in the City of St. Louis. The 90- of St. Louis is Eero Saarinen’s Gateway Arch, acre Zoo is landlocked, and the new 13-acre symbolizing the city’s status as “gateway to the expansion area is located on the other side of west.” For several years an effort, CityArchRiver I-64 from the main facility. A planning team is 2015, has been underway to improve the already in place, headed by St. Louis-based firm riverfront area surrounding the Arch (the SWT Design and including consultants Vector Jefferson Memorial National Park) and better Communications, Horner & Shifrin, Lawrence connect it with surrounding attractions such Group, Crawford Bunte Brammeier, and Cowell as the Museum of Westward Expansion and Engineering, as well as Chicago-based architect the Old Courthouse as well as the downtown Edward Uhlir, owner of Uhlir Consulting, LLC. The area, from which it is divided by a freeway. There St. Louis Arch Photo by Kelly Martin team will complete a framework plan in May are also plans to tie it in with the River Ring, an 2013. The zoo’s origins trace back to the City’s integrated trail system connecting trails located as a public-private partnership formed to fund purchase of the 1904 World’s Fair Flight Cage, a in St. Louis City, St. Louis and St. Charles counties and coordinate the design and development walkthrough exhibit of birds, commissioned by that is a project of Great Rivers Greenway. The of the project and reports that “Private donors the Smithsonian. Annual visitorship at the Zoo goal is to have substantially accomplished the funded the entire cost of the international design is 3 million. www.stlzoo.org/expansion project by 2015 in time for the 50th anniversary competition, Framing a Modern Masterpiece: of the Arch. An “Arch Tax” to help raise some $38 The City + The Arch + The River, and continue to (Larger than New York’s Central Park, Forest million over the next two years is likely to be on fund design costs for the project. In December Park adjoins the well-to-do Central West End the local ballot in April 2013. 2011, more than $57 million was secured neighborhood of St. Louis, and is heavily used through federal, local and private sources year-round. In addition to the St. Louis Zoo, it The design team that resulted from the (USDOT, MoDOT, and CityArchRiver 2015 is the home of the Missouri History Museum, St international competition is headed by Foundation) to completely fund construction of Louis Science Center, St. Louis Art Museum and landscape architecture firm Michael Van the Park Over the Highway and I-70 connections the venerable Muny outdoor theater. The park Valkenburgh Associates, Inc. The price tag for associated with the project. Great Rivers retains several legacy buildings and remnants of the full CityArchRiver plan is estimated at $500 Greenway has committed an initial $18 million the 1904 world’s fair.) million plus. CityArchRiver 2015 describes itself to the new riverfront design. An additional $250

Cleveland Cleveland Botanical Gardens

Too often, special events and new attractions Botanical Gardens, by their very nature, are a lot A judicious balance of visually stunning are created without thinking early in the plan- about “viewing” while appreciating multi-dimen- horticulture displays, overlaid with special ning process about a singular image to power- sional horticulture displays. With the specific effects such as snow and scent machines, fully convey the experience, both for marketing goal of appealing to a large audience, a trackless complemented with audio design & theatrical purposes as well as for guests to capture and train – named the Garden Express – became an lighting, brought Glow to life in a multi-sensory spread through social networking. Smithink stra- important “doing” experience, taking guests to way that resulted in dramatic increases in paid tegically planned to deliver a telegraphic, iconic the Peppermint Garden during Glow. This expe- admission, revenue and membership sales.. image through the rebranding and reimagining rience was an instant hit for all ages. of Cleveland Botanical Garden’s holiday show, Smithink assisted Cleveland Botanical Garden in developing a long-term called “Glow”. The Garden’s iconic Eleanor Arm- strategic roadmap in 2011 and then executed a key component of that plan strong Smith Glasshouse, literally glowing at as Executive Directors in developing both brand and the guest experience night during the special event, was picked up by for “Glow”, the Garden’s holiday special event that premiered in 2012. Reuters and posted on their big screen on Times Smithink is a consulting firm based in St. Louis, MO specializing Square. in strategic planning for experience destinations.

14 Central Library is restored • Nothing but praise has followed the $70 million, 2-year restoration of the grand, downtown St. Louis Central Library, beloved by local citizens, completed in December 2012 during the library’s centennial year. Funded by bonds and private donations, new and old are aptly juxtaposed in this painstaking restoration and update of the 190,000 square foot library. The monumental original structure, designed by architect Cass Gilbert, is graced by huge bronze doors and arched windows, ornate exterior carvings, intricate ceilings inspired by Renaissance palaces, Gorham-designed stained glass, granite steps, heavy oak tables, and marble walls and floors. The restoration directed by renovation architect George Z. Nikolajevich of Cannon Design integrates all the information technology features of a modern library, including the conversion of the old coal cellar into an auditorium.

BSI Constructors was the general contractor; CLR PROTRAXX Consultants was the developer. Subcontractors SEA LIFE Kansas City Aquarium included Sachs Electric, Wiegmann Associates, Niehaus Construction, PaintSmiths. The St. Louis SEA LIFE Kansas City Aquarium has added many Public Library Foundation and president Rick new creatures since the opening in April 2012. Some Simoncelli were charged with raising $20 million of the more unique creatures are a giant pacific A/V BINLOOP HD toward renovation; the capital campaign was chaired octopus, nurse shark, bowmouth guitar shark and a by Thomas F. Schlafly and Alison Nichols Ferring. litter of Stingrays, to add to the more than 5,000 sea The St. Louis Central Library restoration joins other, creatures in the 260,000 gallon aquarium. notable achievements in the city’s ongoing renewal of its downtown, such as CityGarden and the Peabody SEA LIFE Kansas City Aquarium takes visitors on an Opera House. www.slpl.org adventure beginning at the Missouri River where guests see the fresh water fish from streams and LIGHTCUE PRO Kansas City lakes around the Midwest. Guests then glide down the Mississippi River and land on the Gulf shoreline, LEGOLAND Discovery Center Kansas City brings where they see lobsters and horseshoe crabs, as well families together through LEGO. The building areas as many different types of saltwater fish. Next to the inside the attraction give families the opportunity Shoreline, guests can touch starfish, baby horseshoe to compete in LEGO races in the Build & Test area, crabs and other small creatures that live in the ocean. design a LEGO skyscraper at the Earthquake Tables Heading down into the deep waters of the Gulf of V16 PRO and create a unique model in the pools of LEGO Mexico, guests come across a Shipwreck where bricks around the attraction. Families can also work spooky creatures, such as an octopus, eels and even together to save the princess from the evil skeletons a Nurse Shark, are among other large fish that are and trolls or even help Merlin conjure up a magic found in the dark abyss of the ocean. potion on two rides, Kingdom Quest and Merlin’s Apprentice. Also housed inside this indoor attraction Traveling a bit further off the coast and to the center of is a 4D cinema where a 3D movie comes to life in the the aquarium is the enormous 130,000 gallon Ocean fourth dimension, as flurries of wind, rain and snow Tank; complete with a tunnel that provides an almost burst through the auditorium. 360 degree view. The Ocean Tank houses different species of sharks, even including a bowmouth guitar One last area to check out before leaving is the Master shark, also known as the Panda of the aquariums Builder Academy Workshop. Guests get step-by-step because it is so uncommon. More stingrays can be guidance on building a LEGO model designed by found inside Stingray Bay where different species of LEGO Master Model Builder, Jeremiah Boehr. These stingrays live among Moray Eels. Finally, travel along models can be anything from an airplane, a turtle or to Seahorse Temple to check out the different species even a mini model of one of Kansas City’s landmarks and learn fun facts about seahorses. • • • featured inside MINILAND. Guests can take the model home for $5 with a portion of the proceeds going to Merlin’s Magic Wand charity, helping disabled and disadvantaged children around the world. 15 museum directions interactivity in exhibition trends/directions byWayne LaBar

s we start the new year, there is always the Exhibitionist, the official journal of National end technology, use real tools and explore the Athe question of where might we see the Association for Museum Exhibition (NAME). You concept of making something. These are usually field moving in the future. Interactive exhibits can do so at the following link (aam-us.org/ staffed spaces although some are trying to or interactive experiences are certainly robust resources/publications/exhibitionist). explore minimizing staff engagement. Often, and mature, so now, in the museum field, there special events, fairs and other programs are is a constant search for different mediums, being held in connection with these spaces. A approaches and processes. The past year, both Trends/Directions key aspect of this is that these spaces do not here in North America and internationally, require extensive design and development reveals the following trends on some of the new schedules and costs. They are a marriage of directions for interactivity. Tinkering – Making exhibit and program, where the activity is Certainly one of the largest movements more important than the environment. The As you review these trends, a key point to keep occurring in children’s museums and science Exploratorium with their Tinkering Studio (blogs. in mind is that one of the primary factors driving centers is the creation of Tinkering or Making exploratorium.edu/tinkering/) , New York Hall the role of interactivity is the economy. The spaces. This is a movement that originates of Science who hosts the NYC Maker Faire and scarcity of funding, the decrease in attendance from the work done by Make magazine and issued a report (www.nysci.org/learn/research/ in some markets, the increasing costs of what their affiliated “Maker Faires.” (www.makerfaire. maker_faire_workshop) , and the Pittsburgh is seen as the necessary modes of interactivity com) As museums witnessed the creativity and Children’s Museum MAKESHOP (pittsburghkids. (exhibits, mobile and others) needed in an the direct interaction that the public has with org/exhibits/makeshop) are some of the leaders exhibition, and costs for traveling exhibitions STEM (science, technology engineering and in this endeavor. are all part of the puzzle that drive interactivity math) content, an essential need for museums trends. If you are interested in how the economy to attract audience and funding, Tinkering/ may be changing the exhibition world, both in Maker spaces are popping up in many places. Collaborative Exhibits & Events interactivity but also in all areas of exhibition, A Tinkering space is a place where visitors are In the constant search for innovative (yet I urge you to subscribe and pick up a copy of allowed to build, create and tinker with low- budget-conscious) exhibits and interactivity,

Families gather in the Pittsburgh Children’s Museum MAKESHOP (left) to celebrate its first anniversary. In addition to enjoying cupcakes, kids made celebratory hats. One recent MAKESHOP event (right) encouraged kids to make a city out of found and recycled objects. Photos courtesy of Pittsburgh Children’s Museum 16 At the Then Now Wow exhibit at the Minnesota Historical Society, the Grainland play area lets visitors trace the journey of soy and corn by climbing into a grain elevator and sliding through the chutes. Courtesy Minnesota Historical Society museums are increasingly looking to create ways by Aaron Sherwood created in collaboration personalization will certainly be another in which people can interact by engaging with with Michael Allison, “Water Light Graffiti” done ongoing trend in interactivity over the coming artists, groups and community organizations. under the Digitalarti Artlab by the artist Antonin year and beyond. Check out work being done Exhibitions based on this approach tend to have Fourneau, or the work done by ART+COM. In at the Minnesota Historical Society in their interactivity that may be more experimental or part, this is driven by the need for museums to Education Department with their new exhibition short-term, perhaps built around a weekend provide experiences that cannot be duplicated Then Now Wow (minnesotahistorycenter.org/ event or happening. A benefit of this type of at home. The interface advances also reflect the exhibits/then-now-wow) with school groups low-impact interactivity is the opportunity to evolution of museum experiences moving into talked about , The Australian Museum and the try things that are different and not necessarily the home. These marriages of art, computer, work lead by Lynda Kelly (australianmuseum. built to the fabrication and durability standards physical world and content create interactivity net.au/staff/lynda-kelly) and the Science that would define more traditional exhibits. and experiences that can’t be duplicated on Museum of London and their augmented reality Additionally, by reflecting engagement with your Xbox. with James May (www.sciencemuseum.org.uk/ community groups and other organizations, visitmuseum/jamesmay) the exhibit becomes more social, and the social networks of these organizations, both physical Mobile Individuality These trends are just a sampling. There are, of and electronic, become engaged with the The world of mobile computing has been course, other trends in interactivity. Feel free to exhibits and potentially become part of the transformed over the past five years with the share your observations with me at wlabar@ exhibitions themselves. One place exploring increasing size of and sophistication of smart alchemystudio.com. The one constant we can this direction is the Santa Cruz Museum of Art phones, the acceptance of tablets, and the count on is change, and, as we look back a and History. Check out their event at (www. growing ubiquity of internet access through year from now, no doubt we’ll be discussing santacruzmah.org/events/) and read Nina cellular plans or freely available wifi. Museums innovations we couldn’t have imagined today. Simon’s article in the latest NAME Exhibitionist were quick to adopt these technologies as part • • • issue. of the visitor experience, and now they have become almost a necessary part of interactivity Wayne LaBar, with twenty strategy for an exhibition or institution. Despite five years of science center New Interfaces this, the field still struggles with what is the experience, is the founder and Certainly, an area that piques everyone’s interest best way to use these technologies and how principal of Alchemy Studio, in the interactivity field is devising new ways for to integrate them into the exhibition form. For an experience and institutional people to engage with digital content or digital some collections-based exhibitions, they may development, design and displays through more physical interfaces. We be the principle interactivity, while a device consulting services studio have seen a move away from the idea of keyboard- at an interactive exhibition might actually located in Maplewood, NJ. and-mouse to touchscreen to touch tables and be an obstacle to visitor experience. As our Alchemy Studio works with now Kinect or Kinect-like interfaces. This outlines field continues to explore how to best apply museums, science centers, boards, civic leaders, an evolution of the interface becoming more new technologies, some of the more exciting governments, NGO’s, filmmakers and others and more physical, more fully-body engaging experiments relate to how these devices might involved in the informal learning field. He is the Vice and with more seamless physical/virtual personalize everyone’s experience. For example, President on the Board of the National Association experience. Over the past year, we have seen work is ongoing on enhancing personal for Museum Exhibition. Wayne obtained his interest in new and innovative ways to engage instruction as part of school trips, accessing Bachelor’s degree in Aerospace Engineering from the people physically but also marrying that with data through NFC technology, and integrating Georgia Institute of Technology and is a graduate digital content. Examples include the “Firewall” augmented reality into an experience. This of the Getty’s Museum Leadership Institute. 17 seriously, the suburbs? should museums be looking at satellite locations? byDan Martin, Managing Principal, Market Feasibility Advisors, LLC

few years ago we were treated to the legal is a remarkable story. DuPage County to the by large hotels and performing arts centers. Aspectacle of the $25 billion dollar Barnes west seems eager to have one of everything Many have developed faux downtowns that (Art) Collection disregarding its benefactor’s that makes Chicago great, and Lake County, use cultural facilities as anchors like a shopping wish by moving from suburban Merion to Center more quietly, is adding more to the north. By mall uses a Macys. Can museums be far behind? City Philadelphia. The legal battle, begun in the number, there are more educational attractions Local art collections and those now privately 1990s, was finally resolved last May with the in Chicago’s suburbs than in the city. Even held but destined for museums someday will opening of a grand new building on prestigious Chicago’s biggest zoo is in the suburbs -- at the find themselves in these larger and wealthier Benjamin Franklin Parkway in Center City. The western edge of Cook County. (by tax revenue) communities; such cultural battle was brought on by the assumption that treasures add a feather in the cap of suburbs the collection was just too exceptional for the The trend typically starts with children’s and edge cities and help make them seem as suburbs and wasn’t reaching as many people as museums – after all, the suburbs are where many full-featured as the original city at the metro it could in a suburban location. flee to raise families. Chicago has a large and core. The lower formality outside traditional expanding Children’s museum at Navy Pier that downtowns may broaden what we consider the In the Midwest, suburban population growth routinely attracts visitors in the mid-400,000s. definition of museums as the new facilities are is twice core metro county growth and the However, two of the Chicago suburban children’s freer to try new educational attraction concepts “burbs” are well ahead in the West and Southern museums are not far behind and regularly and are not hampered by old edifices that can regions too. Even in the urban Northeast, with attract in the 300,000s. In addition, there are four constrain like a turtle’s shell. (Many museums its comparatively minimal growth, the suburbs more respectable suburban children’s museums housed in old structures seem to be defined by still grow. dotting the metro area that also do well. Detroit, the edifice and its constraints from another era.) with the country’s oldest children’s museum, Some predict this trend will slow or reverse already faces suburban competitors, and there Rather than adding to their core facilities, larger and core cities will pull ahead. After all, most are plans for Indianapolis, the US’s largest, to face center-city museums might be wise to develop of the new household creation is in small one- a suburban competitor soon. satellite facilities in these outlying areas. They and two-person households that would seem will reach new audiences, access new sources an ideal fit for cities. This may be true for the The next step is science centers, another of philanthropy, and be freer to try new facility maybe three dozen large metro areas with lively non-collection-based museum type. The concepts. Chicago’s edge city of Schaumberg is downtowns in their centers, but of the 366 development of science centers will get a boost so far from the Museum of Science and Industry metropolitan statistical areas (MSAs), most will from the national push that STEM education in Chicago in both time and distance that it continue to like, and no doubt seek to improve, (Science, Technology, Engineering and Math) is might as well be in another metro area. their suburbs. If the current gun control battle receiving. Universities may enter this contest, seems brutal, consider the response of hundreds with STEM centers targeting the high school- This museum and others could learn from of millions of Americans to taking away their cars and middle school- aged market. a legendary Midwestern department store. and strip centers. Won’t happen. Marshall Fields, now a part of Macys, followed All major US metro areas now feature places its market to the suburbs as the population All of this matters to museums because a large called “edge cities” and they may be particularly sprawled outwards with a dozen new locations percentage of America’s 10,000 museums are in fertile ground for new museums and educational notwithstanding its investment in a million- the suburbs and they have been happy recipients attractions. Author Joel Garreau in his 1991 square-foot grand retail palace in downtown of the suburban population surge. The result is book Edge City: Life on the New Frontier coined Chicago. It was a smart move. The downtown that a surprising number of US metro areas are the phrase, referring to the new suburban cities store and suburban stores all thrive. duplicating their center city museums with a that have risen near major highways. They whole new set of similar facilities in the suburbs. sport large malls, office towers, hotels and The competition for a slice of a household’s The starkness of what is continuing to happen midrise housing. They often span two or three lifestyle in many suburban areas isn’t very intense in Detroit is a good example. Detroit and core once small communities. We know the names past youth sports and movies. Museums that Wayne County have great museums, including of many of these places: Tysons Corner in DC, offer member events and summer camps -- that the esteemed Henry Ford Museum (and Buckhead and Perimeter in Atlanta, Towson is, lifestyle activities for families -- may find fertile Greenfield Village – which is actually in a suburb). and White Marsh in Baltimore, Overland Park ground in the suburbs. Oakland County to the north and Washtenaw in Kansas City, Oak Brook and Schaumburg County to the west are busy growing a set of in Chicago, Bloomington in the Twin Cities, Merion, PA, the community Philadelphia’s Barnes museums of their own. The trend is starting in Waukesha in Milwaukee, Los Colinas and Plano Foundation fled for downtown Philly is not an Indianapolis and Kansas City too. in Dallas, Clayton and Chesterfield in St. Louis, edge city, so maybe the move downtown will the Domain area in Austin. There are now more turn out to be a smart one. But they are not In southern California, the suburban sprawl of than 200 Edge Cities by Garreau’s definition; only necessarily a harbinger. Museums can still do a Orange County has been growing a duplicate 45 cities have downtowns as large. lot in and for America’s suburbs. • • • set to LA County’s great collection of cultural institutions, and this is happening in the Bay The largest or most advanced among these edge Dan Martin is a principal at Market Feasibility Advisors, Area and the Pacific Northwest as well. Chicago cities already have convention centers anchored LLC and can be reached via email at Dan.Martin@ MFALLC.com 18

SOLVING TECHNOLOGY CHALLENGES

Our technology solutions have captivated and entertained audiences around the world for over 45 years. Let us help solve your next technology challenge.

Visit Us at AAM Audio, Video and Control Solutions Booth #308

[email protected] | 1.888.343.3604 | www.electrosonic.com