Attractionswww.attractionsmanagement.com management VOL 14 Q3 2009 THEME PARKS SCIENCE CENTRES ZOOS & AQUARIUMS MUSEUMS & HERITAGE VISITOR ATTRACTIONS ENTERTAINMENT TECHNOLOGY DESTINATIONS WATERPARKS GALLERIES EXPOS
The Fab4D experience opens at The Beatles Story museum
CHRIS RAPLEY DURRELL WILDLIFE The Science Museum's director details the CONSERVATION TRUST £100m modernisation to mark its centenary launches 50th anniversary campaign
ATTRACTIONS MANAGEMENT
EDITOR’S LETTER
PERFECT BEDFELLOWS ON THE COVER: The Fab4D experience at The Beatles Story museum, P71 otels and attractions are becoming the perfect bedfellows and this month, we’ve had news of operators who are adding accommodation to their busi- READER SERVICES H nesses to take advantage of growth in the short break holiday market. SUBSCRIPTIONS Drayton Manor in the UK has announced it’s been given approval to build a Julie Albone +44 (0)1462 471915 150-bed hotel in surrounding parkland. In addition to a 90-cover restaurant and CIRCULATION MANAGER 60-cover brasserie, it will also have a café, banqueting suite and crèche. Michael Emmerson +44 (0)1462 471932 The project has taken years to bring to fruition. The initial planning application was EDITORIAL TEAM submitted to Lichfi eld District Council in 1997 and was approved earlier this year, but EDITOR fi nal authorisation by Government Offi ce West Midlands has only just been granted Liz Terry +44 (0)1462 431385 for the scheme. The £14m hotel will be on-site by next spring, with opening sched- MANAGING EDITOR uled for the summer season in 2011. Kathleen Whyman +44 (0)1462 471918 Elsewhere, plans to develop Chester Zoo in the UK into the largest animal and FEATURES leisure attraction in Europe in a phased development to add a massive African for- Andrea Jezovit +44 (0)1462 471931 est bio-dome will include a 120-bed themed hotel and themed dining as part of the NEWSDESK £225m transformation. The Chester Zoo scheme will also include a marina develop- Tom Walker +44 (0)1462 471917 ment on zoo-owned land next to the Shropshire Union Canal. This will broaden the Pete Hayman +44 (0)1462 471931 market for the hotel, making it available for use by boat owners and tourists. Sarah Todd +44 (0)1462 471927 Hotels linked to attractions are selling well and creating valuable ADVERTISING TEAM PUBLISHER revenue streams, as well as increasing the balance sheet value Julie Badrick +44 (0)1462 471919 of the business in question and helping extend length of stay ADVERTISING SALES John Challinor +44 (0)1582 607970 Accommodation at attractions is taking many forms, from on-site themed hotels Jan Williams +44 (0)1462 471909 to log cabins and from timeshare developments to campsites. All create valuable Tessa Alexander +44 (0)1462 471903 secondary revenue streams, as well as increasing the balance sheet value of the ATTRACTIONS RECRUITMENT attractions business in question and helping to extend the length stay. This has obvi- Annie Lovell +44 (0)1462 471901 ous benefi cial knock-on effects to secondary spend areas like catering and retailing. ADVERTISING PRODUCTION Hotels linked to attractions are selling well and bucking the trend in the hotel mar- Ed Gallagher +44 (0)1462 431385 ket, which is being hit by the recession. This makes them an attractive proposition for hotel operating companies and is opening up opportunities for WEB TEAM deals between attractions operators and hotel groups. INTERNET Merlin Entertainments has announced plans to attract Michael Paramore +44 (0)1462 471900 more multi-night stays at its Alton Towers park in the UK as Dean Fox +44 (0)1462 471926 Tim Nash +44 (0)1462 471917 part of a long-term development plan. Katie Eldridge +44 (0)1462 471913 New attractions will be added each year to encourage guests to stay longer and the group is looking into the FUN-KIT.NET/MUSEUM-KIT.NET PRODUCT SEARCH ENGINE possibility of adding more accommodation in the form Sarah Todd +44 (0)1462 471927 of a third hotel. Its original Alton Towers hotel, which has Martin Nash +44 (0)1462 471933 a spa, and its themed Splash Landings waterpark hotel Mark Edmonds +44 (0)1462 471933 have proved a hit with families and the company has said DESIGN it will review all the different options available to supply addi- Andy Bundy +44 (0)1462 471924 tional accommodation and other services. Claire Toplis +44 (0)1462 471910 Liz Terry, editor, [email protected] FINANCE Sue Davis +44 (0)1395 519318 THE LEISURE MEDIA COMPANY PUBLISHES Denise Gildea +44 (0)1462 471930 spa business Attractions health club SPORTS management management MANAGEMENT Feather Down Farms’ Philip Knatchbull Luite Moraal on # # CRYSTAL PALACE GROWING THE GLAMPING GRASSROOTS The Leisure Media Company Ltd, Reopens its doors to !" % camping gets international events England Athletics glamorous looks towards 2012 and beyond BIG TACKLING 5063*4. CCPR’S TIM LAMB PRADEEP RAJAN ON CHAMPIONING Portmill House, Portmill Lane, SPORT AND RECREATION & "+%%, . +- 0... .. ACTIVE PEOPLE The Fab4D experience opens at The Beatles Story museum $ "" Hitchin, Hertfordshire SG5 1DJ UK uniting the world of spas Tel: +44 (0)1462 431385 CHRIS RAPLEY DURRELL WILDLIFE CONSERVATION TRUST Fax: +44 (0)1462 433909 e-mail: [email protected] ATTRACTIONS MANAGEMENT IS THE OFFICIAL MAGAZINE OF SUPPORTED BY www.attractionsmanagement.com ©Cybertrek 2009
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IN THIS ISSUE
ISSUE 3 2009 24 TALKING POINT: 34 NEW OPENING: WHEN AND HOW AM I GOING THE GREAT NORTH MUSEUM 5 EDITOR’S LETTER TO GET PAID? Originally built in 1884, the museum has 8 HERITAGE NEWS We speak to the experts about the reopened with extended premises and a 9 MUSEUM NEWS diffi culties of getting paid for work at £26m refurb, transforming it into a cen- 10 BALPPA NEWS development hot spots trepiece of Newcastle’s cultural quarter 12 WATERPARK NEWS 13 GALLERY NEWS 26 TOP TEAM: 38 PLANETARIUMS: 14 ZOO & AQUARIUM NEWS DURRELL WILDLIFE A STAR IS BORN 16 THEMEPARK NEWS CONSERVATION TRUST The newly released We Are Astronomers 18 SCIENCE CENTRE NEWS As the organisation celebrates its 50th show has received rave reviews. The cre- anniversary, we ask the top team about ative team behind the experience reveal their work with endangered species how they created the effects 20 PROFILE: CHRIS RAPLEY 30 ECONOMIC RESEARCH: 42 FAMILY MATTERS: The director of the Science Museum A PAUSE IN CONSOLIDATION? TEDDY BOYS details the building’s £100m modernisa- We examine the destination sector’s Drawing from 100 years of experi- tion, centenary celebrations and how he boost as a result or organic growth and ence running amusement parks, the intends to make the museum a part of mergers and acquisitions and ask if this Lund family have turned the bankrupt every school child’s life trend is set to continue Kongeparken into a success
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46 SCARE ATTRACTIONS: 56 CLIMBING: 71 3D/4D: FATAL ATTRACTION CLIMBING HIGH PROJECTING GROWTH The scare attractions industry is now Industry experts extol the benefi ts of We look at how to make a 3D/4D attrac- such big business that it has its own climbing attractions, advise on how to tion profi table and successful, and give convention. As well as getting advice choose one and explain how much you details on the latest projects and discovering the latest offer, opera- can profi t from an installation tors can learn how to make a killing 78 PRODUCT SPECIAL: 60 AUDIOGUIDES: FUN KIT 50 EXHIBITION DESIGN: SIGHTS, SOUNDS, STORIES Products designed purely for attractions SHOW AND TELL In the fi rst of a two-part series, we speak Find out how designers converted an to the designers of audioguide content 80 PRODUCT SPECIAL: Arabic market into a gallery, interpreted to fi nd out what they’ve created, how it MUSEUM KIT the mystery of life at a science centre works and what the next offer will be A look at products for museums and chronicled 90 years of music 66 WATER: 82 ODD JOB: 54 PREVIEW: MAKING A SPLASH MAKING A SPLASH PLASA Creating a night time water spectacu- First Choice Holidays’ Tommy Lynch A look at the UK audiovisual show from lar in an otherwise unused part of your describes what may be the most sought the Professional Lighting and Sound attraction can prolong visitors’ stays and after job ever created – tester of wave Association taking place in September increase the amount they spend pools and water slides.
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HERITAGE NEWS
NASA looking to move Glenn centre
The NASA Glenn Research Centre in Cleveland, Ohio, US may be moved, it has been reported. In local newspaper, The Plain Dealer, it was reported that the execu- tive director of local business group the Greater Cleveland Partnership, Jon Roman, believes that moving the centre to the Great Lakes Science Centre in downtown Cleveland would be benefi cial for the region. The popular attraction was gutted by fi re in 2007 By moving to the Great Lakes Science Centre, NASA Glenn would Cutty Sark to open next summer benefi t from the number of school chil- dren who already visit, he proposed. The Cutty Sark, the historic London-based the next month. They will be painted with Roman told the paper that such a sea clipper that was ravaged by fi re in May special paint to prevent further corrosion.” move has been discussed since the 2007, is set to reopen in summer 2010. The project will see the ship raised three centre opened in 1996 and NASA The ship was already undergoing a metres above her current position and sus- offi cials confi rmed that it is among the restoration, and the fi re – caused by an pended so that visitors can walk beneath to options currently being considered. industrial-sized vacuum cleaner – has see the ship’s hull design. The 6,000sq ft visitor centre has suf- added £10m (K11.7m, $16m) to the There will also be a glass canopy meeting fered from cuts in the space agency’s project’s cost of £25m (K29m, $41m). the ship at the waterline and covering the funding, and needs to fi nd more The BBC quoted Jessica Beverly, cura- dry dock with 1,000sq m space for events. money to maintain its attractions, tor of the Cutty Sark Trust, as saying: “The The future of Cutty Sark was secured which include six galleries. ship is not very pretty at the moment as all in 2008, after Israeli shipping magnate The Glenn Center was estab- the planks are being treated. Sammy Ofer donated £3.3m ($5.5m, lished in 1942 as part of the National “The planks will start being put back in %3.9m) towards the restoration. Advisory Committee for Aeronautics.
Pop culture museum planned for Tulsa
A $33m (£20.7m, %23.6m) museum of from next year’s legislature, leaving around Oklahoma popular culture is being planned $8m (£4.9m, %5.7m) to be raised from pri- for Tulsa, Oklahoma, US. vate sources. $1m (£612,000m %714,000) Bob Blackburn, executive director of The has already been pledged by the George Oklahoma Historical Society – the organi- Kaiser Family Foundation. sation behind the plans – said that it will Despite the current economic climate, seek a $25m (£15m, %18m) bond issue Blackburn said that they “can’t pull back”. The museum will open in 2013 “We started talking about the Oklahoma History Center in 1991, when we were still Children’s Museum in the recession from the 1980s,” he told plans revealed the local media. “We were furloughing employees when we raised the last of the The National Children’s Museum – for- money to open in it 2003.” merly the Capital Children’s Museum Three sites have been considered for the in Washington – is set to reopen at its museum, but no decision has been made new home in Maryland, US, in 2013. as yet. Once funding is in place, the work is Part of the National Harbor develop- expected to take around three years. ment in Prince George’s County, the According to Blackburn, the museum 150,000sq ft (14,000sq m) building will will be called The Oklahoma Pop and will represent six core zones: the environ- act as the state museum of popular music, ment, health, play, civic engagement, television, fi lm and the performing arts. the arts and world cultures.
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MUSEUM NEWS
International Dolls Museum to reopen
The International Dolls Museum in Chandigarh, India, reopened in June after a revamp. The museum features more than 300 dolls from more than 30 countries including Denmark, Germany, The Netherlands, Spain, Russia and Korea, as well as 50 from India itself. It boasts four sectors – The History of Dolls, Indian Dolls, International Dolls and a Children’s Activity Centre – as well as the repaired German toy train and a gift shop. Charles Anderson and Ralph Appelbaum designed the expansion The museum was established in Expanded Anchorage Museum opens 1985 by Chandigarh administration. Sharjah Maritime The US$106m (£64m, %74.4m) expansion The museum also houses a new 530sq of the 170,000sq ft (15,793sq m) Anchorage ft (49sq m) planetarium and the 100,000sq Museum opens Museum at the Rasmuson Center in Alaska ft (9,290sq m) Smithsonian Arctic Studies has opened its doors to the public. Center, exhibiting 600 Native Alaskan arti- The Sharjah Maritime Museum has The revamp, designed by London-based facts from the Smithsonian Institution’s opened in the United Arab Emirates. David Chipperfi eld Architects, incorporated National Museum of Natural History and Exhibits include samples of marine a new glass-fronted façade and entrance National Museum of the American Indian. life, fi shing tools, pearl trading, a dhow facing downtown Anchorage. Among the A new common created in front of the (ship) building, diving devices and features of the new building are a café, museum provides a public space for down- photos of famous sailors and captains. shop and two extra fl oors (80,000sq ft, town Anchorage and features outdoor Manal Attaya, director of Sharjah 7,432sq m) of exhibition space. areas for temporary exhibits, a winter ice Museum, told Gulf News: “The A venue at the heart of the existing build- rink and an interpretative trail with informa- museum is part of a bigger plan as ing was retained to continue providing a tion about native plants and grasses. we want it to become a maritime park, space for arts, music and cultural events, The design team consists of Charles which will include a Marine Studies but there has also been the addition of Anderson Landscape Architecture and Research Centre. a science discovery centre and a Young Earthscape and New York-based exhibition “The idea is to celebrate marine life Learners Discovery Gallery with interactive designers Ralph Appelbaum Associates and maritime history, and how we deal learning opportunities. and Ansel Associates. with it as a source of livelihood.”
Ohio Statehouse Museum opens
The new Ohio Statehouse Museum visitors to explore the workings of govern- has opened to the public at the his- ment; and the Ohio Constitution Exhibit, toric Statehouse building in downtown which displays replicas of the original 1802 Columbus, Ohio, US. and 1851 versions of the Ohio Constitution. The 5,000sq ft (460sq m) museum is The museum will be managed by the housed in a purpose-built space within the Capitol Square Review and Advisory Statehouse and includes a number of gal- Board. The interpretive conceptual plan leries and exhibits telling the history and for the museum was drawn up by Hilferty stories of the state of Ohio. and Associates, while all audiovisual pro- Galleries include the Great Ohioans ductions were delivered by Ohio-based Exhibit, presenting recipients of the Great Mill’s James. The exhibits were supplied Ohioan award on a large touch monitor; by Nashville-based 1220 Exhibits, while the Salmon P Chase Education Center, a Communications Electronic Design pro- The museum will be located inside hands-on interactive exhibit that enables vided the project systems. the historic Ohio Statehouse
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BALPPA NEWS
Colin Dawson It’s certainly The park is to be located in County Durham been interesting Horrible Histories park still possible doubt that there has ever been such a period of political turmoil Talks regarding plans to build a theme County Durham Tourism Partnership to I such as we have witnessed in the park in County Durham, UK, based on the discuss how to bring his plans for the past few weeks – MP’s expenses, Horrible Histories childrens’ book series attraction – which would take visitors on cabinet resignations and the enforced have resumed by the author. a journey from Tudor times to Victorian resignation of the speaker. It’s been a As previously reported in Attractions England – to life. period we’re unlikely to forget. Mnagement, Terry Deary, the author of the Plans are currently only in an embry- However, life goes on and as things educational series, has been planning to onic stage, as the newspaper quoted Craig settle down it’s back to business as build an all-weather attraction since 2003, Wilson, destination, development and usual with the outstanding question but has so far been unsuccessful. marketing manager for the tourism partner- yet to be answered by HM Government However, according to local newspa- ship, as saying: “The credit crunch is not – when’s the tourist industry going to per The Journal, Deary has met with the helping us to fi nd a private investor.” receive the recognition it deserves? I know there’s no silver bullet for the the diffi culties we’re facing, but investment in tourism has always Camelot secures delivered, and some of the meas- ures we’ve suggested are supported summer opening with sound evidence from credible sources. For example, a reduction Camelot Theme Park at Charnock in the level of VAT to fi ve per cent for Richard, Lancashire, UK, will remain visitor attractions admission income open throughout the 2009 summer and accommodation is forecast to season, after it was acquired from be tax positive for The Treasury, and administrators by the Carlisle-based Paultons fi rst opened in 1983 to provide earnings growth of £1.6bn company, The Story Group. resulting in 23,000 new jobs. (Study – The park was left facing an uncer- New attractions Wason & Nevin Feb 2008.) tain future when it was placed into for Paultons Park Additionally, the move to Daylight receivership in February, after previ- Saving would produce increased earn- ous owners Prime Resorts admitted Family attraction Paultons Park in ings from tourism of £2.5 to £3.5bn, that it had been struggling to compete Hampshire, UK, has launched a £1m with 60,000 to 80,000 new jobs. for visitors with rival attractions. (%1.2m, $1.6m) ride and will be opening a (Policy Studies Institute Oct 2008.) Although The Story Group is look- new children’s water park later this year. These measures could produce up ing to enter into negotiations with The ride, called EDGE, comprises a giant to 100,000 new jobs in an environment Chorley Borough Council in a bid to rotating disc able to accommodate up to which is crying out for some good revive previous plans for a residen- 40 seated people and reaches heights of news. Prime Minister, show us you tial mixed-use development on the 15m and speeds of up to 43 miles an hour meant what you said at the Liverpool site, it has agreed to lease the park to on 92m of track with a ‘camelback’ hill. tourism event – take tourism seriously. Knights Leisure, a newly-formed group Opening this Easter, Water Kingdom – led by Roy Page, former chief execu- a 8,500sq ft (789sq m) splash park – will Colin Dawson chief executive, BALPPA tive of Prime Resorts. feature more than 20 ways of getting wet.
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WATERPARK NEWS
Aleatha Ezra More swimming The signing of agreement in principle for the Gran Scala project in Zaragoza lessons needed Aquantica waterpark designs unveiled ccording to the Center for Disease Control, there were Designs have been unveiled for an ambi- passageways, with historic theming based A ten drownings each day in the tious indoor waterpark set to open as part on periods such as ancient Rome and United States in 2005. According to of the %17bn (£15bn, US$23bn) Gran Egypt and the Renaissance. the World Health Organization, drown- Scala leisure city under construction in The building will be shaped like a drop ing accounts for nearly 20 percent of Aragon, Spain. of water, with a centrepiece consisting of all child injury deaths throughout the Designed by architect Cent Alantar, a tall, twisting waterslide with Renaissance world. These statistics indicate how the waterpark will be located within the theming, set against an aquarium back- serious an issue drowning is to the Spyland theme park, and will feature both drop. There will also be a private relaxation health and safety of children. indoor and outdoor rides. area with a Roman bath theme, includ- The good news is that drowning is Attractions will include water slides, ing spa pools, mud baths and massage. nearly always preventable. The key to pools, waterfalls and secret underwater Aquantica is on track to open in 2013. success lies in educating consumers on the need for layers of protection. These should include limiting access to backyards with pools barriers and Count’s Castle fences, designating an adult water- watcher and teaching children how to for Sesame Place swim in both shallow and deep water. The third point especially repre- Sesame Place theme park in sents an important opportunity for Langhorne, Pennsylvania, US, will add waterpark operators. Although many a new waterplay structure to the range aquatic facilities already offer some of water rides on offer at the family sort of swim lesson program, more park this summer. The park will include a Flowrider could be done by waterpark operators Denver-based water ride manufac- to provide opportunities for children turer SCS Interactive will supply the Wahooo! to open in and adults to learn to swim. new attraction, called Count’s Splash Bahrain this summer Consider opening a few hours Castle, which will be built as a multi- early during the week or closing one level interactive waterplay attraction A 15,000sq m (161,500sq ft) indoor water- section of a pool to accommodate consisting of fi ve towers spanned by park called Wahooo! is set to open in lessons for different age groups. four bridges. The structure will include Bahrain this summer. The park, at the new Consider pricing the lessons at a level a tipping bucket, a variety of water Bahrain City Centre retail site, will be the that most parents can afford. slides and more than 90 guest-acti- largest temperature-controlled waterpark The important thing is for parks to vated water features. in the region, offering guaranteed 30°C do something. Even if the programme “The Count’s Splash Castle is the (86°F) temperatures year-round. starts small, preventing just one drown- biggest attraction in the history of Attractions will include the Flowrider, a ing is a win for the whole industry. Sesame Place,” said Robert Caruso, 190m (620ft) Masterblaster Rollercoaster, general manager of Sesame Place. and a four-land Matt Racer looping around Aleatha Ezra is the membership manager The park fi rst opened in 1980 and is the waterpark. Majid Al Futtaim Group is of the World Waterpark Association owned by Busch Entertainment. working with Aqua Leisure on the park.
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GALLERY NEWS
The extension has been designed by Pritzker Prize-winning architect Renzo Piano Chicago Art Institute expands facilities
The US$300m (£193.5m, %220m) Modern modern European painting and sculpture Wing at the Art Institute of Chicago, US, as well as contemporary art, including fi lm, has opened to public this week. video and new media. The 24,500sq m (264,000sq ft) exten- Additional exhibition and gallery space sion, designed by Pritzker Prize-winning provides three times more area to house architect Renzo Piano has increased the the museum’s Department of Architecture museum’s fl oor space to more than a mil- and Design and the Department of lion square feet, making it the second Photography. An interior garden provides largest art museum in the US. room for rest and contemplation, while an The three-storey extension, which is open-air sculpture terrace featuring rotating covered by a sun-shade system allow- contemporary sculpture exhibitions over- ing natural light to fl ood into the building, looks Millennium Park, which is also linked showcases the institute’s collection of to the museum by the Nichols Bridgeway.
EAS 2009 New art gallery approved for Athlone Booth #731
Plans for a new %3.5m (£3m, $5m) art gal- The council-led project has been lery on the banks of the River Shannon in designed by Keith Williams Architects and Athlone, Ireland, have been approved by involves the remodelling of an existing Athlone Town Council. 600sq m (6,458sq ft) temperance build- ing, called Father Matthew Hall, to feature a 115sq m (1,237sq ft) arts space with the addition of a 145sq m (1,560sq ft) gallery wing. Informal meeting areas will also be added for public and staff use as well as administration offi ces. The project has been the subject of much debate among council mem- bers and the community when deciding whether the existing building, which has been unused for fi ve years, should be Global Sales removed or retained due to its strong excluding N.America socio-historic role in the town’s history. 858.454.1777 sales@fl owrider.com It has been decided that the hall will be re-rendered and re-roofed, while retaining its historical façade. Construction work on www.fl owrider.com Construction will begin in early 2010 the site is expected to start in early 2010.
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ZOO & AQUARIUM NEWS
The new exhibits include educational galleries for children Georgia Aquarium Chicago Oceanarium revamp completed opens fi eld station Georgia Aquarium’s Dolphin The Oceanarium at Shedd Aquarium in ing and animal life-support systems. A new Conservation Field Station (GAI-DCFS) Chicago, US, reopened to the public on underwater Polar Play Zone has also been has opened in Marineland in St. 23 May, following the completion of an created at the attraction, which offers chil- Augustine, Florida, US. extensive US$50m (£31.4m, %35.8m) refur- dren the chance to learn about marine life The fi eld station includes research bishment scheme. through a range of exhibits and habitats, and veterinary facilities, quarantine More than three million gallons of salt- while a new marine mammal amphitheatre pools for rehabilitating rescued ani- water were drained from the attraction will be unveiled later this summer. mals, both land and water animal as part of the nine-month project, which The new amphitheatre has seen the rescue vehicles and housing for included the recoating of all fi ve pools, installation of an additional 150 seats and a researchers and staff. routine maintenance to animal habitats dedicated VIP area, taking the venue’s total The team will conduct research and and the installation of new heating, cool- capacity to more than 1,100. will rescue and rehabilitate stranded animals in Georgia and northeast Florida. Animals deemed releas- able by the National Marine Fisheries Renamed Marwell Service (NMFS) will be introduced to their habitats, while those deemed opens Africa zone unfi t will be housed by the NMFS. The aquarium is also scheduled to Marwell Zoological Park in Hampshire, complete a comprehensive UK has opened its new African Valley US$110m (£74.8m, %82.8m) expan- zone. The opening of the new zone fol- sion of its Atlanta site in 2010. lows several years of planning and has Georgia Aquarium’s benefactor, taken a year to construct. The new attraction at West Midlands Bernie Marcus, said: “From the very The 20-acre African Valley will see beginning, the Georgia Aquarium has more than 35 Ellipsen waterbucks, Safari Park opens new sought to be a world-class research Grevy’s zebras and ostriches roam outdoor arena institution. We are not only making a together in a new habitat. Marwell’s difference by educating the millions new restaurant, Café Graze, overlooks West Midland Safari Park, UK (WMSP) has of visitors that come to the Georgia the Valley and gives sweeping views opened a £1m ($1.65m, %1.2m) outdoor Aquarium each year, but we are of the animals as they wonder free arena and sea lion show at its Seaquarium expanding our commitment to conduct together. The zoo will also shortly relo- site in Rhyl, Wales. Called Sea Lion Cove, research and conservation in the fi eld.” cate its giraffes to the new area. the new exhibit will offer seating for 300 vis- Georgia Aquarium opened in 2005 The opening coincides with Marwell itors and is home to a colony of six seals. and is one of the world’s largest aquar- revealing its new brand identity. The Rhyl Seaquarium is one of three iums with more than 8.1 million gallons The park has named itself as attractions operated by WMSP. (31,000 m³) of marine and fresh water Marwell Wildlife for the 2009 season WMSP’s managing director, Ivan housing more than 100,000 animals of and also revealed a new logo, incor- Knezovich, said other plans at WMSP 500 different species. porating a hand which “symbolises include a hotel, conference centre and an Marwell’s commitment to wildlife”. indoor water park.
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THEME PARK NEWS
SG takes over Universal Japan
The Universal Studios Japan theme park in Osaka has been acquired by SG Investments, an investment fund unit of Goldman Sachs, for US$1.2bn (£725m, %840m). SG Investments will buy 2.2 mil- lion shares, or 98.5 per cent, in USJ Co, which operates the park. It plans to buy the remaining shares in USJ in order to make the park operator a wholly owned subsidiary. The park opened on 31 March The group operates more than 20 parks across North America 2001, attracting 11 million guests through its gates in its fi st year. Six Flags fi les for bankruptcy Since its opening, however, the park has struggled to compete with other Six Flags, one of the world’s largest amuse- %198.3m) in 2008, the company was major parks in the region. ment and water parks operators, has fi led forced to pay US$175m (£107.1m, According to the park operator, for Chapter 11 bankruptcy protection in %126.2m) in interest on its debt, as well visitor numbers fell 6.2 per cent to the US as part of attempts to clear debts of as investing US$100m (£61.2m, %72.1m) 8.1 million during the fi scal year that US$2.4bn (£1.47bn, %1.73bn). in improvements and maintenance at its ended in March 2009. In an open letter to employees, chief amusement and water parks. Construction work on a Universal executive Mark Shapiro assured workers The company also revealed that the deci- Studios theme park in Singapore is that there would be no job cuts as a result sion to fi le for bankruptcy protection was on schedule and the park is set to be of the company’s decision, while all of the motivated by its current inability to refi nance completed by summer 2010. group’s North American attractions will debt of more than US$400m (£244.7m, There are also plans to open a continue to operate “as normal”. %288.6m) due within the next year as a Universal park in Seoul, South Korea, Despite generating US$275m (£168.3m, result of the current fi nancial climate. sometime during 2012.
New theme park CNL acquires Hawaiian Waters
and zoo for Manila CNL Lifestyle Properties has acquired Hawaiian Waters Adventure Park in A new zoo and theme park complex is Kapolei, on the island of Oahu, US, from a currently being planned for develop- subsidiary of the Village Roadshow. ment in Manila in the Philippines. Although now owned by the US real Manila’s mayor, Alfredo Lim, estate investment trust, operation of the announced that his parks and recrea- 29-acre waterpark has been leased back to tion bureau’s chief engineer, Deng the Australian global entertainment com- Manimbo, had been appointed to pany. As part of the deal, Village Roadshow fl esh out the plan with Japanese will continue to operate the site and will theme park company Okamoto. rebrand the park as Wet ‘n’ Wild Hawaii. The theme park, completely funded “This transaction is a home run for both by Okamoto, would be built on a sides,” said Byron Carlock, CEO of CNL. Village Roadshow will operate the site 4,000sq m (43,000sq ft) lot adjacent “We were looking for a vibrant operating to the existing Manila Zoological and partner with which to grow our portfolio of successful water park business in the Botanical Garden, and under terms properties. Hawaiian Waters is exactly the United States. This transaction provides us of the agreement, the Japanese fi rm kind of quality attraction we look for, where with fi nancial fl exibility, and a partner that would fund a refurbishment of the zoo. families can make lasting memories.” shares our core values and aspirations.” Despite putting no money in, the Graham Burke, managing director of Village Roadshow now plans to open city will receive half of revenue gener- Village Roadshow, added: “CNL is the per- a second Wet ‘n’ Wild waterpark in ated by admission fees. fect partner for us as we grow our highly Phoenix, Arizona, US.
16 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 ATTRACTIONS MANAGEMENT Our Specialist Subject… …Self Service and Digital Signage Solutions
Macquarie owns and operates the Dreamworld theme park Macquarie Leisure to break away
Macquarie Leisure Trust Group, the owner underwritten placement to institutional of Dreamworld theme park and WhiteWater investors to reduce debt and pursue its Learn more about Europe’s World water park on Australia’s Gold growth strategies as a standalone entity. Coast, has unveiled plans to break away The company recently raised AUD$30m rapidly growing Self Service from parent company Macquarie Group. (£14.7m, US$24.3m, %17.2m) to reduce and Digital Signage industry, The trust will pay AUD$17m (£8.3m, gearing through a sale and leaseback deal which could help your company US$13.8m, %9.8m) to acquire shares and on its AMF Bowling sites. Greg Shaw, CEO weather the economic storm. management rights, which means it will of Macquarie Leisure Trust, said: “Since its no longer have to pay an annual fee of inception as a property trust with essen- AUD$3m (£1.5m, US$2.4m, %1.7m) plus tially passive investments in leisure assets, s 3EE AND TRY THE LATEST performance fees to Macquarie group. The we’ve evolved into a portfolio of operating technology group will then seek to raise AUD$41.7m businesses with acquisitions such as AMF s !TTEND &2%% EDUCATIONAL (£20.4m, US$33.7m, %24m) through an Bowling Centres and Goodlife Health Clubs. seminars s .ETWORK WITH THE industry Theme park proposed for Kamloops s Kiosks s Digital Signage A CAN$200m (£111m, s Payment Technology US$175m, %126m) theme park resort is set to be s Software built in Kamloops, British s Touchscreens Columbia, Canada. s Peripherals The 17-acre Sedric’s Adventure Resort & Theme Park will feature rides Plans for the park Register designed by WhiteWater include a hotel West, a 300-bedroom free today at Marquee Hotel featuring a 25,000sq ft hotel and restaurant aimed at the fam- (2,320sq m) indoor waterpark designed by ily market, two drive-through restaurants SelfServiceExpo.co.uk Canadian architect Nick Milkovich, and a and 12,000sq ft (1,115sq m) of retail and 1,000-capacity convention centre. offi ce space. With a daily capacity of The ‘wallet-free’ resort, where guests 8,500 guests and projected visitor fi gures will wear an electronic wristband to pur- of 455,000 visits per year, the facility is chase items and access lockers and hotel expected to bring in CAN$80m (£44.6m, rooms, will centre on a 150ft (46m) Liquid US$70m, %50.4m) annually to the local Fireworks Fountain, designed by Florida, economy and employ up to 1,500 workers US-based Waltzing Waters. in the high season. Construction will take Additional facilities will include a small fi ve years over fi ve phases.
AM 3 2009 ©cybertrek 2009 ATTRACTIONS MANAGEMENT
SCIENCE CENTRE NEWS
Asger Hoeg Our biggest The revamp will include the introduction of new galleries challenge yet £100m revamp for Science Museum he climate change challenge is frequently communicated The Science Museum in London, UK is transformations that have reshaped society T by the media as a prediction to undergo a £100m (US$165m, %117m) since the 1830s – and Making Modern problem. That is, are we certain it’s modernisation. Designed by Wilkinson Science, which will focus on the “very happening? In actual fact, it’s a risk Eyre Architects, the designs for the revamp essence of science” and shed light on problem – how big a risk are we, as a are intended to match with wider plans theory, practice and ethics. global society, willing to accept? for London’s South Kensington area, and The existing Making Modern Flight and Most climate scientists believe the will boast a new glass feature called the Making the Modern World galleries will be risks associated with climate change Beacon on the Exhibition Road façade. expanded and a new façade will also be are very large, but the majority of peo- The museum will feature a new rooftop built, with multiple entrances to ease con- ple don’t consider climate change to cosmology gallery called SkySpace and gestion, as well as three new sets of lifts be an urgent matter requiring action. there will also be two other new galleries: inside. The project is expected to be com- So, there’s a mismatch between scien- Making Modern Communication – which pleted by 2014. (For more on the Science tifi c and public understanding of the will teach visitors about the technological Museum plans, see interview P20) risks associated with climate change. This mismatch underlines the important task and role of the European science centres. These cen- Science North’s grants doubled tres must communicate the essence of the climate change challenge to the The government of Ontario is to double the %2.1m) to CA$7m (£2m, US$3.7m, %4.2m), European citizens – to both school funding of the Science North science cen- beginning in the 2009-10 fi scal year. children and to their families. tre in Sudbury, Ontario, Canada. McGuinty also announced an additional At Ecsite’s Directors Forum, which Ontario premier Dalton McGuinty CA$340,000 (£179,500, US$296,000, takes place at the Experimentarium, announced that the science centre’s %210,000) one-time contribution in the Copenhagen on 20th and 21st annual provincial operating grant will current fi scal year. The new funding will November, the directors of the 90 increase from CA$3.4m (£1.9m, US$2.8m, result in a 24 per cent increase in Science members of Ecsite will try to resolve North’s $15m (£8.4m, US$12.2m, %9.4m) this by discussing how best to com- annual operating budget. municate the science behind the “The new operating funds announced climate change and how to communi- by Premier McGuinty offer Science North cate the risk that the climate change a once in a generation chance to fully imposes upon us. meet our mandate to serve all of Northern The keynote speaker of this forum Ontario,” said Jim Marchbank, Science is professor Katherine Richardson, North CEO. “We are very grateful because, professor at Copenhagen University for the fi rst time in 25 years, Science North and chair of the Danish Government’s will be able to invest in the resources Climate Commission. required to expand science program outreach to schools and communities Asger Hoeg, executive director, Science North celebrated throughout the North, from Quebec to the Experimentarium , Denmark its 25th birthday in June Manitoba border.”
18 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 SET YOUR SIGHTS N A SMALL FORTUNE
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CHRIS RAPLEY
To mark the Science Museum’s centenary, director Chris Rapley is overseeing the museum’s most ambitious transformation of the past 100 years. He speaks to Andrea Jezovit about his plans
t’s 26 June, the fi rst day of the Science climate change ahead of December’s UN asking questions about the big issues.” Museum’s centenary celebrations, and climate conference in Copenhagen. When it comes to educating people I the walls of the 100-year-old London A climate scientist and former director of about science and changing lives, Rapley institution are echoing with shouts and the British Antarctic Survey, Rapley sees has some lofty ambitions – it’s his inten- laughter from the larger-than-average the Science Museum not only as a collec- tion to make the Science Museum the crowd of schoolchildren and families tion of objects, but as an agent of essential best place in the world for people to who’ve arrived to take part in the festivities. change as the nations of the world prepare enjoy science. It’s a goal he hopes to The party includes science shows, musi- for Copenhagen, where they’ll negotiate achieve through a landmark two-phase cal performances and a new ‘Centenary how to tackle climate change in a way modernisation of the museum, its fi rst Journey’ trail guiding visitors through that’s fair to developing countries. “Science major refurbishment since 2000, when the ground fl oor galleries past 10 iconic and technology have a big role to play in the Wellcome Wing was added in a £65m objects from the last 100 years. that. We see ourselves as being a forum ($106.2m, %75.3m) extension. I meet Chris Rapley in the centre of the for the debate, helping people learn about Designs from Wilkinson Eyre Architects buzz, at a table in the building’s Revolution what the options are. I’m trying very hard were recently unveiled for the second phase Café, which looks out onto Energy Hall to connect us as strongly as I can with of the project, the £100m ($164m, %116m) and its giant steam engine. It’s a busy the political, corporate and NGO efforts ‘Museum of the Future’ project, which will day for the museum director, and not only to debate this issue,” he says. “I see the see the addition of multiple new galleries: a because of the museum’s centenary party. museum as much more than just a passive rooftop cosmology gallery called SkySpace; He’s just come from a press conference box where people can have a day out and a Making Modern Communications, which that saw UK prime minister Gordon Brown bit of fun. We have the opportunity to help showcase the technological transforma- call for $100bn (£61.2bn, %71bn) a year in people understand what science and tech- tions that have reshaped society since the aid to help the developing world cope with nology is and change their lives, and start 1830s; Making Modern Science, which
The new design includes a gold rooftop cosmology gallery called SkySpace
20 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Designs for ‘The Museum of the ABOUT CHRIS RAPLEY Future’ (above) have been provided by Wilkinson Eyre Architects What are your What’s your Dr Strangelove and The hobbies? favourite food Life of Brian. I would will teach visitors about scientifi c theory, I’ve always been a keen Italian food. I rarely eat fi nd it diffi cult to choose practice and ethics; and two new treas- photographer. I have tens red meat and am con- between those two. ury galleries. The existing Making Modern of thousands of nega- cerned about fi sh and Flight and Making the Modern World galler- tives and slides, which the future of the world’s What’s the best piece ies will be expanded, and an iconic glass I’m slowly putting into oceans. One of my con- of advice you’ve feature called the Beacon will be built on an organised collection tributions to the future is ever received? the Exhibition Road façade. of everything I’ve taken that I’m becoming a pasta- The people who are suc- Work is already underway on the trans- photos of in my life right orientated vegetarian. cessful in this world are formation’s fi rst phase, which will include back to when I was a kid. the ones who turn their refurbishments of the contemporary I’m also a great tech- Favourite fi lm? greatest setbacks into science Antenna gallery and the biomedi- nophile. I love gadgets. Without any question, their greatest successes. cal Who Am I? gallery, set for June 2010. Rapley’s enthusiastic about a visionary new gallery entitled Climate Change and dumb questions. Like, what is the Science sample objects and exhibits from each of the Energy Challenge, which opens in Museum for?” He wasn’t surprised when the museum’s different galleries, to help 2011: “It’s going to change the way people noone was able to give him a crisp answer. visitors decide which parts of the museum think, talk and act about climate change.” ”That question probably hadn’t been asked they want to explore. “The idea is to be as for a while.” engaging and high-tech as possible, to sim- A NEW STRATEGY Rapley wanted to clarify what the ply lay out our shop window so people can Rapley’s vision for the museum began museum stood for, reorganise it and “do plan how to spend their time here.” soon after he joined as director in something really, really useful.” He and his Ensuring the new design is environmen- September 2007 following his 10-year staff brainstormed the new strategy, using tally friendly has also been important. “Any stint as British Antarctic Survey direc- insights from the wealth of visitor research organisation that puts on a major exhibit tor. (He’s also been executive director of that’s constantly going on at the museum. on climate had change better be sure it the International Geosphere-Biosphere One necessity was to help visitors fi nd can fulfi ll its carbon credentials,” he says. Programme at the Royal Swedish Academy their way around the building, which is This will be a particular challenge, as the of Sciences in Stockholm, and professor known to be diffi cult to navigate. Vertical museum is located in an old building that of remote sensing science at University lift access and electronic signage will be Rapley says can never be made completely College London.) “I had the advantage improved, but the team has also come up environmentally sound. However, he plans of parachuting in from a completely dif- with the concept of the Orientation Space to make it as sustainable as possible. Work ferent world, and I needed to ask some – a room at the museum’s entrance with is being done on utilising lower energy
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 21 PROFILE
The museum created an online game called Launchball to celebrate the relaunch of its Launchpad gallery (above)
lighting and the museum is working with ÆL=6I:K:GNDJÉG:9D>C<H=DJA97:>CI:G:HI>C;>I86C7:LDGI=L=>A:6HL:AAI=:CI=6IÉH reservoir. Heat would be pumped into the ;6CI6HI>8#H::>C<6
22 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009
TALKING POINT
everybody’s talking about WHEN AND HOW AM I GOING TO GET PAID?
QAs the global recession continues and unfi nished projects get shelved, some companies are failing to receive timely payment for the work they’ve done. The problem is made worse if payment isn’t received for work completed overseas. We speak to industry experts and ask how bad the situation is and what the future holds for the sector
you are persistent enough and projects that are failing to pay, that mem- DAVID WILLRICH moving around the region enough bers can check whenever the re-start Managing director to make it cost effective to keep may come. Of course there is a limit to DJW chasing your money. how effective this will be and the fact that A point to remember is that despite what is said off the record, compa- the payment process is tradition- nies will make their own business decisions ally slow in the Middle East, as as to how they move forward. the entire business culture in the Although no formal register exists, many he Middle East, Dubai in particu- region is different. Of course you can members and specialist companies operat- T lar is a dynamic and exciting place make strict rules about your payments ver- ing in the theme park business can quite to work, with many ambitious well sus the work you do, but there will come a easily reel off a list. funded projects to be undertaken. The point where payment will slip and you then Government support for small com- common theme for all projects, however, is have to start making some business deci- panies working abroad is non-existent, the payment process! sions as to whether you pull out or continue. therefore, a very useful role that local Generally it starts well, but as a project This is not always a black and white deci- Embassies could fulfi l is to look at the progresses, payments start to slow. sion as the cost of re-mobilization could be amount of money owed to their national Pressure to complete is then piled on, with high, particularly if you have a specialist companies and show there is support and frequent promises that all payments will be team and have other projects where you even assistance, for these companies in resolved, as the project management team need to share these resources. recovering what they are owed. sense that consultants or contractors may Re-mobilization then becomes another Nobody in the industry wants to do or start to slow their progress if payments are source of negotiation as of course the cli- say the wrong thing that could bar them not forthcoming. ent never wants to pay these costs. from future work, or that could prevent pay- Having recently joined the TEA Board Dubai has suffered in the current world ments being made, but ultimately they just for Europe and the Middle East, it is very slump, with all major projects going on want to be paid for their work! apparent that European companies are hold and many companies now chasing We’ve had some very good clients and owed considerable amounts of money, to money. In many cases, the gloomy reality is project management teams that have set the point where there is support and sym- that there are a number of companies that payment rules and followed them to the pathy for a name and shame game to start. will not get paid. Rumours are of course letter. Unfortunately they’re in the minority. Over the years I have been asked by rife with regard to payment policies for dif- I will name one major Dubai company for many people in the industry what it is like ferent projects, others it is known have the being the best we have worked for – Majid doing business in the Middle East, with pay- money available to clear debts but are not Al Futtaim projects, managed by Mace, ment being top of the list. My answer is that wishing to do so at the current time. have always been well managed and run we’ve always been paid, but fi nal payments Within the TEA there have been discus- like clockwork on payments and the busi- can take up to two years to get, assuming sions about keeping a register of major ness format in general.
24 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 WWW.CLAIRETOPLIS.COM
Have you been affected by slow payments? Share your views – email [email protected]
developing overseas business, but Everyone involved in business in the KEITH GRAY seems to be doing little now that Middle East is hurting. But professional Director overseas business is drying up. I services companies are hurting every- Haley Sharpe Design understand the government’s loan where. It’s the scale of hurt, especially guarantee scheme, to support after the good times, that is the main factor. companies suffering from non-pay- Many companies survived and thrived on ment, is being thwarted by banks business in the Middle East and other hot that are concentrating on short- spots over the past few years. Now that the ubai and the surrounding region term intervention at punitive rates. We need pipeline of cheap credit has been turned D has been a huge draw for our government support to recover debts. off we all need to reassess and adjust. industry over the past fi ve years. I think what will happen is that when the The challenge facing us all is that the There was nowhere else that was invest- major projects return in places such as global downturn means that everywhere ing similar sums in attraction projects, and Dubai, clients will see a more aggressive is affected. Just as a rising tide raises all many in our industry invested a great deal stance on payment terms from UK com- ships, so ebb tide lowers them. We are in developing business in the region. panies, and fi nancing costs will be added, all in the same position and there are too The end of 2008 saw an unprecedented resulting in increased project costs. many people chasing too few projects. shut-down of almost every major project There are still projects out there and we are aware of many companies that in the Middle East, Asia and in are now facing payment problems from cli- DAVID CAMP the more mature markets, but the ents whose cash fl ow has frozen. Many of Director world is a whole lot more competi- the major projects, even those by govern- Economics Research tive now. ment-backed developers, appeared to have Associates It’s not going to be easy for the fragile cash fl ows, reliant on the banks to next few years, but there will be bridge fi nancing from real estate sales, and opportunities. Life will be about the banks have now withdrawn support. how you perceive it. Focusing We hear many stories of UK and o the party is over? It was fun. Lots on what has gone is only going to leave a European companies that are now being S of people made lots of money. The sour taste. We need to be realistic about told that clients don’t have the money to reality was that it was never sus- the challenges facing us, get back to busi- pay. There’s very little that these companies tainable; not at the scale being planned. ness basics, make some tough decisions can do, apart from wait – legal action is too The truth is that there are still opportuni- and keep delivering quality work. And it will lengthy and too costly. ties in the Middle East and a market that is be important to do our homework better, This returns the problem back to UK not being satisfi ed. Wild Wadi and Dubai understand the markets and help clients shores. The government offered plenty Aquarium are pulling in visitors. But Dubai focus on realistic, achievable projects of initiatives to support UK companies in doesn’t need 20 more attractions; just a few. rather than pipe dreams.
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 25 TOP TEAM
DURRELL WILDLIFE CONSERVATION TRUST
Staff at Durrell’s Jersey headquarters work with endangered species, welcome visitors and raise awareness about conservation around the world. As the organisation celebrates its 50th anniversary, Vicky Kiernander speaks to its top team
NAOMI WEBSTER CONSERVATION OFFICER
What’s your day-to-day role? ÆL:8DBBJC>86I:DJG I spend my days communicating with a wide variety of audiences: visitors, school B:HH6<:HI=GDJ<=6 groups, members – that’s anyone from K6G>:IND;;DGB6IHÄ ages three to 103! I talk about the animals we have here, the threats they’re facing 6C>B6AI6A@H!H>
26 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 LUCY SINCLAIR VISITOR CENTRE MANAGER
What’s your day-to-day role? tions, weddings, conferences etc. Almost As visitor centre manager at Durrell I all these visitors pass through our centre. manage a team of up to ten people who provide all the service functions in this How do you get people to understand area, including admissions sales, retail that Durrell is about wildlife con- sales, online sales, membership and ani- servation and is not a conservation mal adoption applications, and general theme park? enquiries. I liaise with our education team Our website and printed material empha- and animal staff to ensure that the team sises this, but the most important way of has up-to-date information on the trust’s communicating this message to visitors is work in Jersey and overseas, and about via the front of house staff. They help to our animal collection. I also work with vari- explain that visitors will see a unique col- ous other departments and our volunteers lection of highly endangered species and to provide guided tours, VIP visits, Behind that Durrell is working not only on a cap- the Scenes tours, school group visits, etc. tive breeding programme here in Jersey I’m responsible for buying goods for the but that we are involved in working within gift shop and evaluating the retail prices. communities overseas to conserve wild The team also gets involved with spe- How important is the visitor centre populations of endangered species. cial events both on-site and occasionally in the overall work of Durrell? off-site, which can involve anything from The visitor centre plays a hugely important What are Durrell’s plans for handing out leafl ets to dressing up as a role for Durrell as the fi rst and last point redeveloping the visitor centre? bear or a lemur to promote Durrell! of contact for all our visitors, so we take We hope to expand and improve the exist- a big part of the responsibility for attract- ing building, perhaps to include a coffee What does the visitor centre entail? ing repeat visits, signing up new members, shop and visitor toilets at the main entrance, The visitor centre helps Durrell in its con- and promoting the animal adoptions, all of but detailed plans are still under discussion. servation work by distributing information which raises funds to help the Trust con- I hope the improved centre will help us to about its work worldwide. There are infor- tinue its overseas work. fast-track admissions for existing Durrell mation fi lms showing in the entrance foyer, members, improve admissions and infor- guide books and newsletters available for How many visitors does mation services, and incorporate a visitor purchase, and of course the direct interac- Durrell attract each year? experience at the main entrance highlight- tion with members of staff to help get our We have around 185,000 visitors to Durrell ing Durrell’s status as an international mission statement across to visitors. excluding private events, corporate func- charity, giving a clearer idea of our mission.
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 27 TOP TEAM
KELLY MANUEL HEAD OF MARKETING
What’s the role of the marketing With the planet’s biodiversity in more need department at DWCT? of help than ever, what we all do to con- As a team our goal is to raise awareness tribute to the earth’s health and wellbeing and understanding about Durrell and its will be critical. Communications over the conservation work, ultimately to increase course of the year will focus on what DWCT income to the trust. This assists the organi- has achieved, what DWCT will achieve sation in fulfi lling its mission of saving in the future and how audiences can get species from extinction. involved to start making a difference. Our audiences are local, national and international people on every level but What activities and events particularly those interested in conserva- support the campaign? tion, are familiar with Gerald Durrell and his We’ve planned a host of events, including work and want to visit actually or virtually a party for 250 children members, a 50th as a result of our marketing. We also act anniversary dinner attended by Sir David as a support mechanism for other depart- Attenborough, a ball, a concert and Durrell ments at DWCT to ensure they have the Day in July, where we are inviting the whole correct tools to achieve their objectives. celebratory year. Workshops were set up island [Jersey, UK] to Durrell for free. There This may be a piece of marketing material, to determine the opinions of key stakehold- will be stalls, entertainment, food stands or may involve working towards a higher ers and as result, we developed a hook to and family activities. brand profi le so that our conservation and hang a campaign on, which was ‘It’s Time’. We’re producing a 50th anniversary fundraising teams can be successful. ‘It’s Time’ is a rallying call to prompt rose called the Durrell Rose, which is cur- everyone, everywhere into action. DWCT rently growing in our grounds, and we’ve How are you commemorating has achieved so much. In Jersey, DWCT’s produced a catalogue of 50th anniversary the trust’s 50th anniversary? major breeding fi rsts include Alaotran gen- products for sale including ‘It’s time’ beer, Activities relating to our 50th anniversary tle lemurs, Rodrigues and Livingstone’s 50th anniversary It’s time champagne, are hugely important to our work. We’re fruit bats, Rodrigues fodys, Madagascan wine and jewellery. We’ve also launched a a charity and can’t survive without fi nding fl at-tailed tortoises, Round Island boas and fundraising campaign together with Jersey ways to generate income to go towards our Montserrat mountain chicken frogs. The Dairy. All of its small blue milk cartons can mission. Initial meetings took place in early trust has also brought a number of species be turned into a money box and when full 2007 with representatives from DWCT to back from the brink of extinction. can be donated to Durrell for a chance to discuss the fi rst steps in organising a 2009 But this is only the tip of the iceberg. win a VIP tour and family membership.
ABOUT DURRELL WILDLIFE CONSERVATION TRUST Developments for 2009
orld famous author and natural- In addition to the It’s Time campaign, ist Gerald Durrell founded the DWCT is working on small site devel- W Durrell Wildlife Conservation opments this year to refresh its Jersey Trust in 1959 out of a desire to show that headquarters. This includes the new meer- things could be done better. His mission kat exhibit – Discovery Desert, which can was to save species from extinction, so be seen from the terrace of the café, and he created a safe place for the animals on includes a ‘bubble’ to give visitors an up- the island of Jersey in the Channel Islands. close view of the troupe. Later this year, Headquartered in a 16th century manor the enclosure will also house yellow house and surrounded by 32 acres of mongooses, native to mainland Africa park and farm land, he dedicated the site and a close cousin of the meerkat. to breeding endangered species as one As well as this, the trust is currently means to ensure their survival. The site constructing a new enclosure for red receives185,000 visitors a year. river hogs, a species not previously In 1963 Gerald Durrell turned his ‘zoo’ seen at the Durrell headquarters. into a charitable trust, the Durrell Wildlife The enclosure is due to open in mid- Conservation Trust. It’s established breed- July. Finally, the trust will redevelop ing groups of many species of endangered the Walled Garden, transforming it mammals, birds, reptiles and amphib- into a Madagascan Experience to ians and has pioneered the return of their showcase the trust’s vital con- progeny to the wild. The trust established servation work on that island. education programmes, from the teaching of schoolchildren at the site in Jersey to awareness campaigns among locals in the homelands of endangered animals.
28 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 JAMIE COPSEY HEAD OF TRAINING. INTERNATIONAL TRAINNG CENTRE (ITC)
What’s your day-to-day role? direct result of our work. We try to equip I’m responsible for developing new people with the many skills needed for this courses in conjunction with our con- kind of work so they can apply them in the servation department: determining the wild. For example, a few participants of a content, sourcing funding and fi nding course we ran in the South Pacifi c applied lecturers. The conservation department for a grant following the training and went has identifi ed where the world’s greatest on to rediscover the Pohnpei mountain threatened endemic species are, which we starling on the island of Pohnpei. call TopSpots. This determines where we need to work and the conservation skills What are your future plans? required, which infl uence our course offer- We’re developing a support network for ing. We run 10 courses a year and some graduates of our courses. It can be diffi cult 1,700 conservation professionals from 122 when they return to work after enjoying countries have gone through our pro- their experience here. Very often they gramme since the ITC launched in 1985. lack resources and feel discouraged, so We’ve also taught around 750 UK univer- we want to give advice and put them in sity and college students. touch with funding sources. We also want to work better with people, understand to open our courses up to more people How has conservation training their needs and fi nd common ground. outside of the conservation world such as evolved at the ITC? That’s where conservation needs to go in environmentally aware companies and lay When we launched, the idea was to the future if we are to make a difference. conservationists. develop people’s husbandry skills so We also want to identify more conser- they could take better care of animals How does your work help the vation entrepreneurs – people who swim in captivity. This progressed to teaching trust achieve its aims? against the tide and make things work mid- and senior- level conservationists. DWCT has already saved six species from regardless of where they’re from or how Our experience of running conservation extinction and is currently ensuring the little money they have. For example, a projects shows the successful ones are survival of more than 30 endangered spe- Bolivian who completed a couple of our led by people with good communication, cies worldwide. Last year the Mauritius courses is now setting up breeding facilities fi nancial, planning and negotiating skills. Fody and Echo Parakeet were downgraded for the critically endangered Lake Titicaca Conservation is all about people and our from critically endangered on the IUCN’s Frog. We want to identify more people like courses increasingly focus on project man- (International Union for Conservation of this, bring them to Jersey and offer intern- agement skills to enable conservationists Nature) red list of threatened species as a ships to give them specifi c skills training. ●
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 29 ECONOMIC RESEARCH
A PAUSE IN CONSOLIDATION?
Strong organic growth, heightened merger and acquisition activity by leading European operators and international expansion are all boosting the visitor attractions market. Deloitte & Touche’s Simon Harrison and Nigel Bland consider the opportunities and challenges ahead
hen considering the recent levels of merger and estimated revenues of approaching %1.7 billion (£1.5bn, $2.4bn). acquisition activity, it’s interesting to compare the This eight-fold growth in revenues has been driven by aggressive changes in the European landscape between 2001 sector consolidation via single asset and portfolio acquisition and 2008. As Disneyland Resort Paris celebrated strategies. Over the last three years, these four operators have Wits 15th anniversary in 2008, it remained the most popular visitor undertaken around 20 transactions involving over 70 attractions. attraction destination in Europe, with 15.3 million visitors. Behind Disneyland Resort Paris, four major European opera- PRIVATE EQUITY tors have signifi cantly altered the shape of the sector over the Merlin has led this wave in terms of the fi nancial value of transac- last six years. In 2001, 56 attractions generating estimated rev- tions, while Parques Reunidos has been the leader by volume of enues of %200 m (£170.5m, $277.5m) were operated by Merlin parks acquired. A common characteristic of the two leading consoli- Entertainments, Parques Reunidos, Grévin et Cie and Aspro Ocio. dators is their ownership by private equity. With the fi nancial support By 2008, these same operators had over 175 visitor attractions with of Blackstone for Merlin and Candover for Parques Reunidos, both operators have pursued aggressive buy and build strategies. In the last three years, Merlin has acquired the Tussauds Group for £1bn ($1.60bn, %1.2bn), the London Aquarium and Gardaland, the largest theme park in Italy. These transactions have contributed to Merlin increasing its scale by over tenfold, making it the world’s sec- ond largest visitor attractions operator, with 35 million visitors and revenues of %830m (£708m, $1.2bn) across 57 attractions – a big step up for a business with revenues of %40m (£34m, $55.5m) and 20 attractions in 2001. On 1 July, Merlin announced it will open a new Legoland Discovery Centre in Manchester. Since its sale by Advent International to Candover and Bourne Leisure for £606m ($986m, %711m) in March 2007, Parques Reunidos has accelerated its acquisition programme. Compared to the addition of three parks in the two-year period prior to the sale, Parques Reunidos has subsequently acquired a further 43 attractions. Over the same period, Aspro Ocio acquired eight new attractions in Europe, while Grévin et Cie has focused on its own organic growth since its Star Parks deal in May 2006.
DIVERSIFICATION The two leading consolidators have both broadened their focus New ownership may be sought for Busch Entertainment away from their traditional Western European heartland and gained
FIG 1 SUMMARY OF OPERATORS – 2001 VS 2008 2001 2008 Ownership Revenue (m) No. of sites Ownership Revenue (m) No. of sites Disneyland Resort Paris Listed 986 1 Listed 1,310 2 Merlin Entertainments Private Equity 40 20 Private Equity 830 57 Parques Reunidos Public 58 10 Private Equity 509 67 Grévin et Cie Division of plc parent 58 7 Division of plc parent 226 20 Aspro Ocio Private 44 19 Private 122 39 200 56 1,687 176
Source: Company websites, MINT Note i) Financial results for Grévin et Cie and Aspro Ocio relate to 2007 ii) Exchange rate of `1.2558:£1 applied to Merlin Entertainments revenue for 2008
30 Read Attractions Management online attractionsmanagement.com/digital AM 2 2009 ©cybertrek 2009 Merlin acquired Italy’s Gardaland, SUMMARY OF M&A TRANSACTIONS BY MAJOR OPERATORS SINCE 2005 the country’s largest theme park FIG 2 No of Date Target Country Value £m signifi cant footholds in the North American attractions market. Parques Reunidos started in 2007 May-08 London Aquarium UK 1 n/d with several small park acquisitions, then Mar-07 The Tussauds Group Int'l 12 1,030 Merlin stepped up the pace by acquiring Palace Nov-06 Gardaland Italy 1 n/d Entertainment and its 32 North American Entertainments May-06 Aquatica Italy 1 4 parks for £162m ($264m, %190m). Group Jul-05 Legoland Europe & US 4 257 Following this and two other US trans- May-05 Tertiary buyout by Blackstone UK/Europe 102 actions, over half of Parques Reunidos’ attractions are in North America. Grévin et Cie May-06 Star Parks Europe 5 164 A development to watch closely in Aug-08 Delta Park Neeltje Jans Holland 1 n/d 2009 is the future ownership of the Busch Apr-08 Blue Reef Leisure UK 4 n/d Entertainment assets. Busch Entertainment Aspro Ocio Mar-08 Oakwood Leisure UK 1 n/d comprises of four Seaworlds, three water- Mar-07 Puuhamaa Oyj Finland 1 25 parks and three hard ride parks in North Mar-07 Western Water Park Spain 1 24 America, with 22 million visitors in 2007. Apr-08 Sea Life Park USA 1 n/d It’s also involved in four new potential Dec-07 Kennywood USA 4 n/d attractions in Dubai. Although specula- Dec-07 Aquarium de mar del Plata Argentina 1 n/d tion continues over the possibility of a sale, the transaction would offer both Merlin Nov-07 Tusen Fryd Norway 1 42 Entertainment and Parques Reunidos a Jul-07 Palace Entertainment USA 32 162 major opportunity to signifi cantly increase Jul-07 Bon Bon Land Denmark 1 20 Parques their North American presence. Apr-07 Aquarium of the Lakes UK 3 n/d Reunidos Mar-07 Secondary buyout by Candover Spain 606 GOLD IN THE DESERT? Mar-07 Grant Leisure Group UK 10 In parallel to growing their North American Feb-07 Aqualud France 1 n/d presence, the Middle East was perceived Aug-06 Mirabilandia Italy 1 n/d as a fertile ground for expansion by opera- Aug-06 Marineland France 1 51 tors as the region seeks to establish itself as one of the world’s leading tourist des- May-06 Bo Sommarland Norway 1 5 tinations. Dubai has two major projects Source: Company websites, Factiva, Corpfi n, Mergermarket
AM 2 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 31 ECONOMIC RESEARCH
under development – Dubailand and the FIG 3 ATTENDANCES AT THE TOP 20 EUROPEAN AMUSEMENT/THEME PARKS IN 2008 Worlds of Discovery. Real estate partners Rank Park Location 2008 Attendance (m) % change are leading each development and are 1 Disneyland Park France 12.69 5.7% expected to provide the majority of the 2 Europa Park Germany 4.00 Flat fi nancial investment. The park operators are likely to be involved on a franchise or 3 Tivoli Gardens Denmark 3.97 -3.4% park management contract basis. 4 Port Aventura Spain 3.30 -10.8% Tatweer is developing the 3bn sq ft 5 De Efteling Netherlands 3.20 Flat (280m sq m) Dubailand, with anchor ten- 6 Gardaland Italy 3.10 Flat ants such as Dreamworks Animation 7 Liseberg Sweden 3.05 Flat Park, Six Flags, Universal Studios, Marvel 8 Bakken Denmark 2.70 Flat Superheroes and Legoland (Merlin 9 Walt Disney Studios France 2.61 4.5% Entertainments). In partnership with Busch 10 Alton Towers UK 2.52 5.0% Entertainment, Nakeel is creating Worlds 11 Phantasialand Germany 1.90 Flat of Discovery on The Palm Jebel Ali, which will include a SeaWorld, Aquatica, Busch 12 Legoland Windsor UK 1.82 10.0% Gardens and Discovery Cove. 13 Parc Asterix France 1.80 11.1% Amid the global economic uncertainty, 14 Thorpe Park UK 1.70 Flat many projects in the Middle East have 15 Legoland Billund Denmark 1.65 2.5% been placed on hold. Universal Studios at 16 Mirabilandia Italy 1.60 -5.9% Dubailand is still underway, although it’s 17 Futuroscope France 1.60 Flat expected to open later than scheduled. 18 Parque de Attracciones Spain 1.50 Flat The focus of the leading operators may 19 Duinrell/Attrakiepark Netherlands 1.36 0.4% become even more international in the 20 Heide Park Germany 1.33 -5.0% future. Two regions of interest might be the Far East and Central Europe. Both have Total 57.39 1.1% some of the highest rates of economic Source: TEA/ERA growth but are underdeveloped in terms of professionally-managed visitor attractions. These trends may leaseback of its UK sites at Madame Tussaud’s London, Thorpe encourage operators into park management, acquisitions or Park, Alton Towers and Warwick Castle to Prestbury in July 2007. developments in these markets. However the current volatility in the real estate sector will curtail such transactions in the short term and the turmoil in the banking FUNDING markets will make it virtually impossible to create equity value from Many leisure sectors with freehold assets, particularly the hotel fi nancial engineering in the next two years. industry, have exploited a trend to divide asset ownership from Despite being busy with their merger and acquisition activity, the operations with opco/propco splits and sale and leaseback trans- major operators have successfully continued to deliver organic actions. This route is attractive, as the transaction releases capital growth through enhanced yield management of their attractions. for investment in other areas and enables the operators to focus on The range of successful initiatives includes the promotion of their core competencies of operating successful visitor attractions. advance ticket purchases, generating higher gate revenues and Merlin utilised this avenue with a £622m ($1bn, %730m) sale and the mutual marketing of attractions. Operators have also generated incremental spend once visitors are inside the gates. In this area, the sale of priority queuing tickets for the most popular rides in a park has proved highly successful. More of the larger parks have introduced or increased the accommodation offering. After food and beverage sales, the second largest in-park revenue genera- tor is the sale of photographic souvenirs. Operators have successfully targeted these impulse purchases by customers where there is typically less price sensitivity. The initiatives implemented include higher lev- els of customer service, better technology solutions such as higher quality photo- graphs and videos, greater reliability and more creative visitor products. Attendances at the top 20 European attractions in 2008 were stable versus the 2007 season at 57 million visitors. This may refl ect the diabolical weather, as aver- Merlin will operate a new Legoland attraction at the 3bn sq ft Dubailand age annual growth for these attractions
32 Read Attractions Management online attractionsmanagement.com/digital AM 2 2009 ©cybertrek 2009 TITLE
Rank Park Location 2008 Attendance % 2007 (millions) change
1 Disneyland Park France 12.69 5.7% 12 2 Europa Park Germany 4.00 Flat 4 3 Tivoli Gardens Denmark 3.97 -3.4% 4 4 Port Aventura Spain 3.30 -10.8% 4 5 De Efteling Netherlands 3.20 Flat 3 6 Gardaland Italy 3.10 Flat 3 7 Liseberg Sweden 3.05 Flat 3 8 Bakken Denmark 2.70 Flat 3 9 Walt Disney Studios France 2.61 4.5% 2 10 Alton Towers UK 2.52 5.0% 2 11 Phantasialand Germany 1.90 Flat 2 12 Legoland Windsor UK 1.82 10.0% 2 13 Parc Asterix France 1.80 11.1% 2 14 Thorpe Park UK 1.70 Flat 2 15 Legoland Billund Denmark 1.65 2.5% 2 16 Mirabilandia Italy 1.60 -5.9% 2 17 Futuroscope France 1.60 Flat 2 18 Parque de Attracciones Spain 1.50 Flat 2 19 Duinrell/Attrakiepark Netherlands 1.36 0.4% 1 20 Heide Park Germany 1.33 -5.0% 1
Total 57.39 1.1% 57
between 2005 and 2008 has been 2.5 per Parques Reunidos now owns 67 consumers spending power. However, in cent (source: TEA/ERA). However, 2008 sites worldwide, including the the UK, 2008 has seen the growth of a was a strong year for many operators, which Bournemouth Oceanarium (above) ‘staycation’ trend, which appears to be outperformed this average. Disneyland accelerating. While attractions may suffer Resort Paris reported turnover growth of nine per cent and theme from fewer international visitors, they could get higher levels of park attendances of 5.5 per cent in the year ended 30 September domestic holidaymakers, more than compensating for any shortfall. 2008, while Grévin et Cie reported revenue growth of 4.7 per cent During the early 1990s, there was limited direct correlation with a 3.4 per cent visitor increase. between visitor levels and the overall economic climate at eight Meanwhile, in the US, Six Flags reported revenue growth of fi ve leading UK visitor attractions (see fi gure four – PX). Attendances per cent for the year to December 2008 driven by an increase of rose in 1992 against a deteriorating economic backdrop but three per cent in visitors and two per cent in revenue per visitor. declined in 1995 and 1996 during a period of strong GDP growth. Attendances at the top 20 North American parks were level with the Although it’s highly likely that the economy has a strong infl uence performance in 2007 (source: TEA/ERA). However, the company on the performance of visitor attractions, other factors such as the has fi led for Chapter 11 bankruptcy protection as part of attempts weather and pricing will also infl uence the out-turn for each season. to clear debts of $2.4bn (£1.47bn, %1.73 bn). It’s still early days to conclude on the effects of the economy. These attractive dynamics continued to support merger and Many major European attractions experienced strong trading over acquisition activity during 2008 in both attraction operators and Easter, with attendances ahead of last year. Euro Disney’s results for suppliers to the sector. Alongside the site acquisitions in Figure the six months to March 2009 showed a two per cent fall in theme two (PX), Picsolve, one of the leading providers and operators of park revenues compared to the prior year. However, the results may photographic solutions to visitor attractions, was acquired in July refl ect the staycation effect – Euro Disney had higher visitor levels 2008 by Fidelity Equity Partners for £32m ($52m, %37.5m). but lower hotel occupancy and reduced spend per visitor. The current climate is also creating challenges for operators’ CURRENT CLIMATE capital expenditure programmes. Most major attractions have A key question for visitor attractions will be the resilience of the ongoing reinvestment programmes and some may need to be sector to the challenges of the economic climate and lower levels revisited if the slowdown starts translating into signifi cant restric- of consumer confi dence. The availability of debt fi nance has sup- tions on their fi nancial resources. With investment in new rides ported the rising valuations in visitor attraction assets over the last often used to attract visitors, any delays in investment activity could couple of years. The current state of the debt markets may con- create a knock-on effect on 2010 attendance levels. strain valuation multiples and hinder transaction activity in the short While 2008 was a good year for many, it’s uncertain how con- to medium term while vendors adjust price expectations to levels sumers will behave in 2009. A slow down in investment may occur, that purchasers are able to fi nance. For operators with pre-arranged bringing a focus on generating cash from existing businesses. fi nancing facilities for bolt-on acquisitions, this backdrop and the Beyond that, further consolidation can be expected, which may fragmented sector may continue to deliver acquisition opportunities. incorporate increasing geographic coverage and a return to the Visitor attractions may be pressurised by the tightening of public markets for the leading private equity-backed operators.●
AM 2 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 33 NEW OPENING
Great North Museum
Terry Farrell and Partners and Casson Mann have transformed an intimidating Victorian museum into a modern centerpiece for Newcastle’s cultural quarter. Kath Hudson and Liz Terry speak to the two practices about their work on the £26m project
he Hancock Museum was cutting edge when it opened in 1884, but T changes to the building, which fea- tured galleries with row upon row of glass cabinets, had been piecemeal over the years. New funding has meant a fresh start – world-renowned architecture and urban design practice Terry Farrell and Partners (Farrells) has given the ageing, awkwardly- shaped Victorian building a £26m ($42.7m, %30.3m) transformation. Reopened on 23 May as the Great North Museum, the site is now the centrepiece of Newcastle's cultural quarter, where it sits alongside Newcastle A life-size replica of a T-Rex is among the new exhibits University, the University of Northumbria and the Newcastle Civic Centre. Casson Mann have overseen the amalga- the quayside was by-passed and it just Farrells, drawing from experience mation of three Newcastle-based museum atrophied. The top area, the Haymarket, transforming historic attractions such as collections into the new facility. became vibrant until money was invested London's Royal Institution and Edinburgh's The project has special signifi cance back into the quayside, and the emphasis Dean Gallery, has redesigned and for Farrells founder Sir Terry Farrell, who shifted down there again.The Haymarket extended the building over a six-year grew up in Newcastle and has watched was slightly abandoned and the Hancock period, integrating the best features of the city develop. “Newcastle started by Museum became cut off. It was almost like the existing building with a contempo- the dockside and was a very busy, lively a building that you could see, but couldn’t rary extension, while exhibition designers port. However, when the railway was built, get to. It started to go downhill, as did this part of the city by the ring road. “Then the two city universities began to expand into what had been the Haymarket, built a new administration building, and extended the theatre. It has now become a cultural quarter, a civic quarter and a uni- versity quarter. The Great North Museum plays a very important fl agship role in establishing that idea in people’s minds.”
COLLECTIONS AND CONTENT Not only did this project need to play a fl ag- ship role in the city, it also had to integrate the collections from the original Hancock Museum – this included a mix of natu- ral history and Egyptology – the Shefton Museum, which had an emphasis on Greek Art and archaeology, and Newcastle University's Museum of Antiquity, which was housed at the university and contained artefacts from Hadrian’s Wall. Newcastle The Hadrian’s Wall Gallery University's Hatton Gallery is also part of
34 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 GREAT NORTH MUSEUM EXHIBITIONS
LIVING PLANT - Visitors can fi nd out about animals via a ‘bio-wall’, interspersed with some live animal tanks and aquaria. Star objects include a life-size model of an elephant and a great white shark. HADRIAN’S WALL GALLERY - Interactive model of the wall, including archaeological fi nds and stories from people who lived at the time. FOSSIL STORIES GALLERY - Explaining the Earth’s past through its fossil record. MOUSE HOUSE - Oversized furniture lend an Alice in Wonderland feel to this under-fi ves space, which echoes themes of the main galleries with fun exhibits. EXPLORE! - Giving visitors more information on museum collectors. NATURAL NORTHUMBRIA GALLERY - Provides a toolkit for identifying wildlife and offers a virtual visit to sites in the region. ANCIENT EGYPT - Ancient Egyptian collections and objects on loan from the British Museum, explaining how the Nile shaped the lives of the Ancient Egyptians. WORLD CULTURES - Objects from the museum’s collection of world cultures, including objects from the original voyages of Captain Cook. ANCIENT GREEKS - An important collection of Greek and Etruscan art and archeology, describing life as an Ancient Greek. ROMAN EMPIRE GALLERY - Exploring objects from the wider Roman Empire including a Roman silver denari of Anthony and Cleopatra. A bio-wall enables guests to learn more about animals
the new Great North Museum project, but about hundreds of creatures and discover MODERN BUILDING remains in its existing building. how those living in extreme locations sur- As with all modern buildings, accessibil- As the museum was used frequently for vive. In the Fossil Stories Gallery, visitors ity was top of the list. New lifts have been educational and scientifi c purposes, it was can use virtual technology to re-assemble installed and the design has simplifi ed the a challenge for Casson Mann to make it a pre-historic creature. way a disabled person would access the appeal to the mainstream without becoming Making the galleries a pleasurable envi- building. All colours used had to be signed gimmicky and alienating its existing audi- ronment to spend time in and reducing the off by the council, English Heritage (the ence of students, academics and scientists. oppressive nature of the former building building is Grade I listed) and the DDA. “It’s an object-rich museum, loved by was also important. The display areas are Farrells design director Russ Hamilton, schools and used by students,” says built around a Northumbrian theme, which who led the work on the project, explains Casson Mann’s Roger Mann. “We had a continues with the landscaped areas out- how the architectural changes were fairly tight budget and getting the mix of side the museum. “A lot of the galleries are approached: “In 1884, the three main gal- technology right was quite diffi cult, but I about nature. We used colours to open the leries were built. Two were added later, think we’re delivering a lot of interpretation.” rooms out, so you don’t just feel like you’re almost as buttresses to the main building, A few new exhibits have been added, in a gallery,” says Mann. “The design which had started to fall down, meaning including life-size models of an elephant was also based on the idea of reducing circulation was always compromised. and a T-Rex. Multimedia brings the subject museum fatigue, partly caused by going “We looked at how the city relates to matter to life in some exhibitions, includ- into spaces that you can’t see out of and the building, drew a line right through the ing a bio-wall in the Living Planet gallery. not being able to orientate yourself. We’ve building, created a big new threshold on Visitors can use touch screen technology tried to make visual links through to the the axis of the building and opened it out. and hands-on investigations to fi nd out outside and from gallery to gallery.” So now you move through it very much as
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 35 NEW OPENING
The new extension at the Great North Museum you would move through the city. The back The shop has been inte- THE FACTS now terminates on a very strong university grated into the reception pedestrian route, so it’s effectively giving area and a second retail con- ■ The Great North Museum opened in May 2009. the building another front door.” cession in-between the old ■ It incorporates collections from the Hancock The original roof contained skylights, but and the new building can be Museum, Newcastle University’s Museum of these had been blocked out as sunlight is extended for merchandise to Antiquities, Shefton Museum and Hatton Gallery. bad for museum exhibits. The glass in the support an exhibition. 3,500 objects are on display from a collection of pitched roofs was fi lled in so they could more than half a million. be insulated and made more of a control- NEW LIFE IN ■ 10 new galleries and a temporary gallery for led environment. A false ceiling ensures NEWCASTLE touring exhibitions have been created. no natural light gets through, but sophisti- Sir Terry Farrell, known ■ The £26m ($42.7m, %30.3m) project was cated lighting creates a light and airy feel. for his expertise in urban enabled by a £8.75m ($14.4m, %10.2m) grant from All the architectural moves are reversible, regeneration, has worked the Heritage Lottery Fund, as well as funding from just in case future generations might want on masterplans for projects the European Regional Development Fund, One to turn the building back to the way it was. around the world. Adding North East, Newcastle University, Newcastle City Another important aspect of the rede- the Great North Museum to Council, TyneWear Partnership, Northern Rock velopment was to improve the commercial Newcastle's cultural quarter Foundation, Department for Culture, Media and capabilities of the museum. To this end, isn't his fi rst contribution Sport, Garfi eld Weston Foundation, Clore Duffi eld the extension has a vast temporary gal- to the Newcastle cityscape Foundation and the DCMS/Wolfson Foundation lery, 5m (16ft) high, which has been built – the Farrell-designed Museums & Galleries Improvement Fund. according to specifi cations from com- International Centre for Life ■ Entry is free and the museum expects to mercial touring companies. The space project, completed in 1999, welcome 300,000 visitors a year. will be able to host some of the largest transformed a previously- touring exhibitions, and three exhibitions neglected quarter of the city have already been lined up. The extension with a science centre attraction, offi ce and lation and it’s regionally isolated,” Farrell also has a new education centre with a labratory space and a public square. But says. “Most cities are successful because 60-seater classroom, offi ces, and a library there's more work to be done in terms of they have other places nearby: Leeds, containing the most important collections regenerating Newcastle, which is why a Liverpool and Manchester; Birmingham of works on natural history and archeology project like the Great North Museum is so and Wolverhampton." in North East England. important. “This area is one of the poor- Farrell's next Newcastle project aims The new 60-seater café on the fi rst est economic regions in the British Isles. to solve this – he's working on a master- fl oor runs all day and evening. Its location Newcastle has a relatively small popula- plan to bring Newcastle and Gateshead means it can be closed off from the rest of tion of around 250,000, which causes together into one city. In the meantime, his the museum for functions, and the public concerns about how it will hold its own as bold Great North Museum development is walkway at the back has a Costa Coffee. a city. It has a low critical mass of popu- helping the cultural quarter to thrive. L
36 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009
PLANETARIUMS: FIRST PERSON
What goes into making a good planetarium show? Paul Mowbray and Max Crow from the creative team at the UK’s National Space Centre discuss the production of the new We Are Astronomers show and the best practices involved in creating it
he We Are Astronomers show is the UK’s contribution to the International year of Astronomy, which is celebrating 400 years A STAR since Galileo fi rst used a tel- Tescope. The project is a collaboration between Armagh Planetarium, INTECH Science Centre & Planetarium, Centre For Life, National Space Centre, Our Dynamic IS BORN Earth, Royal Observatory Greenwich and Spaceport with funding from the Science and Technology Facilities Council. We looked at all the areas within astron- thread we could hang the show on. Good omy people were excited about, what they scientifi c subject matter is worth nothing STARTING POINT were doing and how. A good research to the target audience if a compelling nar- Our planetarium shows usually start with a phase is imperative to form the founda- rative can’t be found to sell the story. We set of objectives determined by the main tion of the pre-production period. Different were very conscious that it could become funder or client. With We Are Astronomers members of the team focus on various a telescope show, so we looked for a (WAA), the main funding source was the areas, and we bring together our fi ndings human angle. We didn’t think a case study Science & Technology Facilities Council. so we can share the collective knowledge. following a single person would have wide The brief was to create a show that pro- We conduct typical web research, but we enough appeal, but a natural thread that moted the UK’s involvement in astronomy also talk to educators, teachers and active emerged from our research was how mod- and inspired the diffi cult to reach 13- to scientifi c researchers to get an under- ern day astronomers work together across 19-year-old age group. We had the added standing of the science and the existing the globe. So the main theme became pressure of entertaining a general family challenges of communicating it. massive international collaboration across audience also. It was about making astron- Once we had a good feel for the current disciplines. The secondary theme was to omy exciting and sexy but still credible. state of play, we looked at fi nding a single challenge the public’s preconceptions of
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Characters representing the public in WAA (above); an exploded view of the James Webb Space Telescope highlighting the MIRI instru- ment, which has heavy UK involvement (left)
38 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Enjoying the show (main picture); exploring the electro magnetic spectrum in WAA (below left); working on the music in the dome (centre); the NSC team get lit up with laser light in the dome (right)
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astronomy. This gave us the “chapters”, To ensure accuracy, we worked with a other content discussions. As development and we worked very hard to create a narra- team of science and education advisors progressed, we launched a blog to get tive that covered the history of astronomy, made up of professors and professional public feedback and begin marketing. what the point of astronomy is, the chal- astronomers. These aren’t just experts – lenges and what the future holds. We also these are people who publish and review SCRIPT wanted to show examples of how relevant their peers, so have a lot of experience in The script writing process was the most astronomy is, and how it’s connected to presenting diffi cult to understand informa- diffi cult we’ve ever faced. With so many many areas of science. tion. During the script writing process, they issues to tackle and so many people to As the show’s main theme was about assisted with both fact checking and the keep happy, we struggled on some sec- collaboration, we applied this philosophy way the science was communicated. The tions for longer than usual. One section to the whole production. From an early core script writing team also included our was about the scientifi c process and the stage we engaged with the seven UK sci- in-house astronomer and science commu- massive amounts of data astronomy is gen- ence centres that would be launching nicator Kevin Yates. erating. Then the section’s topic changed the show. We wanted to hear what they To keep everyone up to date we kept an to virtual observatories, and then to the wanted, what worked for them and what online production wiki where we uploaded electromagnetic spectrum. didn’t. They asked for a gentle beginning, updates for the seven science centres, On top of scriptwriting, we had to make because our previous shows were quite our science and education advisors and sure the fi lm was working visually and dramatic and abstract and sometimes our funders so they could provide critique that the transition into other sections was scared small children! The public also feel and feedback. This website was key in the smooth. It’s very important to lead in and a bit cheated if they don’t see any planets communication process and had the sto- out of a change of subject. Right up to the or rockets when walking into a space show. ryboards, show title choices, narrator and day before we recorded the voiceover, we
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 39 PLANETARIUMS: FIRST PERSON
were making sure every word was doing its job and there was no other way to get About NSC Creative the message across. In documentary, and especially in an immersive show like WAA, NSC Creative, based at the UK’s National Space Centre, Leicester, supplies CG it’s important not to have too much voiceo- animation and visual effects for all formats. The main focus is CG large format immer- ver – the audience needs to absorb the sive experiences including fulldome and stereoscopic 3D motion platform rides. The visuals. We record a temporary voice track team also has experience in tv broadcast, exhibition design and corporate events. for each script change to make sure we NSC Creative has more than nine years’ experience producing digital fulldome aren’t confl icting an action sequence with planetarium shows. The team has won recognition for innovation, visualisation and an important piece of science education. sound composition in the area of fulldome and has a library of 10 fi lms, which are licensed in over 140 different locations in over 17 different countries. MUSIC AND NARRATION We found an existing track by New Zealand composer Rhian Sheehan that we but because he had all our requirements in ments, audio and visual to allow them to really liked and fi tted our themes perfectly. spades. Having him attached to the project make changes or increase the level of Rhian was really interested in the project raised WAA’s profi le steadily for months, detail. This way of working means that and created most of the music for the even before it was released. That’s how script, visuals and sound work concur- show. A local company, Leicester-based important the right choice of narrator is. rently, all feeding into each other. The Chameleon Post-Production, completed all benefi t of this way is that the show grows the sound design, special effects and the THE VISUAL PROCESS organically. Changes can be made very surround sound mixing to allow the fi lm to We start the visual process as a concept quickly and then fed back into the whole. work within a dome environment. board and story board. This gives us our Unlike fi lm, where the script is fi nalised Getting the right narrator is one of our main scenes, so even though we might before production begins, we’re more like greatest challenges. We try to invest in the not have a script we know most of what’s documentary, except we create all the con- biggest name we can afford. The narrator going to be in the show. The only element tent rather than edit a fi lm out of an amount has to be respected enough to bring gravi- that’s defi nite is the duration – planetarium of footage. This makes the production tas to the subject, but be associated with shows usually run for 25 minutes. more stressful – you need confi dence it’s it in some way. They also have to sound We experiment with fl y-throughs and all going to work and must trust the team’s good and be experienced in producing simple animation sequences called block creative instincts. It’s vital to have goals voiceovers, which is a very different skill to tests. This gives us options on how the and boundaries set up from the beginning. acting for fi lm or television. Most impor- shots are working while making sure we We Are Astronomers launched in the tantly, they have to be available! maximise the immersiveness of the scene. UK in May and we’ve had fantastic reviews Early on in the production we were We have plenty of experience in produc- from the other science centres and gen- on the streets of Nottingham recording ing immersive experiences but still have to eral public alike. The show was previewed opinions of the public about their percep- test our work in the dome daily. How things at the British Association of Planetaria’s tion of astronomers. We asked some kids move and behave on the dome is very dif- annual general meeting and was described whom they’d like to do the voice over. One ferent to how it looks on our monitors. as the best fulldome fi lm ever seen! girl suggested David Tennant and the rest These tests go into the main edit where The show premiered in the US at the of the group went mental. David was the we assemble the show as a whole. This Southeastern Planetarium Association’s perfect choice, not just because of Dr Who then feeds back to the various depart- annual conference in Nashville in June.
The 1.5million km journey the new space telescope will take (below); using the Fulldome format to show the international collaboration behind the latest astronomical instruments (right)
40 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 PHIL DAY MAX CROW Team CG ARTIST CREATIVE SUPERVISOR My role is creating the computer-gen- My role is creative supervisor, which effort erated content of the full-dome shows is like the director. It’s impossible to using 3D studio max. As I’m part of a have a single artistic vision as so many Members of the NSC small team, this role can vary dramati- people and agendas are involved. The cally to the extent that one day I can be fi nal show is the product of millions of Creative team talk about working on modelling the Very Large compromises and ideas. My main job their roles and their Telescope (VLT), and the next creat- is to keep all the departments focused ing a fl y-through animation of our solar on their individual tasks and make passion for fulldome system. It’s very satisfying to take a sure the big picture is constantly being productions concept for a shot from sketches on addressed. I have to be involved in every paper to a fi nished sequence. There’s aspect from the script to the fi nal sound been a lot of talk of 3D fi lms and it’d be mix. It’s a fi ne balance, being knowl- great to get an opportunity to explore edgeable enough in every area to make that dimension – no pun intended – decisions, but open enough to allow of immersive media in the future. creative input.
PAUL MOWBRAY AARON BRADBURY RUTH HARVEY HEAD OF PROJECTS CG ARTIST PROJECT CO-ORDINATOR I oversee every aspect of the produc- Working within a small team, it’s inevi- I assist in securing new projects and tion process with a focus on workfl ow table that we all get to work on pretty business opportunities for the NSC and effi ciency. I ensure that fi nal quality much every aspect of the show produc- Creative team. Once the project is is at the required level. I love making tion. It can be very hard to produce a secure I’ll project manage and be the Fulldome fi lms! Regular fi lm language piece of work that stands up to an audi- direct link between client and the crea- rules no longer apply. Fulldome is a new ence’s expectations when we compare tive team. Monitoring budgets alongside art form which literally has no barriers. the fi ve of us to the many thousands negotiating and securing the talent for It’s one of the last remaining audio-visual involved in a typical box offi ce produc- the music and the narration elements is experiences that can’t be re-created at tion. We also have to deal with a number another key element to this role. home. Fulldome has the power of shock of added complexities involved with I also ensure that We Are Astronomers, and awe, but when carefully combined fulldome production due to the wide and our other nine fulldome productions, with educational content can be a mas- varieties of audience we cater for. The are licensed to as many operators in the sively inspirational tool to stimulate the culmination of these things is what fulldome market as possible, while mar- next generation and give us all a bigger draws me to NSC Creative. We all love keting our creative services and looking picture of the universe we live in. every part of the production process. for our next project. L
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 41 FAMILY MATTERS TEDDY BOYS
Founded in 1895, shut down by Hitler in the 1930s and asked by the Norwegian government to salvage a failing attraction in 1996. The Lund family business has an extraordinary history, as Håkon Lund tells Kathleen Whyman
re you crazy?’ were The Lunds (from left to my fi rst words,” right: Bjørn, Magnus, admits Håkon Aasmund, Veslemøy Lund, recalling the and Håkon) suc- “Amoment his father told him he was cessfully relaunched buying the bankrupt amusement park Kongeparken with a Kongeparken. With the park having teddy bear theme gone into liquidation three times in its 10 years, the government was determined to get an experienced operator behind the Norwegian park. And the Lund family busi- ness, Lunds Tivoli, defi nitely had that experience – the company has been in the industry for 100 years. “My brothers, Aasmund and Magnus, were also against the purchase,” says Lund, who is now the park’s CEO, “but it was fl attering to be asked by the govern- ment to help, and the bank put together a good package.” When Lund’s parents, Bjørn and Veslemøy, took over the park in Stavanger in 1996, there was nothing there but the basic infra- structure. Since then they’ve invested heavily, doubling the amount they’ve made for the year with their own funds and putting it back into the park. (Last year they invested %3m (£2.6m, US$4.2m)). They’ve added at least one new attraction every year, each sourced for its originality and family appeal. These include a Zeppelin-type airship ride made by Nomura Co Ltd in Japan which is the only one if its kind, a factory where children make their own chocolate, a family coaster built into the side of the hill, a Huss Tri-Star, a tower balloon ride and a Tilt-a-Whirl ride in the middle of a lake, accessed by a pier. Last year the park had its highest attendance to date with 250,000 visitors – up from 40,000 in the park’s fi rst year, and par- ticularly impressive considering Norway’s population is four million. “Now, of course, we’re really pleased my father bought the park,” says Lund. “But there were some very tough years in the beginning when we were trying to change attitudes towards the park. Many people in the region had invested privately and lost their savings. So much had gone wrong that we had to put right, but at least we knew it couldn’t get much worse.” The family realised that to generate visitors and create loyalty,
42 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 they needed more than rides – they needed an anchor “to give the park some soul”. So they looked back to the fun fairs their grand- father had run in the early 1900s, which gave away teddy bears as prizes. BEAR NECCESITIES “Most Norwegians have at some point in their lives won a teddy bear from our mother company, Lunds Tivoli, so we decided to make the teddy bear our mascot,” explains Lund. “To generate excitement about this we launched a teddy bear hospital concept. In 1996 we worked with the (Top left) The park fea- using the Lunds Tivoli name, became a travelling showman and set health minister and the two biggest uni- tures a factory where up a fun fair in Norway during the Second World War. Thanks to a versity hospitals in Norway, and invited children can make special relationship with Kraft food, which owns Freia, a well known everyone to bring their teddy bear in their own chocolate. chocolate brand, his was one of the few companies that could for a health check. In the fi rst hour we (Above right) The access chocolate during the war. The combination of chocolate treated 2,000 teddy bears, which cre- park’s airship ride is and teddy bears for prizes guaranteed the fair’s success and he ated a lot of media coverage.” the only one of its kind soon expanded the business with more travelling fairs. Kongeparken is ‘run’ by a teddy bear king, but how does this traditional toy compete with modern-day FAMILY AFFAIR TV characters? “I don’t think it really matters what type of charac- Lund’s parents, Bjørn and Veslemøy, took over the fairs when ters a park has as long as they tie in with the theme and cement the Hans died and modernised the business before adding to it with values,” says Lund. “Bob the Builder can’t compete with our teddy Kongeparken. When they bought the park, Håkon was fi nishing law bears within the park. Outside is a different story, but here visitors school with no plans to join the company. “Then my father told me see where the bears live and fi nd out how they secretly make the he was buying the park so I said ‘Okay, I’ll come and help you for a chocolate at night. The bears really are the soul of the park.” little bit’. And I’ve been here since!” Despite their father’s insistence The teddy bear theme has proved successful, but these cute, that they get an education and work elsewhere for a minimum of fl uffy toys mask a dramatic history for the Lund family. two years, all three sons have now joined the industry. Aasmund, In 1895, Lund’s great grandfather, founded Lunds Tivoli (Tivoli who has a degree in mechanics, operates Lunds Tivoli’s 100-year- is Norwegian for fun) and opened several parks including Den old carnival, while Magnus, who has an event management degree, Kulørte in Oslo and Norway Indira Park In Berlin, Germany. When operates an event company owning some of the biggest festivals Hitler took power in Germany in 1933 he closed everything down, and fairs in Norway. Their father, Bjørn, is still head of the board and Lund’s Norwegian great grandfather fl ed to Liseberg, Sweden for Lunds Tivoli and their mother is also involved. ‘”It’s a real family where he stayed until he died in 1952. Lund’s grandfather, Hans, entrepreneurship,” says Lund proudly.
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 43 FAMILY MATTERS
I=:G:6G:;:L:G6C9;:L:G;6B>AN Lund is adamant his children will work elsewhere rather than DLC:98DBE6C>:HDJII=:G:!6C9 falling automatically into the company. “Being an owner doesn’t necessarily give you the right to be an operator,” he says. “However, HDL:ÉG:K:GN8DCH8>DJHI=6IDJG if after working in another industry they still have a passion for @>9H7:8DB:
EMMANUEL MONGON, IMAGINEVEST
The Lund family contacted me when they The biggest challenge came from the fact with this move, but it was probably one of the were considering taking over the failed that Kongeparken is located in a mini resident main reasons they succeeded – they could park. They said: “We’re leaders in Norway market, and initially received just 40,000 visi- focus their energy on the guests rather than on travelling amusement, but have no tors in a market of 300,000 inhabitants. On on the space. experience on a fi xed-location facility. Can the west side is the ocean and on the east It’s such a pleasure to you help us?” It was a great privilege to be side mountains and fjords. There is one road see how the Lund fam- involved from the start. and Oslo is six hours drive away. Together ily has implemented Imaginvest were the master planners. As well with the Lund family we had to work out how the strategy we devel- as the planning and design, we put together to adapt to this very small market, turn around oped together. They’re a re-engineering strategy, incorporated the negative image of the park and develop a a wonderful family with the strengths and values of the Lund fam- sustainable business. strong values who ily, carried out an economic study, did the We decided to reduce the size of the park are totally devoted marketing campaign, the visual identity and and not use all the available space. The to entertaining helped plan the ride mix. Lunds said afterwards they were surprised their guests.
44 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Emmanuel Mongon to help with the master planning. “We did a feasibility study of the park,” recalls Lund. “Our goal was to break even after fi ve years, and we broke even after the fi rst. Then, in 2003 and 2008, we were voted one of the best parks in Norway by the national media, even though we com- pete with parks two or three times bigger.” Lund attributes this success to the park’s family-friendly offerings for children up to age 14. All the park’s amusements incor- porate six values – learning, play, sharing, exploration, magic and excitement. The sig- nature attraction is the Willy Wonka-inspired chocolate factory sponsored by Kraft. “They were the fi rst company to partner with us,” says Lund. “That wouldn’t have happened without the relationship my grandfather set up all those years ago.” In the park, they have deliberately tried to keep visiting fami- lies together by positioning rides for all age groups alongside each other rather than in different areas. The value of sharing is reinforced by the Lund family through (Top left) Teddy bears looked at ways they could contribute. “One of our values is learn- free sun screen, free drinks if a souve- have been part of the ing and teaching, and getting young people involved was one of the nir bottle or mug is bought, the loan of Lund family’s attrac- Capital of Culture 2008’s aims,” says Lund. “We combined the two a digital camera with images emailed tions since the early by inviting students at landscape architecture universities all over afterwards and free cod liver oil, which 1900s. (Above and Europe to enter a contest called Growing up Green. We asked them Lund assures is a “fun thing”. opposite) The park to come up with a concept for the park involving children, move- offers family coasters ment and nature.” The competition received 39 entries, which were CAPITAL OF CULTURE judged by a university professor, a well-known Norwegian archi- The government hasn’t approached the family about any other tect and members from Lunds Tivoli’s junior board, who are aged parks, but Lund isn’t sure they’d be interested anyway. “We’re com- between eight and 13. Four teams – hailing from Serbia, the Czech mitted to developing Stavanger into an area that people want to Republic, the UK and Norway – were chosen as fi nalists and fl own visit and live in. This region is the industry capital of Norway, where to the park to build their projects in 30 days. One project was about much of our national revenue is made, but it needs manpower – we insects, while the others explored seeing, hearing and feeling, the struggle to fi ll all jobs, including mechanical and electrical work, four forces of nature and CO2 cleansing; all four were created in the teachers and nurses. Normally, as an attractions operator, we’d park for guests to experience. “It was very exciting,” says Lund. “It’s only be interested in the tourist side, but we view being a visitor and completely different to a coaster or something like that, but it was a being interested in moving here as part of the bigger picture, so benefi cial partnership for the park. These students challenged us to we’re working with politicians and other organisations towards that.” see the attraction value in things we wouldn’t normally see.” Stavanger got a huge boost last year when it was made the With their personal commitment to giving back rather than just cultural capital of Europe alongside Liverpool, UK. Rather than running a business, the Lund family have already provided visitors just thinking about how they’d benefi t from this, the Lund family to their attractions with plenty to value. ●
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 45 SCARE ATTRACTIONS FATAL ATTRAC TION
If you thought it was safe to go out after dark, think again. A growing band of twisted individuals are hatching schemes to frighten the living daylights out of you. The scare industry is big business, as Vicky Kiernander discovers
care attractions now make up such a big S sector of the industry that it boasts its own conven- tion (and the only one in Europe) – ScareCON. Launched in 2008, the aim of the event was to gather together professionals working in the haunt industry to share ideas and best practice. Around 40 people attended the inaugu- ral show, which ran alongside Leisure Industry Week (LIW) in Birmingham, UK. Such was the response that the second ScareCON, which took place in May, was Michael Bolton, Wayne Davis and round scare attractions in the UK at the four times the size of the original, prompt- Kevin Sudds founded ScareCON to Screamies Awards,” he says. These are the ing calls for an even bigger venue for the promote the UK scare industry fi rst awards for scare attractions in the UK. 2010 show. A smaller ScareCON will also According to Bolton, there were more take place at Attractions Expo at LIW this than 70 different seasonal and year-round September providing general information Halloween and scary attractions,” explains scare attractions in the UK in 2008. New about the industry and sample attractions. co-founder Michael Bolton. ones are launching all the time, with three As recognition of the Haunted permanent attractions opening last year in HAUNTING PAST Attractions brand grew, Bolton and his London alone – London Bridge Experience, ScareCON is the creation of three friends, colleagues Wayne Davis and Kevin Sudds Fright Club and Pasaje del Terror. who are not only self-confessed addicts to started reviewing attractions and building “When the industry really started to all things scary, but also the founders of a growing audience of readers until the take off in 2002 there were only a hand- Scare Attractions UK, an organisation set operators themselves were courting them ful of scary attractions open during the up to promote and support the growing UK to write reviews – “a good review from us Halloween season. Now farms and theme haunt industry. The directors have expe- was a great marketing opportunity”. And parks are getting in on the act and the rienced hundreds of haunted attractions with 80,000 hits to their website during attractions they offer are constantly chang- throughout the world over the last 13 years Halloween last year, you can see why. ing and evolving,” says Bolton. and it was their frustration with the lack of But it’s more than that says Bolton. information about this budding sector that “We write almost all of the reviews our- MAKING A KILLING caused them to form the company in 2003. selves and we’re honest. In fact, we gave And it needn’t require much investment. “We started purely as a fan listing site the London Bridge Experience a pretty Based on a simple installation, Bolton esti- (www.hauntedattractions.co.uk), but soon scathing review when it opened, but they mates that smaller operators can design, realised there was no one dedicated place took our comments on board and have build, equip and run a modest scare attrac- for people to fi nd out information about just been voted one of the best year- tion over a nine-day Halloween period for
46 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Tips on investing in a scare attraction
1 Talk to operators and visit attractions to get tips and hints about what to do. If you’re unsure, talk to a production company for help with concepts.
2 Don’t underestimate the effort and plan accordingly. It can be hard work, but involve the staff in the planning and they’ll want to help you build it and see it become real.
3 Think outside the box. Be creative and have fun. The best effects are often the cheapest. You don’t need a big cheque book.
4 Don’t cut corners – the health and safety of your guests is paramount.
Developing a successful scare attrac- 5 Visit ScareCON for the latest tion means training actors and creating developments and ideas and to an immersive environment for visitors network with industry colleagues.
around £7,250 ($11,850, %8,500). Running explore its Creepy Cottage during its in Gloucestershire on its Frightmare experi- at full capacity – one group of fi ve people annual Shocktober Fest last Halloween. ence last Halloween to test the nerves of every four minutes for eight hours – would And 40,000 people took them up on the even the bravest of locals. bring in £10,800 ($17,650, %12,700) for a offer over a two-week period, each paying “The idea is to create a story that starts ticket price of just £2.50 ($4, %3) per per- approximately £14 ($23, %16.50) a head. to build the moment the visitors arrive,” son, and obviously more if the charges are The event has been so successful that two explains Bolton. In this case, the team higher. Larger attractions, with more mem- new attractions will open this Halloween to developed the concept of the St Mass Acre bers of staff over a greater fl oor area, can complement the existing ones. Monastery, home to a community of blood increase the through-put of guests from “Scare attractions can be profi table any thirsty monks. Queuing visitors listened to 150 per hour to almost 1,500. time of the year, but Halloween is superbly news bulletins on the local radio warning “If an operator can build something timed over the school half-term holiday them to steer clear of any monks they saw effective but cheap, and still charge a in October. It’s the last holiday before and missing person posters were pasted to reasonable entrance fee, then they should Christmas, the kids are bored and people the walls to build the story. The ‘monastery’ certainly consider investing in a scare just want to get out and have fun. It’s also a itself was an existing farm building that attraction. You also need to consider all quiet time for most operators,” says Bolton. was successfully integrated into the story the other residual income such as conces- through the use of special effect lighting, sion stands and souvenir stalls that can be SKELETON STAFF sound effects and costuming. Once inside added to the mix to make the event worth- But developing a successful scare attrac- the monastery, guests were tormented by while,” advises Bolton. tion isn’t as simple as paying someone to the monks, chased through dark passages, One attraction which has benefi ted jump out at people and shout boo! There’s experienced the bodies of previous guests from introducing scare experiences is much to consider, from training actors and had to claw their way through strobe- Tulleys Farm in West Sussex. It invited in the school of scaring to creating an fi lled cloisters where sinister creatures the public to ride on its Haunted Hayride, immersive environment for visitors. Scare lurked waiting to pounce at any oppor- wander through its Field of Screams and Attractions worked with Over Farm Market tunity. The event sold out for every night
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 47 SCARE ATTRACTIONS
of its seven-night run with the Halloween weekend dates sold out weeks in advance. With results like these, it’s hardly any wonder that ScareCON is proving so popular. This year’s event drew operators of attractions from around the UK – from big names such as Alton Towers, Thorpe Park and the Merlin group to smaller scale, family-run attractions. The event also attracted some less likely delegates from the likes of Butlins, Charterhouse Club, a premium health and fi tness club in Surrey, and Scotland’s Secret Nuclear Bunker, to name but a few. “They can see the potential of introduc- ing a scare attraction; they just don’t know how to do it. ScareCON allows us to bring together the diverse attractions in the UK, to make new contacts, share ideas and learn from one another. This is such a growth industry that everyone needs to work together,” says Bolton.
THE SCREAMIES To raise the profi le of this fl ourishing sector even further, Scare Attractions launched the Screamies, the fi rst awards ceremony recognising the best attractions in the UK and voted for by the general public. Tulleys Farm, Alton Towers, Thurleigh Farm and Thorpe Park were among this year’s winners and some, like London Bridge Experience, proudly display news of their success on their website. One of the most exciting initiatives to come out of this meeting of minds at ScareCON is BASHA (British Association of Scare and Haunted Attractions). The idea for the organisation was mooted at ScareCON 2008 and a small committee of attraction owners, designers and suppli- Farms are among the venues that can ers subsequently donated time, effort and benefi t from adding a scare attraction, money to create the association to meet particularly during the Halloween season the needs of this growing sector. BASHA
ABOUT ATTRACTIONS EXPO offi cially launched at this year’s event as a the areas of health and safety regulations non-profi t organisation for all areas of the specifi c to scare attractions, actor train- A smaller ScareCON will run industry including attraction owners, scare ing and guidance and insurance. Among at Attractions Expo at Leisure actors and suppliers of props and scenery. the proposed benefi ts for members are Bolton explains: “As more and more reduced costs of attending or exhibiting at Industry Week in September. attractions open up each year, we felt the ScareCON, member rates for networking Held at the NEC, Birmingham, need for a dedicated UK association that events and a free monthly newsletter. UK, Attractions Expo at LIW can really focus on the issues that matter There’s no doubt that the scare indus- to us in this country. We know from experi- try is getting serious and we can expect attracts thousands of operators ence that legislation and health and safety even more from Bolton and his colleagues from the UK attractions and practices differ around the world and only in the future to ensure the sector contin- family day out sector. BASHA will be able to give the UK industry ues to thrive. “We just love being scared! For more information contact the support and guidance it needs.” Every since our fi rst attraction in 1997, we The association committee will work have actively sought out this unique form Chris Brown on 020 7955 3968, closely with existing attractions during of entertainment and by supporting the or email [email protected] its fi rst year to review statutory guidance industry, we can ensure we always have and establish guidelines for members in something fun to do at Halloween.” ●
48 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Gamma LeisurePOS MEMBERSHIP
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Converting an Arabic market into a museum, interpreting the mystery of life, and chronicling 60 years of British music were the challenges faced for three exhibition designers. In the fi rst of a two part series, we look at how these attractions were created
The museum’s design was Inspired by the objects
Describe the exhibition design haley sharpe design The project: Museum of Islamic The Decorative Arts galleries are object- Art and Civilization, Sharjah, UAE driven with a beautifully produced AV. Keith Grayy directordirecto Cased objects are supported by interpreta- Haley Sharpe Design (HSD) com- tive and decorative graphics. WhatWh was the brief in terms of pleted gallery and exhibition design The Islamic Sciences gallery features exhibition design on the project? on this 8,000sq m (86,000sq ft), both replicated objects and interactive mod- We’ve been fortunate to have enjoyed three-storey museum, which has els to support the storylines. a 15-year relationship with Sharjah. His been converted from a souk [an HSD’s scope was to manage the Highness The Ruler of Sharjah asked us to Arabic market]. It includes galleries research and subject matter, provide a full review a covered souk in the city centre with displaying Islamic art and culture, interpretative and exhibit design, and then the aim of converting it into a signifi cant faith-based artefacts, working mod- to manage the procurement, installation addition to Sharjah’s cultural offer. els and interactive manuscripts to and commissioning of the entire scheme. Due to the size of the building, the plan tell the story of Islamic science and As part of this process, we also prepared was for a phased development of the space, innovation plus a temporary gallery. functional requirements for non-exhibit although we had to review and solve visitor HSD were commended for their work areas of the museum to assist the local fl ow, environmental and security matters for on the project in the international architectural team and designed the retail the entire building at the outset. category at the 2009 Museums and and catering offers. The aim for the galleries was to re-inter- Heritage Show awards in London. pret and display an existing collection What was the biggest challenge you (housed in a number of locations in Opened: June 2008 faced while working on the project? Sharjah) and to accommodate newly The building posed many challenges – it acquired objects. was, after all, designed as a ground fl oor covered shopping facility with very low mezzanine storage areas. What was the inspiration behind your exhibition design? That, coupled with the sheer size of the building, required careful The exhibition design needed simplicity and attention to detail, so planning of visitor fl ow and navigation. the focus remains on the beauty of Islamic decorative arts. The building is incredibly strong, formal and symmetrical with beautiful What’s your favourite part of the exhibition design? Islamic detailing, so our exhibit design had to ‘disappear’ as much Our greatest satisfaction comes from how well our use of the exist- as possible. We didn’t want an over-designed exhibit concept to ing building spaces and understated exhibit design combine. get in the way of the environment. We created a museum from an under-used Arabic souk build- The interpretative development was aimed at a local family audi- ing. This beautiful site now takes pride of place as a key part of ence, but also provides for Sharjah’s growing tourist market. Sharjah’s heritage masterplan.
50 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 The British Music Experience encourages visitors to discover information for themselves
glass cases that enable visitors to unlock land design studio The project: The British Music some of the in-depth stories that are Experience, London, UK embedded in the collections. Peter Higgins We created pulsed shows that orien- creative directordirect Land Design Studio designed this tate visitors at the entrance and provide a £9.5m ($15.5m, %11.2m) permanent spectacular ‘on stage’ experience as the exhibition at London’s O2 Arena for fi nale. We felt these shows would help calm HowH did you work with the client AEG. The brainchild of pro- visitors at the starting point and leave them client on the project? moter Harvey Goldsmith, now chair wanting more at the fi nish. The content development team included of the independent board of trustees Rob Dickins, Mark Ellen, Dave Roberts and managing the attraction, the experi- What interactives are used? Bob Santelli – all formidable music experts ence chronicles 60 years of British The use of digital interactivity is extensive. drawn from the industry and music jour- music. Highlights include a Core with Installations allow visitors to investigate nalism. We could have sold tickets for the interactives exploring different facts the geography of the music and inter- robust debates that took place in the col- of British music history, and an inter- rogate aspects of music transmission laborative process of creating this complex active studio where visitors can play and playback through object collections. visitor experience! instruments, DJ and sing. There's even a physical dance interac- All content came from the four content tive which teaches willing participants to developers, and the curation and media Opened: March 2009 dance. Analogue interactivity is available research came from a team set up for the in the Gibson Interactive Studio provid- project by AEG. This was led by Paul Lilley, ing musical tuition serving as the starting who used to look after the EMI collection. point of a structured schools educational initiative. There's also a Smarticketing system enabling visitors to track their experience What was the inspiration for your design? when they return home, via the BME website. We wanted to encourage self discovery rather than lay out a pre- scriptive didactic journey. We created a clean central circular space Which part of the project are you most proud of? with perimeter pods that represent defi ned periods of history. We managed to turn a very diffi cult space into a coherent series of The fl ank wall of all these ‘edge zones’ presents a dynamic spaces and events. There’s a partial double height space that con- digital timeline setting out an informative year-by-year interac- nects the introductory show with the fi nal show. This can convert tive narrative matrix. There are two other generic components: into a large performance/events space just by sliding an acoustic the Table Talk feature, which draws from 60 videoed interviews wall. This enables the client to convert the experience into a cor- and sets up round table conversations enhanced with contextual porate events space with the exhibition as a pre-show or create a images projected onto the surface of the table; and interactive 300-cover studio/show space, which is a good revenue opportunity.
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 51 EXHIBITION DESIGN
Visitors learn about the mystery of life through videos, games and experiments
How did you make the design hüttinger The project: The Search for Life, both fun and educational? Science Center NEMO, We try to follow one rule for building good Christoph Rochnana Amsterdam, Netherlands exhibitions: use real things and real proc- programmeme managerm esses. Children can both have fun and Hüttinger developed the concept derive valuable experiences when they’re for this immersive, interactive exhi- being taken seriously and not fobbed off HowH did you work with the bition in cooperation with NEMO, with some push-button interactions. client on the project? and designed and built the exhibits. The main challenge in planning an exhibi- These include videos, games and What was the biggest challenge you tion with such complex content was to experiments themed around the faced while working on the project? develop a way of communicating scientifi c mystery of life. Highlights include an Besides the complexity of the subject mat- concepts, which are barely perceptible interactive Build your own Alien sta- ter and its interpretation, it proved diffi cult to adults, to 14-year-old students. The tion and a bike allowing visitors to to manage the design process alongside project’s success is owed to a well- pedal through space while listening to the fi nancial planning. Passion doesn’t mix selected team on the client’s side that radio broadcasts which have travelled well with reason, hence we had to work showed an immense passion and profound the same distance since they aired. really hard to reach a design that would understanding of children’s needs and please both the client and ourselves and expectations, which eventually infected our Opened: April 2009 still remain within the budget. designers. The blend of such passion with the creativity and know-how contributed by What’s your favourite part of the design? Hüttinger resulted in two years of enthusiastic planning. One part is the ‘bubbles’ – different sized circles which are ran- domly distributed across surfaces. This design element appears in What was the inspiration behind your design? the initial fl oor plan and continues to appear throughout the exhibi- The inspiration for the layout and the structure surrounding the tion. I believe it works well as an icon that indicates the contents of exhibits originated from the spatial impression that we commonly the exhibition – molecules, planets and space. have of a molecule: a cluster of interconnected spheres. This idea The ‘Build your own Alien’ exhibit, for example, features a cylin- developed into a more open space that could be described as the drical core studded with what we ended up calling Emmenthaler fusion of bubbles, where each bubble is home to one particular Holes. These are peepholes of various sizes, which look like bub- topic. We tried to use lighting and large wall and fl oor graphics to bles, distributed around the exhibit and spiked with little facts and evoke the feeling of being in outer space. fi gures concerning life, the universe and everything else. L
52 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 © Nemo Hanne Nijhuis
© Nemo Hanne Nijhuis SHOW PREVIEW PLASA09
The audio-visual industry is gearing up for its UK showcase at Earls Court in the shape of PLASA09 (13-16 September). Show director Nicola Rowland gives us an insight into this year’s exhibition hosted by the Professional Lighting and Sound Association
ore than 300 manufacturers and suppliers of pro- LED-based video displays are appearing in more fl exible and fessional audio, lighting, AV, stage engineering and modular forms which allow a giant display to be wrapped around a M systems integration come to the PLASA show to meet room or an object. Some are constructed in ‘mesh’ form that can new customers from 100 countries. PLASA08 attracted 4,000 inter- be hung like a curtain to create a large scale, low resolution display. national visitors and 10,000 visitors from the UK. LISTEN UP Despite the toughest trading conditions for a generation, organis- ers PLASA Events say that pre-registrations are equal to last year’s. In the audio world, digital developments continue to grab the head- With 80 per cent of stand space booked, it appears that cautious lines. The miniaturisation and maturity of digital signal processing optimism prevails. This is, however, an industry driven by innova- (DSP) means many audio systems manufacturers provide a choice tion, with buyers at the show constantly looking for a visual or sonic of loudspeakers with built-in or external amplifi cation plus inte- ‘edge’, so it should perhaps come as little surprise that exhibitors gral control and fault-reporting systems. The latter is an important continue to be eager to show off their latest ideas. development as, increasingly, systems are being designed which If there are themes to be discerned at this early stage – most duplicate the entertainment, information and voice evacuation func- exhibitors do not release product tions while complying with the relevant details until shortly before the show – health and safety and fi re regulations. it’s in areas that are likely to be good ?dj^[heYamehbZ"cel[iXo This avoids the need for duplicate crowd news for visitor attraction designers. cWdocW`ehcki_Y\[ij_lWbi information and evacuation systems. THEMES Loudspeakers specifi cally designed je_cfhel[j^[_h[d[h]o to tackle diffi cult acoustical environ- The trend to compactness, a by-prod- ments are now available. Large public uct of digitisation of many products, [\ÓY_[dYo_i[dYekhW]_d] spaces, such as galleries, foyers and looks set to continue. The growing inte- cWdk\WYjkh[hijeYh[Wj[ exhibition centres, typically clad in gration of control, lighting, video and large expanses of acoustically refl ec- sound data into unifi ed systems can ceh[[\ÓY_[djioij[ci tive surfaces of glass, concrete, marble reduce the need for complex and bulky and the like, can be highly challenging cable runs to remote locations. Digital to the sound system designer, par- signals can be carried on standard Ethernet cable, while a dupli- ticularly when the facility operator is keen to see the space visually cate of this cable may be run to provide redundancy should one fail. uncluttered. A new generation of very compact loudspeakers with Manufacturers and distributors will be offering advice about integra- the ability to digitally ‘steer’ their beam away from ceilings and tion of audio, video and lighting products with a common control walls and direct it into specifi c audience areas is available. While system and custom-designed touch screens to allow non-technical there’s inevitably a cost premium per unit compared to conven- staff to select pre-set ‘modes’ for different types of operation. tional equipment, in environments where speech announcement Parallel to this is the trend to ‘greening’ the entertainment tech- intelligibility is important it’s an option worth considering. nology galaxy. Last year’s PLASA show hosted the launch by the If your main reason for visiting PLASA09 is to learn more about Mayor of London’s Offi ce of the Green Theatre: Taking Action on these technologies, visit www.plasashow.com for the PLASA Climate Change initiative, and the PLASA Awards for Innovation Education & Learning programme. Entrance to most sessions is reintroduced a special Environmental Award. In the rock world, free to registered show visitors (and pre-registration online comes moves by the Radiohead World Tour and many major festivals to with a 50 per cent ticket price discount). The programme follows improve their energy effi ciency is encouraging manufacturers to last year’s format of two seminar theatres, one for exhibitor-led ses- create more effi cient systems. Developments in LED lighting are sions, the other for industry-wide special interest sessions. producing fi xtures with lamp lives in the tens of thousands of hours “We’ve developed the content of the Education & Learning and greatly reduced energy consumption. Programme by responding to the industry’s expectations and Similarly, video projector manufacturers are taking advantage of requests,” said PLASA Events’ Sophie Atkinson. “There’s a hunger more compact and powerful light sources, including LED, to create for seminars that really help people expand their horizons. We’ll less bulky equipment that expands the variety of locations in which have a mixture of broad-brush issues, such as the convergence of they can be successfully used. Software in some models allows lighting and video, along with tightly focused applications seminars correction for projection onto surfaces at oblique angles. – a genuine learning opportunity in core industry subjects.” ●
54 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Did you know that you can now receive a FREE subscription to Attractions Management in its new, greener, paper-free, digital format?
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GO GREEN www.attractionsmanagement.com/green CLIMBING
8A>B7>C< =><= Operators looking to generate additional revenue may fi nd that adding a climbing attraction is the answer. We fi nd out what the benefi ts are of installing one
Young adventurers enjoy Entre-prises’ cave-effect rock climbing
Innovative Leisure, UK
PHIL PICKERSGILL, MANAGING DIRECTOR
Non-traditional games and activities arei- increasingly popping up in attractions. These bring in extra money for the opera- tor as well as offering something different and perhaps adding a competitive chal- lenge for virtually all ages and capabilities. Climbing attractions are a prime example of such products. We began supplying climbing attrac- tions to big theme park operators including Legoland, Thorpe Park and Chessington eight years ago. They’ve performed consistently well because they have last- ing appeal for the typical family market. They’re viewed as good exercise by par- The Highland Outpost Skytrail showcases one of Innovative Leisure’s latest products ents and an exciting challenge by children. It’s important to install climbing attrac- create virtually any size climbing wall and of £45,000 ($74,500, %53,000). Payback tions in busy areas. This has been tested are affi xed to a steel frame against a wall. should be in two years although we have over the years and just 5m (16.5ft) away Most theme parks charge £3 (US$8, customers who’ve done it in three months! from the main fl ow can impact revenue. %6) for fi ve minutes on a climbing attrac- Among the latest products to be Other technical considerations include tion. Some include a gift or memento in launched by Innovative Leisure is a range access for cranes, safety areas when oper- this price and some run a deal if you do of high ropes attractions which allow peo- ating and correct foundation design which other games as a package. Capacity per ple to climb along various challenges or is site-specifi c. Climbing walls work well at hour is about 50 people, with two staff. elements while being hooked into a safety attractions with strong family attendances. Revenue per day can be between £200 track. The key benefi t of the Skytrail sys- It makes sense to cluster them to help with ($332, %235) and £1,000 ($1,660, %11800) tem is the ability for climbers to overtake staffi ng at quieter times. depending on visitor numbers. at the platforms between elements. This Growing in popularity are modular Cost, including full install with concrete allows strong hourly capacity compared to climbing panels. These are put together to base, fencing and mats, is in the region traditional high ropes courses.
56 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 Entre-Prises UK Ltd
COLIN BOOTHROYD, MANAGING DIRECTOR
Climbing is something that has of commercial environment, it’s an appeal to young people of all recommended that climbers shapes and ages. It’s a physi- are secured with an auto- cally challenging activity and so matic belaying system, as this some people are going to be reduces the number of rope more profi cient than others. The controlling instructors. key to ensuring that the activ- The primary appeal con- ity appeals to as wide a group tinues to be down to up (as as possible is to make it widely opposed to low level boulder- accessible. To ensure this is ing) rope protected climbing, the case, attention to the facility rock-effect appearance and design and operational consid- additional challenges such as eration is paramount. Revenue cave sections, timers and buzz- correlates to user numbers. ers and ropes courses. Operators considering At Entre-Prises we’ve recently installing a climbing attrac- broadened the range of rock- tion need to think about asset effect climbing surfaces. We’re cost, operating cost, structural proud to have developed cav- requirements, a dedicated area ing systems, which are totally for the facility and its operation focused on offering an adventur- and training staff. For this kind ous experience for youngsters. Down to up, rope protected climbing is still among the most popular climbing activities
Revolutionary Products
ANDREW BAGNALL, DIRECTOR
Trends in most sectors of which has been funded by a children’s entertainment and £235m ($414m, %296.5m) fund- education are going towards ing package outlined in the UK more adventure-based activi- government's Children's Plan. ties, which provide a functional Our Freedom Climber is a and challenging environment wall-mounted climbing disc that to stimulate children’s thinking enables a real climbing experi- and aspirations. The thinking ence without the need for ropes behind our company is making and high levels of supervision. exercise fun and challenging. It can be installed on any 8ft This philosophy has now been (2.5m) by 8ft (2.5m) wall and taken up by the government is non-motorised, using a pat- with their latest children’s exer- ented hydraulic rotation system. cise initiative. The climber is never more than Local government leaders 1m (3ft) off the ground, but have announced plans to intro- still manages to achieve a real duce zip wires, tree houses and climbing experience. large climbing structures in Consequently, this product playgrounds across the country fi ts nicely with the LGA’s aims in order to put adventure back and will hopefully set a new into children's playtime. trend as it combats the two Research from the Local confl icting issues attractions Government Association have. Firstly, to create an excit- (LGA) in the Uk has revealed ing climbing experience which that councils are including an challenges and extends chil- increasing amount of adventure dren’s abilities. Secondly, doing equipment as part of schemes it in a safe and non-supervised With the Freedom Climber, users are to build or refurbish more than environment within the bounds never more than 1m off the ground 3,500 playgrounds by 2011, of health and safety guidelines.
AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 57 When timing CLIMBING
Brewers Ledge, Boston, US
GARNET MOORE, MARKETING DIRECTOR
If an operator decides to attract additional revenue with, for example, a climbing wall, is safety is of course the utmost concern. The Treadwall has the Luckily, almost every climbing wall will advantage of being easily moved crucial... be fi tted with auto belay devices. This will eliminate the need for in-depth staff train- tion, but require a permanent concrete ing into the specifi cs of climbing hardware, base or a trailer. The last step would be as most people can be trained in a couple a custom-made fi xed climbing wall that’s ® of hours. Costs vary widely depending on permanently mounted to, or in, some sort ...choose Time Pursuit location and wall size. Most inexpensive of existing structure. These can cost from the leisure activity walls will be connected to trailers and be $75,000-$200,000 (£46,000-£122,000, unfi nished on one side. It’s much better for %54,000-%143,000) plus, depending on booking system. a permanent installation to look complete. size and complexity. These look the best, It also allows for higher throughput. but require the most construction. A latest generation, web based One of the least expensive options is Don’t sacrifi ce aesthetics for cost. If the customer management system, our Treadwall, which are $9,950 (£6,000, look and placement of the wall doesn’t designed to grow your revenues %7,000). These require no special con- look perfect to you, then it won’t look right and drive productivity. struction and can be moved. The next step to your visitors either. up in cost would be a freestanding climb- The possibilities for profi t are immense. " Sells gate admissions, time based ing tower which run from $30,000-$60,000 Most facilities use their wall as a ticketed activities & services, merchandise, (£18,000-£36,000, %21,500-%43,000) attraction charging anywhere from $5 (£3, depending on size. These are pre-made %3.50) to $15 (£9, %11) and throughput is gift vouchers, and automates the panel systems which bolt together on loca- usually between 50 to 75 people per hour. management of pre-packaged and bespoke event days. Dropzone UK Ltd " Enables multi-channel, multi-site MIKE TURNER, HEAD OF BUSINESS DEVELOPMENT sales and incorporates franchise management. Operators no longer have to buy off-the- shelf activities and try to make the best " A consistently reliable, friendly of them. Instead, bespoke activities can and easy-to-use booking tool, be designed to integrate and compliment attractions and facilitate the guests’ needs. delivering an outstanding customer These range from small pay-and-play experience. installations, used to increase spend-per- head, through to large scale attractions, " Now available as a customisable which can act as a gate draw. product to the wider leisure industry. The biggest consideration needs to be the end user: How much do they want to spend? How long do they want it to last? How diffi cult do they want it to be? Installation budgets can be anything from £10,000 ($16,000, %12,000) up to several hundred thousand pounds. Return on Dropzone is working on the world’s highest investment is generally very fast and so, if and fastest climbing experience of its kind properly designed, the risk is low. Safety is imperative. The industry is still existing climbing attractions or operated as relatively new and has recently formed its a stand-alone pay and play attraction. The the leisure activity booking system own governing body (European Ropes equipment uses a highly engineered brak- Course Association) which offers guide- ing fan mechanism to allow participants lines, training and the opportunity to work from fi ve-years-old to experience the thrill directly with the health and safety execu- of a freefall jump with a safe, gentle land- tive. There are also specialist operating ing. We’ve installed Powerfans® from 10m Contact us on 01638 500 400 companies which will work in partnership (33ft) to 30m (98ft) high. We’re currently with an attraction or as operating tenants. testing a 120m (394m) version, which email [email protected] We recently developed the Powerfan®, we hope to launch at Spinnaker Tower, a freefall experience which can be fi tted to Portsmouth, UK later this year. L www.timepursuit.com AM 3 2009 ©cybertrek 2009 GP1051L35GP1051L35 350 mAhmAh YOU HEAR GP WHAT YOU SEE
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SIGHTS, SOUNDS & STORIES In the fi rst of a two part series, we speak to the teams which create audioguides and get a behind the scenes look at recent projects
How do you work with your to develop innovative programmes such clients and team to come Alyson Webb as ‘Teach Your Grown Ups About Art’ up with guide content? creative director for the National Gallery, London, where Antenna Audio Our expertise is in developing and shap- children take charge of the learning expe- ing visitor experience, while our clients rience and lead the fun. have a detailed knowledge of their site and visitors and may also have under- What do you look for in a narrator? Which attractions have you created taken work to develop a clear visual There’s no simple answer to this – each guide content for in the past? branding. Both are needed to develop a experience is as individual as a conversa- We work with an enormous range of cli- powerful visitor experience. After briefi ng tion. At Alcatraz, the tour is narrated by a ents, with more than 450 sites worldwide, and research, we typically create one or former prison guard – his accent is strong, including the Tower of London, Edinburgh more ‘treatments’ which outline different his delivery is anything but smooth, but Castle and other signifi cant palaces in the approaches to the content. These include there’s an authenticity that makes the UK, the Vatican, the Louvre, and Alcatraz, an overall narrative, creating atmosphere experience powerful and moving. No Graceland and the Statue of Liberty in and character, deepening interaction or professional narrator could match him. In the US. Last year we opened a tour at the managing visitor fl ow, building repeat fact, experience tells us that visitors will UNESCO World Heritage site of Qal’at visits or increasing on-site spend. It’s only often appreciate expertise more than slick al Bahrain and a multimedia tour at the once we’ve agreement on the way for- delivery. Historians such as David Starkey, Museum of Islamic Art in Qatar. ward that we begin work on scripting and curators, conservators, artists like David production with regular opportunities for Hockney – all are loved and respected for client review and sign off along the way. their unique insights. But equally, we’ve been fortunate to work with some of What kinds of research do the greatest acting and voiceover talent you do to create content? around including Stephen Fry, Jeremy We’re very fortunate to be part of Irons, James McAvoy and Meryl Streep. Discovery Communications and have The key in choosing a narrator is to access to their research team. Over the think about the experience in completely last few years, with their support, we’ve personal terms – who would the visitor carried out research projects at sites like to accompany them? Who will they throughout Europe and the US that trust and believe in? have allowed us to build a detailed picture of current trends in visitor Do you use any special preferences and expectations for storytelling techniques? mobile interpretation. We’ve been While we employ all the traditional tech- able to break down the fi ndings to niques of storytelling, we have, in addition, reveal differences between types to consider the visual and physical of attraction, visitor nationality aspects at the same time – helping visi- and so forth. tors to spot the telling detail or understand This research is supple- the importance of the visual evidence, mented by testing carried out guiding them through a site, anticipating during content development. their questions, pacing their visit so they This twin track approach – don’t tire, smoothing their path through The Pentimento application identifying high level trends any logistical obstacles. What looks great for iPhone and iPod Touch can and testing specifi c content on paper or sounds fantastic in the studio showcase a gallery’s collection approaches – has enabled us may not be what’s needed on site.
60 AM 2 2009 ©cybertrek 2009 Antenna Audio has created audioguides for more than 450 sites worldwide including the Louvre in Paris, France
What’s the biggest trend screen, zoom capability, ‘Rolodex’ and specialists including producer, writers, in guide content? scrollable menus, Love Art offers a play- editors, multimedia designers and devel- More clients understand that an audio or ful exploration of the collection, together oper, translators, voiceovers and sound multimedia guide is not simply a mobile with informative commentaries. Over 250 designers, we fi nally made it and we’re catalogue or guide book. There’s a grow- paintings are showcased in high resolu- very proud of the result! ing appreciation that visitors are looking tion, along with around 200 minutes of for meaning in what they learn and an audio and video content, including inter- What other guide projects are emotional connection to the site. So we views with National Gallery director Dr you currently working on? increasingly use documentary or dramatic Nicholas Penny, dramatist Robin Brooks, Last year we ran a short pilot project for techniques – interviews with experts, eye- artist Maggi Hambling and Girl with a Pearl Tate Modern exploring ways in which stu- witnesses and other specialists as well as Earring author Tracy Chevalier. dents could interact with the collection. archival material, dramatic reconstructions Using our multimedia guide as a basis, and so forth. Music and effects are also What’s the most challenging guide we developed tools to enable students being used more subtly to create atmos- project you’ve completed recently? to record their thoughts and ideas in the phere. and there’s been a shift away from We created an extensive multimedia guide gallery through audio, text and drawing the clipped, old school BBC-type narration for the museum of Islamic Art in Qatar that tools. The content developed on the guide towards regional and younger accents. includes more than 15 hours of content during the visit could then be downloaded in Arabic and English for adult and family to a website and developed into a presen- What’s the most exciting guide audiences, together with a tour for visually tation back in the classroom or at home. project you’ve completed recently? impaired visitors and a podcast series. The project proved highly popular and fol- We recently launched our fi rst application With less than four months to deliver lowing detailed research we’re refi ning the for the iPhone and iPod Touch devices, multilingual content, including video and system to provide a full end to end service called Pentimento. The fi rst edition, titled interactive games, on what’s universally for school groups from booking their visit Love Art, features the collection of the recognised as a highly-sensitive topic, to the gallery through to follow up in the National Gallery in London. Making use of the project represented an extraordinary classroom. It will be ready for full roll out in iPhone features such as its large touch- challenge. With a team of more than 20 time for the new school year.
AM 2 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 61 AUDIOGUIDES
Anders Elfström managing director FILT AB
Which attractions have you created guide content for in the past? We’ve worked with quite a few museums in Sweden, the most prominent being Moderna Museet (the Modern Museum in Stockholm) and Nationalmuseum (The National Gallery in Stockholm). Outside Stockholm we’ve done productions for Gävleborg Länsmuseum (the county museum of Gävleborg), the castle in Örebro and a few others.
How do you work with your
clients and team to come THORWID/NATIONALMUSEUM HANS PHOTOS: up with guide content? That depends. We prefer to be involved who had to give a child away for adoption For clients such as Nationalmuseum (above), early in the process, taking part in how the to continue being an artist is more grip- Filt AB looks at how the physical tour will be physical tour around the museum will be ping than the exact techniques she used to made before beginning work on a script made and then in writing the script to tell paint a beach at sunset. That’s something a logical and gripping story. It’s the muse- to use in the audio, to tie the listener to the um’s curators who bring the expertise, and work of art he or she is standing in front of. What’s the most challenging part we bring the storytelling and sound design. of the production process? As radio producers for Swedish What do you look for in a narrator? It’s usually the struggle with the curator to National Radio ,we’re used to telling sto- A narrator can be a celebrity with some cut out the boring facts. Imagine that the ries in audio. A rule of thumb is to include connection to the exhibition – he or she curator has worked for years with this exhi- stories and curiosities and leave out hard might be from a region or town related to bition and treats it like their baby. Then we facts such as numbers and years. the exhibition, for example. Or professional audio content producers come in and want narrators who work with documentary fi lms to take away 90 per cent of the facts in two What kinds of research do and audio books can be used. Usually we days. That might be provocative. you do to create content? prefer professional narrators because they Usually it’s enough to read the exhibition work faster and allow the listener to con- How do you think guide content will catalogue that’s often produced. It has centrate on the content instead of thinking evolve over the next few years? all the relevant facts. We look in there for about the celebrity’s personal life. But As technology improves and audioguides stories and facts to capture the listener’s sometimes the right celebrity might add receive more functions, these can be incor- attention. For example, a female painter weight to an exhibition. porated in our productions. For example, we use PICKUP from Dataton, which now has FM radio built in. That allows the pos- sibility of having ambient sound sent by a small FM transmitter in the room that starts the moment the listener comes in, and then the audio narrative on top of that can be triggered by the user when they feel like it. The audio can also sync with a silent television screen on the wall so you don’t have to have the noise of several screens.
What’s the most exciting guide project you’ve completed recently? I liked the exhibition for Nationalmuseum, Artists in Pair, about famous husband-wife pairs of Nordic painters from around 1900. It focused on the relationships – the wives usually had to stand back for the more famous but often less skilled husbands. It Filt AB has worked with museums including Nationalmuseum, Sweden’s national gallery was exciting because the facts presented felt new and fresh in the Swedish art world.
62 Read Attractions Management online attractionsmanagement.com/digital AM 2 2009 ©cybertrek 2009 give her a thrill
You’ve got to have your fi nger on the pulse if you want to set it racing... 7jjhWYj_edi;nfeWjB?M\^kZhndj[gdcigdlhZVihidVaai]ZaViZhiYZkZadebZcihl^i]^ci]ZJ@ViigVXi^dch ^cYjhignhdi]VindjXVchiVngZh^a^ZciVcYegdheZg^ci]^hXjggZciZXdcdb^XXa^bViZ#L]Zi]Zg^iÉhcZildg`^c\^c i]Z87BFF7bekd]["ZmeZg^ZcX^c\a^kZYZbdchigVi^dchVii]ZekjZeehZ_ifbWoWh[WdgaZVgc^c\[gdb^cYjhign" l^YZZmeZgih^ci]Z7jjhWYj_edi Register now at www.liw.co.uk Face to face with the leisure industry AUDIOGUIDES PROJECT Ulster Hall, Belfast TANDEM DESIGN andem Design created an audioguide and interpretive T experience for Belfast’s famed Ulster Hall as part of an £8.5m (£13.7m, E10m) refurbishment of the heritage venue. We speak to Tandem’s Michelle Barnard about the project. What was your brief? Belfast City Council briefed us to design and produce the interpretive fi t-out the Ulster Hall in May 2008. An £8.5m refur- bishment was underway and we were brought in to tie the separate strands of many stories together into a unifi ed interpre- tative experience, with the aim of making the Hall accessible to a wider audience, including both tourists and local visitors. The Ulster Hall, now affectionately known as the ‘Grand Dame’, is one of Belfast’s key heritage assets and the site of major political and entertainment landmarks that have shaped the city’s cultural identity. The Hall is still a working building so we decided that an audio tour, narrated by the Grand Dame herself, was the best way to tell the seven key stories without physically encroaching on the building. The audio tour formed one aspect of a larger interpreta- tive project that also included the gallery design for the newly Hall’s many other fascinating facets, even though they may not restored JW Carey paintings, and designing the new Ulster Hall have an active interest in it to begin with. branding and related printed material. What kind of research did you have How did you work with the client to to do to create the content? come up with the content? We spoke to various experts in each given fi eld to identify the We began with a workshop to identify core themes involving key most appropriate sources, and researched the entire content people linked to the Ulster Hall. Following this, we set up fre- internally – this mostly involved looking through periodicals, pub- quent review meetings involving everyone with a vested interest lications and newspaper articles at the Linen Hall Library and in the project, and identifi ed the main strands of the story to be Central Library, and accessing archives at the Public Records interpreted to ensure each party was clearly represented. There Offi ce. We defi ned the key stories, and played a major role in are seven stories in total: classical music, politics, popular and managing and directing the scripting and production of the contemporary music, sport, JW Carey (a famous local artist), the- audio tours. atre and architecture & history, plus a ‘Grand Dame’ introduction. We worked with Belfast City Council’s Education & Outreach How did you work with the narrators? Offi cer to help run a public outreach programme to gather the We utilised the reminiscence element of our research by integrat- public’s stories and memories of the Hall, to be used in our ing live interviews with local experts into the scripted element interpretive solution. These stories became a living heritage of the tours. We also oversaw the casting process to fi nd the project that can continue to grow now that the Hall is re-opened perfect Grand Dame, and sourced an additional male actor to through a website offering the public the chance to continue to perform the distinctive voices for people like Paul Robeson and add their experiences. To accompany the audio tour listening Winston Churchill. We were really happy with the scripts, and wands we produced a printed guide with easy to follow instruc- managed and art directed the production company, casting ses- tions and a clear directional maps. sions and the recording process to ensure that the end results were spot on with how we’d imagined. What was the inspiration behind what you created? Our main inspiration was the legend of the building itself, its his- What was the biggest challenge? tory and the people who have come to speak and perform there The biggest challenge by far was editing down the mountain of since it opened in 1862. Previously, visitors only visited the Hall research into eight concise audio tours (one introduction and to fi nd out more about specifi c area of interest. Our research seven themes), each with a maximum duration of seven minutes. produced such a wealth of fantastic stories and memories, and We made sure to constantly remind ourselves of the populist we wanted to encourage visitors to crossover into other areas of approach – with projects like this, it’s important to strike a bal- interest as much as possible. ance between delivering an overview of the key stories as well We installed listening points in strategic locations that feature as in greater detail. Audiences require different things out of images referenced in the tours, and list the other tours available interpretation, so we created an interpretative experience that’s – the idea is that when visitors are waiting for a friend or for per- adaptable to their requirements while avoiding the ‘fi xed script’ formance to start, they’ll have access to a whole range of the approach as much as possible. ● 64 Read Attractions Management online attractionsmanagement.com/digital AM 2 2009 ©cybertrek 2009 com attractionsmanagement L Everything you want to know about the visitor attraction market. From theme parks to museums, science centres to corporate brandlands. L News L jobs L product updates L launches L financial news L events ... and more for the attractions industry now online @ attractionsmanagement.com A Leisure Media Company Online Publication PLUS.... Get a FREE weekly subscription to The Attractions Management Report e-zine Register online at: www.leisuresubs.co.uk/ezines turning your world around family coasters thrill & mega coasters indoor & custom designed attractions & specialities Vekoma Rides Manufacturing B.V. Euro Attractions Show Schaapweg 18, 6063 BA Vlodrop, The Netherlands Please visit us in Amsterdam Tel.: +31 (0) 475-409222 Fax: +31 (0) 475-402115 at Booth No. 417 sales@vekoma.com www.vekoma.com WATER FEATURES World’s largest multi-level interactive play structures! Building a spectacular evening show around water features can help improve both the guest experience and your bottom line. Daniel Burzlaff shares his tips Hershey, Pennsylvania MAKING A Chime Long, China ater is essential to our exist- experience, and your operation will benefi t. ence. And for many visitor Guests staying later in the day typically attractions, a water feature require additional food, drink and often is an essential part of the experience. souvenirs, particularly if they’re designed Water can anchor a show or an attraction in conjunction with the show experience. (Waterworld: A Live Sea War Spectacular at Universal Studios), play a supporting Basic components role (the lagoon at Universal’s Islands Whether creating a large-scale or more of Adventure) or, in the case of Tokyo intimate water-based nighttime show expe- DisneySea, become the catalyst, the can- rience, the basic components are the same. vas and the medium by which a piece of These include water-based projection living art has been fashioned. screens, projected media or laser graphics, Water can also offer boundless oppor- sound systems, theatrical lighting systems, tunities for operators to capitalise on soundtracks and pyrotechnics. Special existing assets and create both a fantastic effects, water fountains or show action ele- guest experience and higher per capita ments can also be incorporated into the spend. How? By utilising an existing water design. It’s often the inclusion of one or element to create an evening show experi- more of these ingredients that separates a ence. The easiest and most cost-effective good production from an incredible, multi- way to increase daily per capita spend is sensorial guest experience. to extend the length of your guest’s visit. As is often the case with creative pro- Encourage your visitors to stay into the ductions, these show elements can be Orlando, Florida evening by converting that long-dormant customised to take advantage of the indi- pond next to the fl ying swings into a show vidual characteristics associated with each AM 3 2009 ©cybertrek 2009 [email protected] Tel: +1 604.273.1068 s www.whitewaterwest.com Tokyo DisneySea’s nightime BraviSEAmo! show uses water effects to tell a dramatic story SPLASH show location. In some cases these char- confi dent that the water screen, projection, Chime Long Waterpark, China acteristics provide obstacles as well, but lasers, audio/sound track and pyrotech- that’s when designers and creators usually nics would support the show action and begin to have fun. provide a compelling experience. However, Real, physical effects bridge the gap due to the enormity of the physical space, between the surreal of the fl oating media they were compelled to rely on their theatri- of a water screen production and the cal lighting system as the means to defi ne guests standing on dry land. Effects such and enclose the viewing location. The use as water geysers, fl ame jets, water blasts of theatrics helped to embrace the audi- and dancing fountains can be incorporated ence within the performing envelope, and into a show attraction as ways to enhance even though standing several hundred feet and propel the storyline, yet at the same from the main show element, the water time affect guests in a very real sense. screen, the guests felt part of the show. When combined with pyrotechnics, lasers, No matter what effects, gizmos and audio and the media projected onto the gadgets you’re using, you’ll still require water screen, the fi nished production can the right team of creators and storytellers be stirring and memorable. to create an experience worth remember- ing. You’ll want to touch your guests and Theatrics leave an enduring imprint. Remember that Physical dynamics came into play during the perfect water show production is about the production of Hollywood Fantasy, a more than water – it’s equally important to night time lagoon show created for Parque create an emotional response. L Six Person Raft Warner Madrid (previously known as Movie Daniel Burzlaff is president and CEO World Madrid) in 2003. The designers were of Utopian Entertainment © AM 3 2009 cybertrek 2009 [email protected] Tel: +1 604.273.1068 s www.whitewaterwest.com WATER FEATURES FOUNTAIN ROUND-UP Fountains are incorporated into the design of The Alnwick Garden in Northumberland, UK (Above left) Futuroscope’s The Blue Note Mystery spectacular features fountains; (Above right) Alton Towers’ jumping frog fountains; (Below) Puy Du Fou’s fountain-fi lled Cinescenie spectacular 68 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 An earth-friendly solution for pristine pool water. • Saves millions of gallons of water and waste • Removes over 99.9% of crypto in a single pass • Delivers pool water quality that’s second to none • Increases UV sanitation efficiency Proud Supplier Lalandia Aquadome, Denmark Blue Lagoon Waterpark, Wales WhiteWater World, Australia Wild Wadi Waterpark, Dubai Adventure Park, Australia INDUSTRY BEST NEW PRODUCT INNOVATION AWARD Call 800-832-8002 for a FREE Savings Audit. Since1956 Visit www.DefenderFilter.com to take a test drive. by FACT: The South East of England has less water available per head than the desert states of Syria and Sudan. The Rippleffect is a free initiative by Envirowise to help businesses in England in their efforts to save water and money. HOW MUCH CAN YOU SAVE? For more information and to register for the Rippleffect visit www.envirowise.gov.uk/rippleffect www.envirowise.gov.uk tel: +44 (0)1384 295733 email: [email protected] 3D / 4D ATTRACTIONS TurtleVision is the latest fi lm from nWave, the producers of Fly Me To The Moon inema operators are reinvesting in 3D, with close to 5,000 screens now open Projecting andC trading. It’s estimated the digital 3D cinema network doubled in size in the fi rst half of 2009, illustrating people’s fascination with this format. GROWTH Attractions can tap in to this interest while offering something extra which customers can’t get at the cinema, by Blurring the line between ment centres. In an amusement park, the combining 3D with live performance and experience is usually part of a collection of reality and fantasy, education special effects to create 4D. rides, which are included in the admission As well as generating extra revenue as and entertainment, 3D and 4D fee. The question is, what will a new thea- an upselling opportunity, 4D attractions theatre blends the experience tre cost and will it increase attendance to can be built to allow for presentations, so balance that investment? “3D/4D Theatres that special events can be accommodated of a dark ride and giant screen cost much less than a major rollercoaster,” to provide another source of revenue. movie. Martin Palicki fi nds out explains SimEx-Iwerks’ vice president Mike A wide range of attractions are using 4D, Frueh, “and premium fi lm titles can attract from museums to theme parks and from how to make a 3D/4D attraction large audiences.” SimEx-Iwerks provides heritage attractions to urban entertain- successful and profi table turnkey 3D/4D attractions, as well as fi lm content, and installed a 4D wet theatre at Noah’s Ark Water Park in Wisconsin Dells two years ago for a reported cost of around US$2m (£1.2m, %1.5m). “It’s provided us with a competitive advantage in this area,” says owner Tim Gantz. “It’s helped maintain our attendance base – we still get calls from people asking if they can just pay to go to the theatre.” THEME PARK THEORY Major theme park chains, such as Disney and Universal, often spend a minimum of $10-$20m (£6.1m-£12.3m, %7.25m- The Noah’s Ark Water Park in %14.5m) on their 3D/4D theatres. The park Wisconsin Dells has a 4D wet planners budget an attraction based on theatre how much that theatre will boost attend- ance over the life span of the show. They also have the benefi t of popular brands AM 3 2009200 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 71 3D / 4D ATTRACTIONS (Above and right) The haunted house at Bobbejaanland theme park in Belgium involves 10 special effects for the audi- ence to experience during the fi lm which are natural draws for audiences. Æ:[[ZXihi]ZVigZhVcY Industry professionals look at capture But you don’t need to be a mega-chain rates or the percentage of annual visi- to benefi t from a 3D/4D theatre. UK-based h^bjaVi^dcViigVXi^dch tors expected to add on the theatre ticket Simworx’s managing director Terry d[[ZgVidiVaanY^[[ZgZci and their views on what’s possible vary. Monkton sees the importance of 3D/4D ZmeZg^ZcXZ[dgeZdeaZ According to Brian Edwards, president of attractions for parks of all sizes based Edwards Technologies Inc (ETI), an AV and on their dozens of recent installations. d[VaaV\ZhVcYgjc design fi rm which has created a number of “Effects theatres and simulation attractions hjXXZhh[jaangZ\VgYaZhh 3D/4D theatres: “The most conservative offer a totally different experience that’s estimates peg a successful theatre with a d[i]ZlZVi]Zg#HdbZ accessible to people of all ages and runs minimum 10 per cent capture rate.” The successfully regardless of the weather,” he ÒabhVahdVaadl[dg Long Beach Aquarium in California, for says. “Also, certain fi lms allow for branding WgVcY^c\d[hZXdcYVgn example, brings in 15 to 17 per cent annu- of secondary spend items.” ally, while according to Janine Baker, vice Smaller parks often have to be more heZcY^iZbhÇ president fi lm distribution and develop- creative to get the maximum return on ment at fi lm production company nWave: their investment. For example, Belgium’s museum or institutional market tends “Most theatres ought to be running in the Bobbejaanland theme park turned to 3DBA to approach the venue differently. “Park 15 to 40 per cent range.” to design their Haunted House attraction. guests expect to be thrilled and excited,” Even sticking to the conservative 10 per “To attract visitors we created 10 special explains Houben. “But museum guests are cent fi gure, a facility with an annual attend- effects for the audience to experience dur- concerned with the topic of the fi lm fi rst, ance of one million guests can expect to ing the fi lm,” explains 3DBA’s President then with the special effects.” Typically, sell a minimum of 100,000 theatre tick- Roger Houben. “You have to do everything the theatre requires a separate admis- ets. When the cost of a ticket is averaged you can to make the theatre special.” sion, requiring visitors to actively choose to out with promotions, coupons and dis- As well as theme parks, 3D/4D theatres experience the 3D/4D attraction. counts, the industry standard comes out are also used in standalone attractions and to around $4 (£2.45, %2.90) making total museums. “Standalone theatres do well MONEY TALKS revenue for a year $400,000 (£245,400, in major tourist destinations where they Installation prices are often scaled to %290,000). According to Edwards, institu- can contract with cruise lines and other the number of seats in a theatre and the tions can expect to pay about 25 per cent tour operators to bring in business,” says number of special effects. A small thea- of their revenue for the fi lm content and Houben. “Theatres are also popping up tre can be installed for around $100,000 another $10,000-$15,000 (£6,150-£9,200, in the Middle East inside shopping malls, (£61,300, %72,500). Most institutions opt %7,250-%10,900) per year in maintenance which attract large numbers of visitors.” for a small- to medium-size theatre, as their costs, depending on the fi lm and the Whereas with park and standalone daily throughput requirements are lower. size of the theatre. According to indus- models guests often feel the theatre is The amount of money the theatre brings try experts, a venue that wants to license just anothanother attraction to experience, the in depends on a number of variables. off-the-shelf fi lm content can expect to 7722 ReadR Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 CONTACT BEN SMITH . +44 (0) 114 2730700 . [email protected] 3D / 4D ATTRACTIONS The Beatles Story’s TECHNOLOGY TRENDS new Fab 4D theatre contains single chip Quality counts when it comes and more affordable. “DLP DLP projectors to a 3D/4D theatrical produc- Projectors will help to move tion. “The biggest mistake forward the quality of 3D any venue can make is quality,” says Dennis Earl the underestimation of the Moore. “They provide good audience’s need for high light, high contrast and a quality for dollar spent,” says stable operation.” DLP pro- nWave’s Janine Baker. “Sites jectors operate using a light need to upgrade from older source that refl ects off a DLP formats and low resolutions chip containing thousands of to meet consumer expecta- micro-mirrors which alter the tions or they’ll see declines in light. A colour wheel allows numbers. The standard now the light to pass through the is the DCI compliant JPEG lens with the proper colour. system requires special 3D ues on perfecting a reliable 2000 format.” Still in the pipeline is glasses that are expensive and bright LED light source, Digital projection is fast single projector 3D technol- and cost-prohibitive for most which will enhance lamp life becoming the standard ogy. Already available, the venues. Finally, work contin- standards enormously. pay around £300 ($490, %355) make a 3D/4D fi lm and deliver per seat per year. In this exam- world class attractions at a frac- ple, using the 25 per cent fi gure, tion of what it would cost as a $100,000 (£60,400, %71,000) standalone project.” Fly Me To goes on content and $15,000 The Moon was a box offi ce suc- (£9,200, %10,900) goes on mainte- cess as a feature fi lm, and also nance, leaving a fi rst year return of attracted guests to shorter ride- $285,000 (£175,000, %206,600). fi lm and 3D/4D versions. Phil Lindsey, vice president of Many industry professionals The Health Museum in Houston, feel this multi-layered approach is Texas, agrees this model works. where museums and 3D/4D thea- “Museum data shows that you tres are headed. While streaming can expect payback within a year 3D is still in the future, the infra- if you use a standard up-charge structure is being put in place for model for fi lms of about $3-$4 institutions to share 3D content in (£1.85-£2.45, %2.18-%2.90) per realtime, by going on an explo- head, and have the appropriate ration of, for example, the deep foot traffi c to begin with,” he says. sea, or an Amazonian rain forest. The Health Museum chooses to Taking education and entertain- include the theatre within the cost Fly Me To The Moon has had success as ment to new levels is within reach. of admission, which gives more guests a feature movie, a ride-fi lm and a 3D fi lm Parks and attractions also have to access to the experience and helps fulfi ll keep ahead. “As 3D becomes more com- the museum’s mission of reaching out monplace in the traditional cinema, it’s to people. “Our theatre was included in venue,” says Ben Smith, creative director important we stay ahead of the game,” our base ticket price, which we increased for RedStar 3D, a UK-based fi lm produc- says Monkton. “Using 4D effects, moving by $1 (£0.60, %0.73) when we opened it,” tion company. “It’s hard to give ballpark seats or dynamic motion platforms we can says Lindsey. “As a result, 80 per cent of budgets for fi lm productions because cost give visitors a fi ve- to 15-minute experience our visitors have seen the Expedition: Cell is dependant on the nature of the fi lm, with a wow factor they can’t get at the cin- 3D fi lm, and will see our upcoming Planet but a good starting place would be in the ema.” At The Prater in Vienna, Explore5D You 3D fi lm. By including the theatre in our region of £250,000 ($407,500, %295,400).” has changed how people experience the base experience, we’ve ensured that tens Institutions have options when it comes movie, placing them in a near-standing of thousands of people will get exposed to to selecting content. In addition to com- position to create the feeling of fl ying. some very cool educational content that panies like SimEx-Iwerks and RedStar 3D, they might not have paid an up-charge for.” they can benefi t from collaborations with CINEMATIC CHALLENGES fi lm producers. One example is nWave, But what’s the biggest challenge facing CHOOSING CONTENT which recently created the successful Fly operators today? “Every operator asks Institutions can also decide to create their Me To The Moon. According to nWave’s about content,” says 3DBA’s Houben. own content. “An increasingly attractive president Ben Stassen: “As we’re produc- “Not only do they want to know about option is to commission your own bespoke ing feature animated fi lms, we’re able fi lm development strategies and release fi lm which can refl ect the theming of your to use content created for the feature to dates,” agrees Frueh, ”but they also want 74 ReadR Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 nWAVE PICTURES PRESENTS AN AMAZING LIBRARY 4D OF 3D/4D FILMS FILMS For more information contact: For more information contact: Eric Dillens Roger Houben phone +32 475 464 739 phone +32 473 510 380 [email protected] [email protected] www.nwave.com www.3dba.be 3D / 4D ATTRACTIONS Æ:[[ZXihi]ZVigZhVcY C:LHGDJC9JE h^bjaVi^dcViigVXi^dch d[[ZgVidiVaanY^[[ZgZci ZmeZg^ZcXZ[dgeZdeaZ d[VaaV\ZhVcYgjc hjXXZhh[jaangZ\VgYaZhh d[i]ZlZVi]Zg#HdbZ ÒabhVahdVaadl[dg WgVcY^c\d[hZXdcYVgn heZcY^iZbhÇ Cowabunga The fi fth element 3DBA and Falcon’s Treehouse are creating The Drievliet Family Park in The Hague, a 4D dark ride themed around Teenage Netherlands, has launched a 5D theatre Mutant Ninja Turtles for an new theme park attraction for the 2009 summer season. opening in Incheon, South Korea in 2011. Supplied by UK-based Simworx, the This will be the fi rst theme park ride theatre is located in the park’s old Cine based around the characters and will incor- 180 building and boasts a high defi nition porate multi-sensory elements to create an Christie 3D projection system. immersive experience for park attendees. Simworx has worked with Joravision on Entertainment and media organisation the theatre, which is running the 12-minute 4Kids Entertainment and Mirage Studios, Curse of Skull Rock 3D fi lm, produced by licensor of Teenage Mutant Ninja Turtles, RedStar Studio. The screen was supplied are collaborating on the project. and installed by Harkness Screens. The show at Mt Vernon’s Revolutionary War theatre is famed for its indoor snow to ensure the fi lms will continue to drive theatrical experiences. As Hollywood starts them into the story,” explains Lipschultz. attendances.” This is why SimEx-Iwerks producing more 3D fi lms, and consumers Regardless of the location, that’s exactly has focused on providing a steady stream have more 3D entertainment options avail- what the 3D/4D industry’s working to do. of new fi lms based on popular brands, and able to them at home, “we have to raise the “As more theatres come online, that pushes why 3DBA has partnered with nWave to bar drastically to meet the audience expec- the demand for additional content, which open up its fi lm library to customers. tation,” says Stassen. “However, as most drives the production of more theatres,” Even more important, claims Stassen, 3D venues in multiplexes aren’t really ade- says ETI’s Edwards. “I can’t see anything is the quality of the content. “If you don’t quate for 3D immersion due to bad seating but continued growth for some time.” have an immersive 3D experience and give arrangements and inadequate screen size, But is this realistic, given the state of the the viewer the sense of being there, they specialty venues still have a substantial global economy? “Recently we’ve seen won’t return and revenue will be affected.” edge when it comes to 3D immersion.” a surge in the roll-out of 3D theatres in Some theatres, especially those in Sometimes the fi lm doesn’t even have cinemas worldwide. During the fi rst half of aquariums, zoos, and science museums, to be in 3D. The Revolutionary War theatre 2009, the digital 3D cinema network has are continuously hungry for new content and BRC Imagination Arts’ Lincoln’s Eyes doubled in size,” claims Stassen. “There while some attractions, which are tied to show at The Abraham Lincoln Presidential are now close to 5,000 digital 3D cin- a very specifi c subject matter, keep the Museum in Springfi eld, Illinois both use emas. The increase is so signifi cant that same show for years. Dennis Earl Moore two planes of projection to give the effect it’s become hard for the vendors to keep Productions’ work on the 4D Revolutionary that there’s a depth to images, but these to their delivery schedule. So, even in this War theatre at Mt Vernon is one such site. aren’t actually rendered as 3D. At the economy, the demand for 3D is high.” “At Mt Vernon the 4D theatre’s an anchor California Academy of Sciences, multiple Monkton is also confi dent. “People and relies on word of mouth,” explains media exhibits rely on the skills of media always enjoy fi lm,” he says. “By continuing Moore, “Even two years after opening, designer Mindi Lipschultz who created the to develop the technology and with a qual- people ask ‘How do we get to the theatre effect of 3D movement using historical two- ity infl ow of new and entertaining ride and where it snows inside?’” dimensional photographs. “The goal in any attractions fi lms, our sector is in a good While attesting to the viability of the media presentation is to give the audience position to weather current and future eco- show, it also speaks of the expectations for something interesting to look at that draws nomic challenges.” L 76 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 The Fab4D Murder mystery Get real The Beatles Story museum has launched a Alterface and Clostermann Design are col- Augmented reality specialist Total 4D theatre as part of its expansion. laborating on an interactive haunted house Immersion has introduced an Interactive Using a screen made by Harkness with a 4D theatre set up. 3D Live Show platform, allowing spectators Screens, the Fab4D cinema experience Themed around the story of a castle to interact with virtual live performers. takes visitors on a multi-sensory 4D journey haunted by a 1920s silent fi lm star, the ride The platform combines a real or virtual through the music of the Beatles. seats guests on themed seats on a rotating performer with 3D effects. The audience Opened in July, audiences can smell platform, quickly moving them from screen is invited to play a guessing game based strawberry fi elds and are surrounded by to screen. 3D images are combined with around reality and the imaginary. bubbles in a yellow submarine. The ani- real effects, lighting and sound to create a Total Immersion’s patented D’Fusion mated 4D fi lm was developed exclusively frightening atmosphere. Guests are armed technology integrates real-time 3D graph- for the venue by Red Star, with Simworx with a pistol, allowing them to react to sur- ics into a live video stream, blurring the line providing the 40-seat theatre. prises which spring up around the room. between the virtual and the real. HARKNESS... THE WORLD’S LEADING 3D SCREENS REFLECTING YOUR 3D INVESTMENT HARKNESS SCREENS harkness-screens.com [email protected] AM 3 2009 ©cybertrek 2009 Read Attractions Management online attractionsmanagement.com/digital 77 fun-kit.net Wherever you are in the world, fi nd the right products and services 24 / 7 by logging on to Attractions Management’s free search engine www.fun-kit.net Open Frontiers join forces with Woburn For more information, or to contact any of these companies, log on to www.museum-kit.net and type Leisure systems specialists Open Frontiers, which powers Go Ape’s the company name under ‘keyword search’ 21 UK activity sites, has launched its online, real-time booking system at Woburn Safari Park. Merlin and the Noisy Called Time Pursuit, the system can be accessed by Woburn Safari Drinks Company Park and their customers to book Following an extensive rebranding combined packages for the safari exercise and a length tender pro- park and Go Ape. cess, iced drinks group The Noisy The booking software has been Drinks Company has become the enhanced to meet the new demands new suppliers of iced drinks to and will be operated as a franchise. Merlin Entertainments. fun-kit.net keywords The Noisy Drinks product range open frontiers will be available from the summer season onwards at Alton Towers, Legoland, Thorpe Park, Chessing- ton World of Adventures, Madame fun-kit.net keywords Tussauds, Sealife Centre, London noisy drinks Dungeons, Edinburgh Dungeons ers within the Merlin estate alone and York Dungeons. This will pro- during the rest of 2009. The com- vide the company with exposure to pany is currently developing a new more than nine million UK consum- interactive website for children. Disney provides Robe Launches Robin® hand-held assistance 300 Plasma Spot The Texas-based company Softeq Robe has unveiled the Robin® 300 has worked in partnership with Dis- Plasma Spot moving head, de- ney to create a handheld device for signed for use in a variety of live disabled guests to use at Walt Dis- shows and events. ney World Resort and Disneyland The product is the fi rst in a new Resort theme parks. line of plasma lamp based fi xtures Incorporating wireless technology, from the company and comes with the device provides assistance in a a lifespan of up to 10,000 hours. variety of ways for those with visual Small in size, the Robin 300 re- and hearing impairments. The assis- quires only minimal fi xture housing. tive systems include amplifi ed audio The plasma lightsource offers a and a running commentary about smooth dimming capability, going key changes in performances. down to 20 per cent. fun-kit.net keyword fun-kit.net keyword Operation is carried out via a softeq robe LCD touch screen. 78 AM 3 2009 ©cybertrek 2009 VAC 2009 the annual National Conference of Visitor Attractions wednesday 7 october 2009 Where? The QEII Conference Centre, London. Who? You, if you are an owner, manager or marketer of a visitor attraction, an opinion former, a tourism or heritage professional. Why? Never have Britain’s Visitor Attractions faced more challenging trading conditions. But “Challenges make Champions” – and we will be examining what the best do to survive and thrive, and learning from Attractions that have made exceptional gains. Evaluate your strategies to stay one step ahead. This is your conference – organised on a not-for-profit basis by the industry. Come and exchange ideas and information with fellow Delegates and question industry leaders. BOOK NOW! Please log onto the official VAC 2009 website to register for the conference www.vac2009.co.uk Early bird and multiple booking discount registration rates will apply. Early Booking Deadline 6 August 2009! SUPPORTING SPONSORS OFFICIAL PUBLICATION Supported by museum-kit.net Wherever you are in the world, fi nd the right products and services 24 / 7 by logging on to Attractions Management’s free search engine www.museum-kit.net Tannoy in the British For more information, or to contact any of these Musical Experience companies, log on to www.museum-kit.net and type Tannoy has supplied a range of the company name under ‘keyword search’ speakers for installation in the British Music Experience, the £6.5m inter- active music exhibition that recently UK bug attraction for opened as part of London’s O2. Over 100 8in Tannoy speakers Thomas and Adamson were installed by systems integra- Edinburgh-based construction tors Sysco, which were positioned to and property consultants Thomas form a ‘speakerscape’ feature hung and Adamson have released from the ceiling of the central Core more details about the space (pictured), around one of the work they completed structure’s steel masts. on the BugWorld Ex- museum-kit.net keyword perience attraction. tannoy Situated at the Albert Docks in Liverpool, the company provided project management, museum-kit.net keyword quantity surveying and construc- adamson tion design and management featuring insect specimens, digital (CDM) coordinator Services. exhibits and what is described as Opened at the beginning of June ‘a suite of interactive experiences’. 2009, the completed BugWorld Other attractions include virtual Experience consists of six zones, bugs that visitors can interact with. Experiencing Lighting up the Cold Manchester in Macau War at the RAF Museum The Manchester United Experience, The 021 and 022 series parabolic designed by British experiential con- projectors from Sill Lighting have sultants MET Studio, has opened at been used as part of the National the Venetian Macao Resort in Macau. Cold War Exhibition at the RAF Said to be the fi rst interactive ` Museum in Cosford, UK. football experience in Asia, the Chosen by DHA Designs, a total 1,000sq m attraction has been de- of 20 parabolic projectors were put signed to allow visitors to surround in place to help showcase the exhi- themselves in the club, enabling bition’s large collection of rare and them to trace the roots of the side as unique aircraft. The long throw pro- well as view every aspect of Old Traf- jectors were used to give an edge ford itself from the changing rooms to the existing soft house lighting to the players’ tunnel. within the exhibition space. museum-kit.net keyword museum-kit.net keyword The Sill range is suitable for both met studio sill outdoor and indoor installations. 80 AM 3 2009 ©cybertrek 2009 ATTRACTIONS MANAGEMENT Call +44 (0)1462 471903 to book your space BUYERS GUIDE AMUSEMENT RIDES CULTURAL DEVELOPMENT MULTIMEDIA AV THEMING LIGHT, SOUND & VIDEO SHOW CONTROL SIMULATION THEMED CONSTRUCTION Amusement ride manufacturer since 1952 EXHIBITS ROCKWORK BERTAZZON 3B Srl Sernaglia - Italy WATER FEATURES Tel. +39.0438.966291 FACADES Fax +39.0439.966165 SCULPTURES E-mail: [email protected] Tel: 001-262-677-6060 www.bertazzon.com Email: [email protected] BODY DRYERS DESIGN & THEMING SIMULATION RIDES 5D WATERPARK ATTRACTIONS THE ULTIMATE DRYING EXPERIENCE! Specializing in the ultimate waterslides, Tel: +44 (0)1202 890705 interactive play structures and more! [email protected] T.: +1.604.273.1068 www.haystack-dryers.com www.whitewaterwest.com COSTUME CHARACTERS DESIGN & THEMING TICKETING WATERPLAY RAINBOW PRODUCTIONS The World’s Leading Producer of Redemption Tickets... Stock, custom-printed and BAR CODED Costume creation & cartoon tickets available. character appearances A Century of Quality, Service, and Innovation PO Box 547 Shamokin, PA 17872 Contact Danny Smith: +44 (0)20 8254 5312 Toll Free 800-829-0829 [email protected] Toll Free Fax 800-829-0888 International Dept. 717-672-2900 www.rainbowproductions.co.uk International Fax 717-672-2999 COSTUME CHARACTERS INTERACTIVE & 4-D ATTRACTION WET LEISURE PLAY PRODUCTS Book your advert WORLD CLASS on our website Amazing Characters! and be seen by [email protected] +44 (0)8706 268024 over 11,000 buyers every month. Interactive Play Flume Slides Safety Solutions Plant Equipment www.frenzycreative.co.uk www.3dba.be and Maintenance Specialist Services Seamless BRANDLANDS/ARCHITECTS/BOTANIC/CULTURAL/MUSEUMS Coatings Call the Sales Team Today to Discuss Your Booking Hippo Leisure Products Ltd, Unit 18, Estover Road, Estover, Plymouth PL6 7PY 01462 431385 Tel: +44 (0) 1752 313075 E: [email protected] www.attractionsmanagement.co.uk W: www.hippoleisure.com To subscribe to Attractions Management log on to www.leisuresubs.com email: [email protected] tel +44 1462 471913 fax +441462 433909. Annual subscription rates are UK £34, Europe £45 rest of world £65, students UK £17 ...museums brandlands cultural attractions botanic gardens Attractions Management is published each quarter by The Leisure Media Company Limited, Portmill House, Portmill Lane, Hitchin, Herts SG5 1DJ, UK and is distributed in the USA by SPP, 75 Aberdeen Road, Emigsville, PA 17318-0437. zoos safari parks visitor centres themed attractions mixed Periodicals postage paid @ Manchester, PA. POSTMASTER. Send US address changes to Attractions Management, c/o development heritage centres science centres hotels restaurants... PO Box 437, Emigsville, PA 17318-0437 USA The views expressed in print are those of the author and do not necessarily represent those of the publisher The Leisure Media Company Limited. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system t +44 (0)20 8662 4600 [email protected] www.rayhole-architects.com or transmitted in any form or by means, electronic, mechanical, photocopying, recorded or otherwise without the prior permission of the copyright holder. Printed by The Manson Group Printers. © Cybertrek Ltd 2009 ISSN 1479/9154 AM 3 2009 ©cybertrek 2009 attractionsmanagement.com/digital 81 O d D J O B MAKING A SPLASH Visiting exotic locations to test waterparks for their fun factor may not sound like work, but it’s part of Tommy Lynch’s job with First Choice Holidays, as Andrea Jezovit hears What’s your job description? Offi cially my title is life- style product development manager for families, and I work within the First Choice Innovation team. Our research shows that 92 per cent of kids asked spent every day on their holiday in the pool and that the most important thing is having a really cool pool. Since then I’ve been responsible for traveling the What’s the best pool you’ve tested? world to test some of the best pools and slides to see The best pool by far is the Aqua Fantasy in Turkey. It if they can be incorporated into our new ‘Splash’ pro- has its own water park which ticks all the right boxes Profi le gramme, which is a collection of resorts with the most with a giant wave pool, splash park, pirate ship as I started with First impressive water facilities for kids and their families. well as petrifying slides and an adventure river - Choice many years I’ve just come back from a tour of PortAventura there’s something here for the whole family. ago when I fi nished on the Costa Dorada, and the First Choice Holiday my university degree Villages in Cyprus and the Algarve. Last year I Are there any unusual elements to your in tourism and leisure was lucky enough to travel over 27,000 miles vis- job that would surprise people? while working part- iting potential ‘Splash’ resorts in the Dominican I’m head of the Cool Pool Board of directors, which time at a local travel Republic, Mexico, Egypt, Turkey and Spain. is something that’s impressed my family! The Cool agency. I became a Pool board includes seven children we found in a holiday rep and loved What does ‘pool testing’ involve? nationwide search in April who will be consulted on it so much I did this Our resort teams short-list the best pools in each any new build Splash Resorts. for three years in four destination and then I’ll arrange a visit to properly different destina- test them. I look for three main criteria: the Splash What’s the most diffi cult part of the job? tions. After a variety Resorts have to be innovative, fun and have some- More often than not I have to do my visits in the of roles including a thing for everyone. They should feature slides like a colder months when we have fewer customers in resort team manager Masterblaster Rollercoaster and Champagne Bowls, resorts, so the slide testing can really get my teeth in the Costa del Sol, and include wave pools and lazy rivers - splash parks chattering. I also fi nd it diffi cult to break the bad I decided to move are a big crowd pleaser. Finally they need to have news to resorts that haven’t quite made the grade. back to the UK and space, and lots of slides to ensure the waiting time Also, the desk part of my job is hard to come back joined the team as a for people queuing is as short as possible. to after one of my pool testing trips. As I’m out of product executive. I the offi ce a lot, I always come back to a mountain of eventually worked my What’s a typical day of pool testing like? paper work. way up to Lifestyle Before I arrive, we’ll look through the specifi cations product develop- and give each hotel a proposed ‘Splash’ rating. Then How do people react when you tell them ment manager, and I make sure the score is accurate by going down your job is testing pools? fi nally took on the the fl umes and testing their fun factor. We work with Generally they don’t believe me. When I fi nally con- Splash resort concept third party suppliers and dedicated consultants on vince them it’s true they think I’ve been a bit jammy and my pool testing any new build splash resorts to ensure that only landing this role. I’m sure there would be no short- responsibilities. hotels with the highest ‘Splash’ rating make the cut. age of applicants if I ever left. ● 82 Read Attractions Management online attractionsmanagement.com/digital AM 3 2009 ©cybertrek 2009 The Spotlight Is on Business Solutions In a new year, with new challenges, IAAPA Attractions Expo 2009 will deliver a comprehensive program that gives you access to the business solutions you need to compete. No where else will you fi nd fi ve days of expert-led education, 1,200 exhibitors—the largest group of attractions industry suppliers in the world—and nine miles of show fl oor dedicated to dazzling demonstrations and displays. Come to Vegas and go home with ideas and strategies, products and services that will increase your profi ts! The Main Attraction for the Attractions Industry IAAPA Attractions Expo 2009 LAS VEGAS, NEVADA USA Produced by: Conference: November 16–20, 2009 IAAPA Trade Show: November 17–20, 2009 Las Vegas Convention Center–South Halls Attractions Expo To attend or exhibit, go to www.IAAPA.org