Attractions Management Issue 4 2015

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CUSTOMER ENGAGEMENT

Attractions have traditionally seen their ticketing and access control operations as being about little more than gatekeeping, with money exchanged for access. But today, that touch point with the customer is an opportunity to begin a whole new and transformational relationship

isitor attractions of all kinds, from museums As a customer, I’ve repeatedly been frustrated to find to theme parks and zoos to planetariums, attractions doing a poor job of customer engagement through have traditionally known very little about the tech and believe we need an industry-wide push on this front. V customers who come through their doors. As a basic check list, customers should be able to eas- Understanding visitors’ motivations, needs, wants and ily buy timed and non-timed tickets online. They should also responses has only been possible through the use of market be able to join membership schemes with valid and useful research which few could afford or afford often enough, so it’s benefits and then to have a great customer journey in relation mainly been a case of build it and they will come. to that scheme, with regular and sincere contact from the The growth of membership schemes has helped some attraction, special offers and other types of benefits. attractions to better under- They should also be able to stand who their customers buy gift certificates which meet are and to develop deeper Your customers should be their needs in terms of the and more meaningful able to buy gift certificates types of packages on offer and engagement with them, but which are delivered in a timely few attractions have taken for your attraction which fashion. The technology is this golden opportunity and meet their needs and are available – cheaply – to enable made anything of it – even delivered in a timely fashion this and it’s time we grasped those with membership the nettle and implemented it. schemes do very little with The world is increasingly them in terms of customer affluent: the World Bank engagement – so for the most part, the attractions industry is announced this month that the number of people living in poor at knowing and interacting with its customers/visitors. extreme poverty will fall to under 10 per cent in 2015, and as A few years back, I argued attractions should follow the same previously poor nations urbanise, there will be an increasing model as the theatre and sports markets and move to advance appetite to do things rather than have things. Attractions are ticketing. We had a mixed post bag on that topic, with some in completely the right place to deliver on this need. arguing it would spoilt the spontaneous nature of an attractions You can make a healthy revenue stream from gifting, from visit, or that the investment in technology wasn’t justified. memberships and from online sales and if you’re geared up to The trend towards advance ticketing is now growing and on do this, we’d love to hear about it, so we can share it as best page 94, we debate the issue and look at some examples practice with other readers. And if you’re not, then it’s really of how the implementation of advance ticketing is helping time to take action. Your customers expect and need it and it businesses to improve their financial position through more can do nothing but benefit all concerned. reliable ticket sales and their marketing reach and customer engagement through better customer data. Liz Terry, editor. Twitter: @elizterry

Tel: +44 (0)1462 431385 attractionsmanagement.com @attractionsmag [email protected]

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 7 IN THIS ISSUE ATTRACTIONS MANAGEMENT

Q p50 Scott A Lukas asks how themed spaces should deal with dark times in politics and history Q p34 Jean de Rivières on Ubisoft’s plans

Q p42 Looking back at Banksy’s Dismaland Q p56 The Royal Botanic Gardens at Kew has modernised its approach to audience demographics

07 Editor’s letter 38 Talking Point 56 Analysis What Can We Do to Better People Power 12 People Accommodate Older Visitors? Gerri Morris, director at Morris Meet the people making the news, The 65-plus market is growing, and Hargreaves McIntyre, presents a new from MackCreative to Two Bit Circus older family members often make the way of defining cultural consumers decisions and hold the purse strings. 20 Science Centres news Is your attraction welcoming them? 62 Show Report 21 Visitor Attractions news SATE 2015 22 Waterparks news 42 Attractions Star Wars hero Anthony Daniels (C-3PO) 24 Theme Parks news Gone, Not Forgotten gets this year’s SATE conference buzzing 26 Museums & Galleries news We find out what people thought of 28 Heritage news Dismaland, Banksy’s twisted theme park 66 Planetariums 30 Zoos & Aquariums news and contemporary art attraction – and Planetariums: the Next 20 Years 32 Technology news talk to one of the Dismal Stewards Staffan Klashed of Sciss asks how planetariums can find success in the future 34 Interview 50 Immersive Design Jean de Rivières Controversial Topics 70 Mystery Shopper Jean de Rivières, who leads the theme Scott A Lukas delves into the world Igniting Imagination park division at Ubisoft, on the videogame of dark and disturbing topics in We visit The Hunger Games: The Exhibition developer’s futuristic theme park themed and immersive spaces and enjoy a host of interactive experiences

8 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 ATTRACTIONS MANAGEMENT ISSUE 4 2015

Q p66 Industry analysis reveals the developments and challenges facing the planetarium sector Q p62 Anthony Daniels speaks at SATE

Q p70 The Hunger Games exhibit on tour Q p80 Entering the curious world of Lotte, where South Korean culture and tradition is central

80 Theme Parks 100 Zoos & Aquariums Best of the Lotte Turn over a New Reef With 7 million visitors a year, Lotte The Florida Aquarium is teaming World is one of Asia’s biggest hitters. up with the National Aquarium of We find out more about the concept Cuba in a bid to save and restore the region’s precious coral reefs 84 Profile Juliana Delaney 102 Rides Continuum’s CEO on the magic of pop The Ride Makers culture and the cultural attraction Our ride makers series returns to On the cover: Anthony Daniels the fast-moving and evolving world poses with the original C-3PO head 90 Waterparks of cutting-edge dark rides from the first Star Wars film Crystal Waters Photo: Sarah Lee We look at plans for a hybrid waterpark- 110 Show Preview theme park in Sharjah in the UAE IAAPA Show Subscribe: To subscribe, call: +44 (0)1462 471915 What’s new from suppliers or visit www.leisuresubs.com 94 Ticketing on the show floor in Orlando Web gallery: Ahead of the Game For suppliers of products and How advantageous is it to offer advance 116 Web Gallery services in the worldwide attractions tickets online? We ask the industry experts A source of attractions services industry, turn to page 116

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 9 the team

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10 Read Attractions Management online attractionsmanagement.com/digital AM 4 2015 ©Cybertrek 2015 MORE TO ENJOY... What’s hot in Leisure Media’s magazines

HEALTH CLUB CLADMAG SPA BUSINESS ATTRACTIONS MANAGEMENT MANAGEMENT Q David Rockwell shares Q Deepak Chopra on his Q Freerunning star the secrets of creativity new project with Delos Q Ubisoft and the Sébastien Foucan and Leonardo DiCaprio videogame theme park Q Wild Places: the on his new venture challenges of building on Q Customised spa Q Scott A Lukas on dark Q Member loyalty in the the Galapagos Islands treatments: is it ok for topics in attractions on-demand economy staff to freestyle? Q Pegasus Capital’s Q South Korea’s quiet http://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=Health%20Club%20Management&codeID=3043&linktype=homepage http://cladglobal.com/TP_counter.cfm?sitecode=CLD&mag=CLADmag&codeID=3041 http://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=Spa%20Business&codeID=3037&linktype=homepage http://leisuremedia.com Q The explosive growth Craig Cogut on Six Q Michael Tompkins success: Lotte World of extreme events Senses’ expansion plans on his next move and the Lotte empire http://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3043 http://www.leisureopportunities.co.uk/digital/green/index.cfm?PASScodeID=3041 http://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3037 http://leisuremedia.com

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SPORTS LEISURE SPA OPPORTUNITIES AM2 MANAGEMENT OPPORTUNITIES Q Canyon Ranch sets Q SeaWorld expansion Q Tracey Crouch, UK Q VisitBritain turns to sights on Turkish comes at cost of minister for sports, on James Bond in new Riviera resort breeding ban rewriting sports strategy tourism campaign Q US spa staff in high Q Greece hikes entrance Qhttp://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=Sports%20Management&codeID=3025&linktype=homepage University sports Qhttp://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=Leisure%20Opportunities&codeID=3044&linktype=homepage Premier League still demand,http://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=Spa%20Opportunities&codeID=3042&linktype=homepage study shows feeshttp://leisuremedia.com/TP_counter.cfm?sitecode=LMD&mag=AM2&codeID=3045&linktype=homepage to heritage sites centres in the spotlight EU’s priciest for fans http://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3025 http://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3044 Qhttp://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3042 Commune opens its Qhttp://www.leisureopportunities.co.uk/digital/green/indexLMD.cfm?origin=DIGIpdfLMD&PASScodeID=3045 Chinese investor Q Engaging younger, less Q Jamie Oliver backs ﬁfth luxury property in backs Merlin’s plans conﬁdent kids with sport plans for a “sugar tax” Bali, Alila Seminyak for Legoland Shanghai

AM 3 2015 ©Cybertrek 2015 Read Attractions Management online attractionsmanagement.com/digital 11 People

Eric Gradman, left, and Brent Bushnell founded Two Bit Circus to bring science subjects to life

ntertainment engineering “We’ve had requests collective Two Bit Circus has been causing a real buzz in the US with its STEAM Carnival. for STEAM Carnival And now that success has Ebeen recognised by a trio of venture capital ﬁ rms, who are putting up $6.5m (€5.9m, from all over the £4.3m) in investment for the high-tech circus to expand and develop the concept. “We’re thrilled to be bringing our crazy world – the response circus to a broader audience,” says Brent Bushnell, CEO of Two Bit Circus. The Los Angeles, California-based has been awesome” company was founded in 2012 by Bushnell and Eric Gradman, who wanted Brent Bushnell, CEO, Two Bit Circus to create a positive narrative around the STEM (science, technology, engineering, and mathematics) subjects to “convert non-STEM kids into STEM kids”. The investment is coming from Techstars

12 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Ventures and Foundry Group, with Dunk Tank Flambe (top) is Bushnell’s additional funding from Intel Capital. STEAM Carnival highlight. Other The funding will mainly be used to grow activities include Wave Pendulum STEAM Carnival – a touring pop-up-style (left) and Big Ball Alley (right) event that gets kids to engage with STEM topics plus art topics in a project-based, hands-on way – into a national brand. The ﬁ rst STEAM Carnival took place in “With the investment we’re focusing on an LA warehouse in October 2014, and three core areas,” he says. “First, we’re has gone from strength to strength. The scaling the carnival up across the US next STEAM Carnival was planned for Pier and building out the ecosystem around 48 in San Francisco from 6 to 8 November. it, such as the YouTube channel. Second, “If LA was our prototype, San Francisco we’re building on our work in 360-degree represents version 1.0 of the event,” video capture for VR, and we’ll be creating Bushnell says. “We’ve had hundreds of original VR content. And third, we’re requests for the event from all over the completing our other out-of-home game world, so the response has been awesome, platforms – stay tuned for more!” with guests staying an average of ﬁ ve hours Two Bit Circus is also working on home in LA. We’re excited to take it across the solutions and a series of interactive country and then scale it internationally.” solutions for other out-of-home venues.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 13 People

“We should create something that builds on 4,000 years of Chinese relations with the environment”

Sir Tim Smit, entrepreneur and founder of the Eden Project

ir Tim Smit looks like he will have always declined as we did not wish finally achieve his ambition for to copy Eden in Cornwall,” Smit says. a Chinese Eden, after signing “This opportunity is exciting because our off on a £100m ($152m, partners share our view that we should €135m) partnership with build a project that builds on 4,000 years Sleading developer China Jinmao Holdings. of Chinese relations with the environment The contract for the project – the result and Eden’s fresh approach to education.” of nearly 14 months of negotiations by Smit “It feels like we have been given the – was signed in Beijing on 20 September. opportunity to do something very special China Eden is the entrepreneur’s first big and important and we are proud to take building venture overseas and his largest all that is best from the UK to forge new undertaking since the Eden Project opened partnerships in China – for it is here above in a former clay pit in Cornwall in 2001. all other places on earth that the shape The tourism and education destination of our collective future will be set over the will be located in Qingdao on the east next 20 years,” Smit says. coast of China, which attracts 63 Since opening, more than 16 million million tourists a year. The site – which people have visited the Eden Project, which overlooks the whole city – is derelict and has generated £1.6bn ($2.4bn, €2.2bn) environmentally-damaged where the land for the wider economy. Among many was once used for salt production and then Sir Tim Smit is working to bring awards, it was recently named the top prawn breeding. Now it will be transformed, Eden’s special brand of hands-on British landmark of the 21st century. fitting in with Eden’s commitment to environmental education to China, Grimshaw, designers of the original regeneration and its green credentials. the world’s most populous country – Eden Project, has been appointed as lead ”We have been approached many and one of its most polluted architects for the new development. Plans times before to create Eden projects, but for a site in Beijing are also in the pipeline.

14 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 IAAPA ATTRACTIONS EXPO 2015

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Conference: Nov. 16–20, 2015 Trade Show: Nov. 17–20, 2015 Orlando, Florida US www.IAAPA.org/IAAPAAttractionsExpo “It is impossible to travel down a slide without smiling”

Carsten Höller, artist PHOTO: ©LINDA NYLIND ©LINDA PHOTO:

Visitors are offered a unique way to exit the gallery, travelling on the twisting slides People

Carsten Höller’s twisting Isomeric Slides outside the Hayward Gallery PHOTO: ©DAVID LEVENE ©DAVID PHOTO: PHOTO: JOHN SCARISBRICK JOHN PHOTO:

nusual things were taking place at London’s Southbank Centre this summer, as the artist Carsten Höller was given free rein at the UHayward Gallery. An array of installations – both eclectic and eccentric – were brought together for the exhibition, named Decisions. Höller caused a buzz with his specially- commissioned 15-metre-long (49 foot) slides on the gallery’s exterior – which allowed visitors to travel from the glass pyramid ceiling to the entrance level – and inside the venue things were equally playful. One highlight was two moving robotic beds that roamed the galleries, entitled

Two Roaming Beds (Grey). For £300 ($461, €421), you and your guest could spend the Two Roaming Beds (Grey) night in the gallery, tucked up beneath your gives guests an alternative duvet as you trundled slowly amongst the perspective on the gallery artworks on a bed-machine on wheels. Visitors were treated to Flying Machines, which gave the sensation of ﬂ ying over Waterloo Bridge and The Pinocchio Effect, with technology that made visitors feel as though their nose was growing. The Isomeric Slides, which have been already featured at the nearby Tate Modern, come at the climax of the experience, giving visitors the choice of how to leave. Built onto the gallery’s exterior wall, these constituted “a graceful sculptural installation,” according to Höller, leaving visitors “experiencing an emotional state that is a unique condition somewhere

PHOTO: ©DAVID LEVENE ©DAVID PHOTO: between delight and madness.”

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 17 People

“This is an immersive experience like you’ve never had before”

Steffen Kottkamp, director at MackCreative, MackMedia

uropa Park revitalised its oldest rollercoaster in September when it added a world-first to the ride experience – virtuality reality. EUp to 2,000 visitors per day can take the Alpenexpress VR-Ride, donning the wireless Samsung Gear headsets and launching into an immersive journey combining virtual reality with the real world experience of riding a rollercoaster. Park mascot Ed Euromaus guides the VR adventure, featuring a ride on a mine cart and a lift on the wings of a dragon. Using precise synchronisation, the 3D animated world – produced by MackMedia, Europa Park’s in-house design and ideas engine – perfectly complements the coaster track. Steffen Kottkamp, director of MackCreative (like MackMedia, a division of Mack Rides), says the technology can Europa Park’s managing partner Roland Mack prepares to experience the ride be applied to an old ride to reinvent it for a new audience, but that it has more significant applications. movement to appear how you want it to,” Kottkamp says he thinks the solution “You have to imagine it as defining an Kottkamp says. “We take the existing ride, will be somewhere in between. area and in this area you can manipulate unfold it and then put it back together “We didn’t invent the technology in again as a new ride, using every curve, order to give old coasters a new-world ascent and descent of the track to add to sensation,” he says. “We invented the the virtual experience. It’s a bit like driving technology to create a much higher level or flying through a game, but here you feel of experience, where we can create a ride the real movement. This is an immersive bespoke for virtual reality.” experience like you’ve never had before.” The revolutionary technology is being The project was a collaboration between distributed by Mack Rides to the wider VR Coaster, Mack Rides, MackMedia and theme park market, and Kottkamp says Samsung, and was developed with Thomas there’s interest from multiple parties. Wagner, professor in the department of “We’re making a business model out Virtual Design at the University of Applied of it – one that also takes care of the Sciences Kaiserslautern in Germany. operational side, such as ride capacity, “It’s cheaper than building an entirely hardware hygiene and ticketing solutions.” new coaster, but that’s not the aim of the So does Kottkamp believe the technology,” says Kottkamp. “It can give rollercoaster, as we know it, is dead? an existing coaster a new lease of life, as “The future of the rollercoaster lies in we did with Alpenexpress. This is a first a combination of real physical forces and step, but there will be a lot of companies appropriate thematic content. Using VR, Passengers wear Samsung Gear VR that decide to build a new coaster and we can create a much more elaborate and headsets on the alpine-themed coaster integrate the technology from day one.” interactive themed world,” he says.

18 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 www.holovis.com SCIENCE CENTRES NEWS

Children’s science museum opens in Soﬁa INDUSTRY OPINION

Muzeiko – the first children’s Industrial heritage museum to be built in post- Soviet Eastern Europe – has and CSR are two opened its doors to the linked opportunities public in Sofia, Bulgaria. PHOTO: ROLAND HALBE PHOTO: Following two years Vlastimil Volák of development, the Lee H. Skolnick Architecture The Ecsite Directors + Design Partnership- Forum is held at designed (LHSA+DP) Techmania in mid- children’s science discovery November. As the centre has been conceived host of this event, as a “journey moving we chose a theme through time and space”. close to our heart: The 35,000sq ft industrial heritage and corporate (3,250sqm) facility is set QDesign for Muzeiko is based on the theme of little mountains social responsibility (CSR). The city over three storeys. On of Pilsen, home of the renowned the bottom floor, children is dedicated to the future, climbing wall, rain garden, beer and ŠKODA factory and 2015 can explore the past, with interactive exhibitions outdoor activity space European Capital of Culture, is a with exhibits based on exploring new technologies and an amphitheatre. perfect setting to tackle this topic. archaeology, geology and and space travel. Architectural design Industrial heritage gives us the palaeontology, while the The interactivity for kids for Muzeiko is based on opportunity to build on assets ground floor represents inside the museum also “Little Mountains”, an created in the past. It also gives the modern day, with extends to the site, with allusion to Bulgaria’s the upholders of this heritage the hands-on exhibits about exterior components includ- mountainous topography, tools and opportunities to enable nature and contemporary ing a science playground, according to LHSA+DP. future developments. Techmania was cities. Finally, the first floor green roof and rooftop QDetails: http://lei.sr?a=D7Z5F_T established on the industrial heritage of ŠKODA, a company which in the past employed as many as 90,000 people, and a fertile breeding ground for an institution that will continue Costa Rica attraction simulates earthquakes to communicate the significance of our industrial region and ensure that A new attraction has future generations embrace careers debuted in Cartago, Costa in the technical fields of companies Rica, giving visitors the operating locally. opportunity to experience a CSR allows companies to powerful earthquake. MAGMATICA PHOTO: participate in public life. Today many Magmática simulates a multinational companies commit to 6.3-magnitude earthquake having a positive social impact on the – the same power level that communities in which they operate. happened in the city in 1910. They develop a CSR policy, setting The event, known as Santa themselves ethical, environmental, Mónica’s earthquake, left educational (etc) goals that they the city in ruins and became often implement in collaboration with an important milestone in external stakeholders. This CSR trend failsafes and prevention QMagmática can simulate multiple earthquakes represents an opportunity for science methods that would be centres and museums: the more they applied to the entire country. actions in our communities teaching visitors how Costa engage in building an atmosphere of In addition to the Cartago toward these situations,” Rica acts as a biological growing both personal and corporate quake, the simulator will said Marcela Calvo, bridge between South responsibility, the more they will also be able to reproduce president of Magmática. “I and North America. Using benefit from corporate support the force felt during the 7.6 hope people can come and interactive technology, users and cooperation, in particular from 1991 Limón earthquake in experience earthquakes can learn about geological companies interested in capitalising Costa Rica and the 8.8 Chile with other eyes – formation of continents on the industrial heritage they are so earthquake in 2010. the eyes of prevention.” and how volcanic and good at keeping alive and relevant. “The simulator is meant An entire exhibition seismic activity affected to sensitise people to take has been built around the the formation of the country. Vlastimil Volák, CEO, Techmania preventive measures and simulator, with an exhibition QDetails: http://lei.sr?a=f9G2v_T Science Center, Czech Republic

20 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 VISITOR ATTRACTIONS NEWS

Miyazaki’s magical landscapes to become a reality in Japan

Oscar-winning filmmaker Hayao Miyazaki PHOTO: STUDIO GHIBLI has revealed plans to create real-life versions of the landscapes from his imaginative anime films, with designs for a 10,000-acre (4,000-hectare) nature park on a remote island off the coast of Japan. Miyazaki, who retired from filmmaking in 2013, will recreate the magical worlds seen in classics such as Spirited Away, Howl’s Moving Castle and My Neighbour Totoro, at the theme park on Kume Island in Okinawa, known as The Forest Where the Wind Returns. As with Miyazaki’s films, the unique attraction will be centred around nature. Included on the forest-filled island will be a library, accommodation to sleep up to 30 people and as few man-made attractions as possible. Existing playground equipment will be replaced QMiyazaki’s Oscar-winning films have all been based around nature with “an interactive site where children can enjoy nature through five senses.” Okinawa design firm Kume Creation on part of Kume. The development will An investment of $2.5m (€2.2m, is working on both architecture and be built with a “made in Kumejima” £1.6m) will be made by Miyazaki, landscape architecture for the project. ethos, making sure local construction with development of facilities and Miyazaki has said once complete, he materials are used and the opinions of the landscaping starting in Q2 of 2016 will donate the park to Kumejima – the island’s citizens are taken into account. and an opening date of 2018. The town of 8,000 people which is located QDetails: http://lei.sr?a=n7b7q_T

The Shining hotel to become Denver museum

The hotel which inspired PHOTO: WARNER BROS Stephen King’s The Shining has announced plans to open a horror-themed museum at the Colorado establishment, with some of the biggest names in horror QKynren will premiere on 2 July 2016 backing the ambitious $24m (€21.7m, £15.7m) project. UK’s Eleven Arches Led by Denver-based design firm MOA names 2016 show Architecture, the Stanley Hotel in Estes Park will Eleven Arches – the £31m ($47.4m, be home to the 43,000sq QThe hotel was the inspiration for Stephen King’s The Shining €42.9m) live-action show which ft (4,000sqm) interactive is coming to the UK in July 2016 museum, which will also centre with temporary Hollywood hotshots Elijah – will be known as ‘Kynren – an feature a horror film archive exhibits based on popular Wood and Simon Pegg, epic tale of England’, Attractions and a film production studio horror movies and shows. who have both appeared in Management can reveal. with classrooms, workshop To help with the funding horror-based flicks such as “The name echoes the Anglo Saxon spaces and a 3,000sq ft for the development, the Maniac and Shaun of the word ‘cynren’ meaning ‘generation, (278sqm) soundstage. hotel says it has applied Dead are on the centre’s kindred, family’,” said Claire Byers, In addition, the site will for $11.5m (€10.4m, founding board, as well marketing and communications be home to indoor and £7.5m) in film centre- as producer Daniel Noah director for Eleven Arches. outdoor entertainment generated state sales and legendary horror film QDetails: http://lei.sr?a=P3s6U_T venues, a 500-seat tax through the Colorado director George A Romero. auditorium and a discovery Regional Tourism Act. QDetails: http://lei.sr?a=r9z9v

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 21 WATERPARKS NEWS

Shrek to star at DreamWorks waterpark INDUSTRY OPINION

Canadian water ride Let’s treat challenges specialist ProSlide is working with the Triple the industry faces as Five real estate company opportunities for all

on the multi-million-dollar DREAMWORKS PHOTO: waterpark section of the Aleatha Ezra upcoming American Dream project in New Jersey. The World Waterpark American Dream New Association often Jersey will consist of a ﬁ elds questions super-sized mall, a theme about the challenges park and a 20,000sqm the water leisure (215,000sq ft) indoor industry will face in waterpark based on famous the coming year. We DreamWorks IPs. prefer to focus on the positives of our “The entire waterpark QShrek is making a splash at the DreamWorks waterpark global industry. However, we are also will be themed around realistic in acknowledging that, as our characters from the The focus is on themeing due to open in 2017. It’s industry continues to grow, we will DreamWorks movies,” said the whole environment, not expected that there will be face challenges as an industry. Some Jeff Janovich, ProSlide’s just the rides.” different areas within the of those global challenges for 2016 vice president, business Characters from the waterpark itself, including and beyond include: development and strategic Madagascar, Shrek and a Kung Fu Panda play O Water conservation. Water accounts. Kung Fu Panda franchises structure and a 42m (138ft) conservation is something that “It’s a total immersion are set to feature heavily. jungle-themed tower slide affects waterpark operators across experience. Visitors will be Hettema Group is – which would be among all continents. As an industry, we immersed in a world full of working on the design for the tallest in the world. must be proactive in our efforts to DreamWorks characters. the attraction, which is QDetails: http://lei.sr?a=s5h6h_T be good stewards of water, while at the same time educating people on the difference between water use vs. water consumption. This is an issue that can come down to perception World’s largest waterpark for Nothern Marianas and we must be ready and able to overcome the perception that The world’s largest waterparks are water-wasters. waterpark has been O Drowning. Lack of swimming proposed as part of a skills continues to be a global $7.1bn (€6.4bn, £4.6bn) problem. According to the WHO’s resort development on the 2014 Global Report on Drowning: US territory of Northern “Drowning claims the lives of Marianas near Guam. 372,000 people a year worldwide. Hong Kong-based Best This death toll is almost two thirds

Sunshine International PHOTO: SHUTTERSTOCK.COM/217597861 that of malnutrition and well over (BSI) is behind the plans, half that of malaria – but unlike which will also feature these public health challenges, there 20 hotels, an integrated are no broad prevention efforts that casino resort and a target drowning.” We, as an industry, kilometre-long shopping QThe waterpark development would come during phase two must continue to focus on drowning strip. According to BSI, the prevention programs and teaching company is eyeing public project coming in at phase earlier in the year, with a children and adults how to swim. land currently leased to two. The 1.52sq km (375 deadline of 28 July. The DPL, All industries must deal the Marina Resort and Spa acres) development will be which is responsible for the with challenges. However, our that will expire in 2018. completed over a period administration, management, industry can view our challenges At present, the BSI of 12 years, with the plans use, leasing, development as opportunities – in providing resort is in phase one rolled out in three phases. and disposition of all public solutions we are making a positive of development, which Northern Marianas’ lands in Northern Marianas difference in the lives of our guests includes the $190m Department of Public Lands is yet to announce its and our global community. (€172.1m, £124.1m) (DPL) issued a request chosen contractors and Grand Mariana Resort in for proposals to create a architects for the plans. Aleatha Ezra, director of park Saipan, with the waterpark masterplan for the project QDetails: http://lei.sr?a=E7D3b_T member development, WWA

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Chinese investor backs Merlin to build Legoland Shanghai

The effects of the Chinese president’s PHOTO: MERLINENTERTAINMENTS state visit to the UK were felt within the domestic attractions industry when Merlin Entertainments revealed plans to build Legoland Shanghai with Chinese backing. The $300m (£194m, €265m) Shanghai theme park is a joint venture between Merlin and the Chinese investment ﬁrm China Media Capital. The popular Lego-themed attraction has been making headway in the Asian market in recent years, with Legoland parks under construction in Japan and South Korea, and Legoland Malaysia open since 2012. Legoland is also expected to open at Dubai Parks and Resorts in the UAE in 2016. Other midway opportunities in China will be explored by the joint venture, such as the Dungeons, Legoland Discovery Centres and attractions with DreamWorks IPs. QMerlin Entertainments CEO Nick Varney has big plans for the Chinese and Asia market “China is a key growth market for the Group and we see this partnership and entertainment sector, CMC has committed to creating a premium experience as providing a signiﬁcant opportunity accumulated unique experience in aligning as well as establishing a working system in to accelerate our plans,” said international know-how with local market China for the development and operation Nick Varney, CEO of Merlin Entertainments. needs,” said Ruigang Li, chairman of China of location based entertainment attractions “Through investing and operating Media Capital. “Through this partnership that meet international standards,” across the whole spectrum of the media with Merlin, a global operator, we will be QDetails: http://lei.sr?a=5j4H2_T

Comcast to buy Universal Japan majority stake

Comcast is set to make its PHOTO: UNIVERSAL STUDIOS JAPAN largest purchase outside of the US when the entertainment conglomerate buys a majority stake in Universal Studios Japan for $1.5bn (€1.3bn, £988m). QThe rollercoaster first opened in 1920 Universal’s number of foreign visitors to its Oldest rollercoaster park in Japan have more than doubled since the in UK fully restored park opened its Harry Potter attraction in 2014. The Scenic Railway – the premier According to company QHarry Potter’s arrival has doubled the number of foreign visits attraction of heritage theme park statistics, more than 12 Dreamland – has finally reopened to million people visited the will give Universal Studios “We will make more the public 12 years after the UK’s park in the last financial Japan an enterprise value of investments – not only oldest rollercoaster shut down. year – an increase from $6.2bn (€5.5bn, £4.1bn). Osaka but also other areas,” Originally designed by Sir John 10.5 million on previous On the back of huge said chief executive Brian Henry Iles who bought the site in figures a year earlier. growth driven by the success Roberts, who added that 1919, the restored ride is nearly In a statement, Comcast of Universal’s Harry Potter while the sale had only been identical to when it first opened, said it will buy 51 per cent attractions, Comcast – the finalised this month, the bar modifications made for both of USJ Co – the holding parent company of Universal purchase plan had been in operational and safety reasons. company which owns the – has started an aggres- the works since it acquired QDetails: http://lei.sr?a=9f3b3_T Universal theme park in sive expansion of its theme NBCUniversal in 2011. Osaka – in a deal which park business globally. QDetails: http://lei.sr?a=a8B5f_T

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AM 1 2015 ©Cybertrek 2015 Read Attractions Management online attractionsmanagement.com/digitalwww.zamperla.com17 MUSEUMS & GALLERIES NEWS

Budget tripled for Budapest’s ﬁnalised cultural quarter

Hungary’s government has finalised and PHOTO: PARK BUDAPEST approved plans to create a new museum quarter, significantly inflating the previous budget by around three times to $710m, (€643m, £464m). The cultural quarter known as Park Budapest has been designed by multiple architects narrowed down from more than 500 applications. The Museum of Ethnography will be built in line with plans by French architecture practice Vallet de Martinis DIID Architectes, while Japanese firm Sou Fujimoto Architects has designed the House of Hungarian Music. Hungarian firm KÖZTI Architects & Engineers will design both the PhotoMuseum and Museum of Hungarian Architecture and Norwegian architecture firm Snøhetta and Japanese design studio SANAA are designing the QPark Budapest has been designed by multiple architects narrowed down from 500 firms New National Gallery and Ludwig Museum. Speaking at a parliamentary hearing, popular culture destinations across Europe, quarter will mainly replace a wide concrete László Baán, the government commissioner such as Prague and Barcelona. promenade used during the Communist era in charge of developing “MuseumPark”, Built within Budapest’s largest park, and a large car park that formerly acted as a said the project would draw an extra Városliget, the development will see old parade ground. Work on the development is 300,000 tourists to Budapest every year buildings onsite demolished and replaced expected to be complete by March 2018. as the city tries to compete with other with new structures. The new cultural QDetails: http://lei.sr?a=B4j9y_T

PHOTO: TOM ANSTEY Egypt plans world-ﬁrst underwater museum

Egypt’s Ministry of PHOTO: JACQUES ROUGERIE ARCHITECT Antiquities has said it is reviving ambitious $150m (€136m, £97.8m) plans to develop the world’s first underwater museum, which will showcase the sub- QThe exhibit displays real-life evidence merged ancient ruins of Alexandria. Permanent home for Announced by minister of antiquities Mamdouh London crime exhibit al-Damaty, the plans have been in the works for more Following its debut as a temporary than seven years. The site, QThe original design features a central underwater hub exhibition at the Museum of London, which dates back to 365 plans are in the works to set up a new AD has more than 2,500 galleries to an underwater utilising an above-water exhi- public institution to display Scotland pieces of stonework from the facility. However, those plans bition space for recovered Yard’s infamous “Black Museum”, a sunken section of Alexandria, were shelved in 2011, in Alexandria relics and then collection of criminal evidence from covering an area of around the wake of the Egyptian an underwater tunnel taking the Metropolitan Police Service. 25,000sqm (269,000sq ft) Revolution. Several years visitors down to the 7 metre- London mayor Boris Johnson will in the Alexandria Bay. later though, the plans deep (23 foot) sea floor in confirm the museum’s location by the French architect Jacques look set to become a real- the bay. There will also be end of the year, with funding sought Rougerie drew up plans in ity with the support of the submarine tours with glass from public and private sponsors. 2008 for fibreglass tunnels country’s government and observation windows to QDetails: http://lei.sr?a=R9x3R_T which would connect new UNESCO. The plans will be further explore the museum. above-ground waterfront similar to the original plan, QDetails: http://lei.sr?a=U0E1F

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Expert calls for government action to prevent ISIS devastation

Heritage expert and former director of PHOTO: UNESCO UNESCO’s World Heritage Centre Francesco Bandarin has called on the heritage sector and the governments that support it to increase efforts to end willful annihilation of historic sites by the likes of ISIS. Speaking at CyArk’s annual summit, Bandarin – who currently serves as professor of urban planning and urban conservation at the University Institute of Architecture in Venice – called for an end to the wanton destruction taking place in countries such as Iraq and Syria. “We are saying ‘enough’ to heritage destruction of these important sites,” said Bandarin. “The main challenges we currently face are the limits imposed on us. What we see in the ﬁeld today is total destruction. While technology has developed signiﬁcantly in the past 50 years, there is still a big gap QAncient heritage sites such as Palmyra in Syria have been attacked by ISIS between the tools we have to prevent or preserve, and the destruction these in-danger preserve heritage sites, the governments Bandarin. “It’s not acceptable, and we need a heritage sites face from the likes of ISIS.” of the world need to work with heritage governmental-level push to try to bridge that Bandarin, who’s held key roles in organisations to help these efforts, so that gap. If we can work closer with governmental UNESCO between 2000 and 2014, said sites can be saved even in the worst crises. organisations, then maybe we can limit the that beyond organisations such as CyArk “This gap between tools and destruction disaster on the levels we’re seeing today.” using developing technologies to map and prevention is very serious,” continued QDetails: http://lei.sr?a=Q8G2U_T

PHOTO: FIKAR DEAN SHUTTERSTOCK.COM/ Greece hikes heritage prices by 430 per cent

Greece’s heritage attractions PHOTO:SHUTTERSTOCK.COM/ ANASTASIOS71 are about to bump up prices by as much as 430 per cent as the country’s government tries to ﬁnd new sources of revenue to fund the cash-strapped nation. Q$48m will be invested into the site Entrance fees at landmark archaeological sites, Large investment to including the Acropolis, Ancient Olympia and the transform the Alamo ruins of Knossos, will be raised up to four times their The Alamo – one of the US’s current price, potentially QThe Acropolis will raise prices from €12 to €52 most historic landmarks – is to raising an additional €10bn undergo a $48m (€42.1m, £31.3m) ($11.4bn, £7.4bn) for the April will pay a 50 per cent across the country, with renovation to turn the attraction Greek government. discount on the new prices. heritage a key lure for the into a prime heritage destination. The decision, made by “The price adjustments 26 million tourists that visit State lawmakers have approved the archaeological council put the rates on a par each year. The move comes $31m (€27.2m, £20.2m) of funding also applies to Greece’s with those in the rest of after Alexis Tsipras was to cover redevelopment of the Texas 200 state museums, with Europe,” said the ministry re-elected as Prime Minister, site, while San Antonio ofﬁcials entrance fees raised as well of culture’s Ioanna Baltsou. with the head of state vowing have earmarked $17m (€15m, as tours of archaeological “They will take effect from to make cuts in exchange for £11m) for the plans. digs, which were once free. the start of 2016.” €86bn ($98.4bn, £63.4bn) QDetails: http://lei.sr?a=X8M2M_T Off-peak tourists visiting Greece has around worth of bailout loans. between November and 20,000 archeological sites QDetails: http://lei.sr?a=N5S5g_T

28 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 www.ideattack.com

[email protected] ZOOS & AQUARIUMS NEWS

SeaWorld mulls breeding ban lawsuit INDUSTRY OPINION

SeaWorld Entertainment Zoos act with global has announced its intention to challenge the decision groups to protect of the California Coastal cheetahs, wild dogs Commission (CCC) to allow the company’s San Diego Jennifer Fields park to expand its orca habitats only on the basis SAFE: Saving Animals that it no longer breeds the From Extinction is captive cetaceans. PHOTO: SHUTTERSTOCK.COM/ TINSELTOWN an initiative that SeaWorld said it intended is deepening the to pursue legal action against substantial science the CCC for its “overreaching and conservation condition that would ban work that is being killer whale breeding at done by AZA-accredited facilities SeaWorld San Diego”. QSeaWorld argues animal welfare is not governed by the CCC and combining the power of zoo Explaining its reason for and aquarium visitors with the the suit, SeaWorld argued “As a regulatory board over all future SeaWorld resources and collective expertise that animal welfare is charged with managing marine animal projects, as of zoos and aquariums and partners governed by federal and coastal development and well as aquarium projects to save animals from extinction. state laws that do not fall related land-use decisions, elsewhere in the state, Professionals representing the AZA within the jurisdiction of the the CCC went way beyond the Commission has community helped coordinate the CCC and that the decision to its jurisdiction and overstepped both federal first Cheetah and African Wild Dog make the ruling in relation to authority when it banned and California law,” said Conservation Workshop since 2007. ultimate approval of its Blue breeding by killer whales Joel Manby, president Held in Johannesburg, South World Project at SeaWorld at SeaWorld. By imposing and CEO of SeaWorld. Africa in August 2015, the meeting San Diego was unjustified. broad new jurisdiction QDetails: http://lei.sr?a=d5q7B_T brought together representatives from conservation organisations and government agencies. Meeting attendees identified that there is a great need for reducing Hippo exhibit set to complete Cincinnati Zoo human/animal conflicts by increasing the value of the species for local After a near two-decade communities, providing training in delay, Cincinnati Zoo’s field methodology, and reducing $34m (€30m, £22m) snaring and illegal trade. The group Africa exhibit will enter its also worked to update the range final phase of development usage maps for both species to after meeting a $7.3m determine which areas have resident PHOTO: CORNETTE-VIOLETTAPHOTO: (€6.4m, £4.7m) target to populations, which are corridors build a new state-of-the-art supporting animal movement through hippo enclosure. these areas, and what areas are Set to house two Nile prime locations for supporting these hippos, the paddock – species. Additionally, the group designed by architects identified opportunities for AZA SAFE Cornette-Violetta – will and AZA members to further assist include an underwater QThe hippo exhibit is developed to LEED standards in these conservation efforts. The viewing area for visitors, public can also learn more about employing a multi-million development. Satchell “greenest zoo in America.” cheetahs and African wild dogs at dollar bespoke filtration Engineering & Associates Assuming all goes to plan, AZA-accredited facilities and are system designed to designed the filtration the hippo exhibit will open invited to learn more about AZA SAFE manage the large amount system and Thelen in Q3 2016. The final by visiting AZAsavingspecies.org. of waste produced by the Associates are acting development is not only Despite the challenges ahead, the hippos on a daily basis. as geotechnical engineers. the culmination of two meeting was a success as it help Cincinnati-based HGC The new exhibit is decades of development build the collaboration of all involved Construction – which also being developed to LEED but it will also be the in cheetah and wild dog conservation. developed several of the standards, something the largest animal exhibit zoo’s other exhibits – is zoo holds in high regard in the zoo’s history. Jennifer Fields, general contractor for the as it has been dubbed the QDetails: http://lei.sr?a=j8z3g_T communications coordinator, AZA

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HoloLens has ‘major’ heritage and architecture implications

An expert in the field of architecture and heritage has said that Microsoft’s HoloLens will play a huge part in the sector in the not-too-distant future. Speaking at CyArk’s annual summit, Adrian Ferrier – who heads up product development in visual intelligence solutions for California-based mapping company Trimble Navigation – envisioned an exciting future. He said when applied to the world of architecture, engineering and construction, the HoloLens device can extend interaction with 3D models beyond the confines of a 2D computer screen, creating new ways for both those trying to save heritage and those looking at its history to consume, interact and communicate with spatial data. “It’s a transformational device that can communicate space, which is very QThe device can extend interaction with 3D models beyond the confines of a 2D screen important when you consider heritage and preservation,” said Ferrier. “You’re which the HoloLens will then fill in, giving the technology is so advanced that eventu- wearing this device and it has an user an understanding of what something ally people will be able to virtually tour understanding of the world around you, used to look like, even if it has been areas they could otherwise not, offering putting your information into the real world. partially or even completely destroyed.” an exciting development of visitors “It is also important for context. So there The benefits of the device don’t stop and heritage professionals alike. might be a missing column for example, there. According to Trimble, the HoloLens QDetails: http://lei.sr?a=C6m8u_T

Disney colouring app brings the page to life

Disney has developed a way to live-map colour from a 2D colouring book onto an animated 3D model using augmented reality. A video released by Disney shows tests where if QThe ride will debut at Legoland California you view specially-designed images through an app, the Interactive Lego ride character you draw comes to life in an augmented uses hand gestures 3D virtual space. The technology can recognise Legoland California and Legoland boundaries in a similar QUsers can draw a 2D image which will be shown in 3D Billund will introduce a revolutionary way to a QR code reader new dark ride in 2016 with the debut but can also recognise ETH Zurich and the focuses on an area we call of Ninjago - The Ride, which for the the drawing itself and the Swiss university EPFL, ‘augmented creativity’ where ﬁrst time will offer interactivity through colours applied to it, even worked with Disney on the we use augmented reality to nothing but hand gestures. if the image moves. An development, which could enhance creative play. The Triotech innovation will be app-enabled device will be be implemented into future The research team is now showcased for the ﬁrst time at this able to move 360 degrees visitor attractions as part of taking the revolutionary new year’s IAAPA conference and trade around the character, which an immersive experience. technology beyond drawings show, which takes place in Orlando, is created by mapping each “It’s more than just a and looking at how it can Florida, between 16-20 November. pixel on the 2D drawing to toy,” said Disney Research apply it to musical and QDetails: http://lei.sr?a=F7y9E_T each surface pixel on the Zurich’s Bob Sumner, educational experiences. 3D animation. speaking to the BBC. “It QDetails: http://lei.sr?a=E2z8V_T

32 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 BOOTH NO. 2071

[email protected] INTERVIEW

Jean de Rivières

Game on: the man heading up Ubisoft’s new theme park division reveals why the videogame developer is moving into the attractions sector and his hopes for designing the park of the future

Tom Anstey, journalist, Attractions Management

bisoft, the world’s third-largest “I have always been close to theme in our universe and bring them back. independent videogame parks, but never in an executive or operator That’s the defi nition of a video game. publisher – known for popular role,” says De Rivières, who spent 15 years If our gamers want to return to play titles such as Assassin’s Creed, in charge of Disney’s theatrical division. Assassin’s Creed, for example, we win. U Far Cry and Splinter Cell – is He’s been involved in the RSG-Ubisoft The more time they spend with us, the planning to make its mark on theme park project for the past three years. more it means they love the brand and the the attractions industry with its own happier we are because it means they will “next-gen” indoor theme park. VIDEO-GAMIFICATION keep coming back to us. Ubisoft is partnering with developer, According to De Rivières the indoor “There are rules for creating a good designer and operator R-Segari Group attraction will be like nothing that’s ever video game – scientifi c and behavioural (RSG) on the 15,000sqm (161,500sq ft) been seen before, fully incorporating rules that we are looking at in detail in theme park, which will be in Kuala Lumpur, gamifi cation into a theme park experience. order to apply them to the theme park.” Malaysia, and feature cutting-edge Ubisoft- “We want to create a specifi c journey, themed rides, attractions and shows. a personalised journey. The idea is to BRAND STRENGTH “It’s still early days for the theme park make guests the heroes of their own life- De Rivières says the idea for a Ubisoft plan,” says Jean de Rivières, who is sized game,” he says. “The intention is to immersive attraction “has always been senior vice president at Ubisoft Motion immerse people in worlds where they can there”. Finding the right time to do it was Pictures, which manages the company’s interact with each other. really a question of having enough brands non-videogame ventures. As part of “We are trying to apply what we’ve and enough equity within those brands, that, De Rivières is now heading up the learned over the past 30 years at Ubisoft, as well as the will and determination to company’s new theme park division. which is to engage people, immerse them realise such a project. “You need the strength of your brands,” he says. “You need the will to succeed – which we absolutely have. And, most importantly, you need to make sure you fi nd the right partners to work with on these developments. The fi rst two factors are up to us and we’re ready now. We’ve been looking for the right partners since the Asian Attractions Expo in China, two years ago. Discussions there helped

Q Good translation: Ubisoft’s Raving Rabbids IP has already been adapted for

PHOTO: JL AUDY / FUTUROSCOPE / AUDY JL PHOTO: the theme park market

34 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Q Assassin’s Creed: Unity is a popular release from Ubisoft us understand whether or not we were “THERE ARE RULES FOR CREATING A GOOD going in the right direction. It was about a year ago was when it became clear VIDEO GAME – SCIENTIFIC AND BEHAVIOURAL to us that Ubisoft as a brand has the strength to do a park based on its own RULES THAT WE ARE LOOKING AT IN DETAIL IN IPs as opposed to rides at other visitor ORDER TO APPLY THEM TO THE THEME PARK” attractions, as we have done with projects such as the Raving Rabbids Time Machine 5D ride at Futuroscope in France.” Q Michael Fassbender is RIGHT PARTNERS playing Aguilar in the film Next for Ubisoft is finding the right Assassin’s Creed, which partners to develop more visitor comes out in 2016 simus. attractions and to get the message Ubisoft is trying to portray across to the public, keeping the high standard it has set for its games and conveying that in a theme park. “We count on our partners,” says De Rivières. “We need people who are very excited about our park, the park of the future, and the challenge is to do it well. It’s the same challenge we’re facing right now as we produce Assassin’s Creed, the motion picture – to bring the core value of our brand to a new medium while respecting the way these mediums work.” For a film, you need a story, a hero and an immersive setting and it needs to be done in a way that respects and is consistent with the brand, which De Rivières says is the same process for the park, taking the essence of a Ubisoft IP and translating it into an attraction.

“A lot of times you put a name on PHOTO: 20TH FOX CENTURY a ride, but the ride doesn’t keep the essence of the IP it has been labelled with. We really don’t want to do that. This is the heart of our business, to keep the brands completely exciting and completely consistent,” De Rivières says.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 35 INTERVIEW

Q Futuroscope (top) boosted attendance by adding a Raving Rabbids 5D attraction in 2014. R-Segari Group chairman Ramelle Ramli and Ubisoft’s Jean de Rivières (right)

To launch a multi-million-dollar venture such as this, the team at Ubisoft Motion Pictures had to weigh the risks against the potential rewards. “The risks are big,” De Rivières says. “But we have our internal division developing the concept and in order to make sure we’re completely close to PHOTO: JEFFREY ONG KIM HOOI KIM ONG JEFFREY PHOTO: what’s being developed in the games, we talk daily with the game developers to make sure that the consistency is perfect. The idea is to continue the story in a new medium. It’s to keep the story going and you will ﬁnd things in the game that echo in the theme park and vice versa.”

FIRST STEP “THE BIG PICTURE IS FOR WORLDWIDE EXPANSION, Ubisoft’s first park is coming to Kuala Lumpur in 2020 and De Rivières says the BUT IN A NATURAL WAY: IF WE DON’T FIND rapid expansion of the attractions industry THE RIGHT PARTNERS WE WON’T DO IT” in Asia was behind the company’s decision to make its theme park debut in Malaysia. “The Asian market is growing and which we think will be key to the park’s though, with plans to eventually take the interest for the approach we’re taking was success. The first was spirit. The people we concept worldwide. With the initial theme strongest in Asia,” he says. “In the Kuala are working with are completely in tune with park plan now in place, De Rivières and Lumpur market we found a few great things what we have in mind. They fell in love with his team are looking at ways to expand the concept and our brand and they believe this new venture for Ubisoft. it’s a completely next-gen approach that fits “The big picture is for worldwide WINNING RELATIONSHIPS with the character of Kuala Lumpur.” expansion, but in a natural way,” says Second was the location in the centre of De Rivières. “If we don’t find the right Ubisoft isn’t the only videogame Kuala Lumpur. The details are still under partners then we won’t do it.” company delving into the theme park wraps, but De Rivières describes it as So as it develops the Kuala Lumpur market. Nintendo kicked things off in a “the perfect urban destination.” And third theme park concept, Ubisoft says it’s big way in May, announcing a partnership was the fact that Malaysia has a stable also keen to find new partners and with Universal that will bring the brand’s business environment and is one of the opportunities in other regions of the world. popular IPs, such as Mario and Zelda, to top travel destinations in Southeast Asia. ”We really want to become a strong Universal parks. Electronic Arts is also “It’s also the right size,” he says. “It’s player in this industry and we think we have looking to get in on the action, unveiling not like the big outdoor parks where you everything to achieve that,” De Rivières a pair of theme park collaborations need massive investment in terms of says. “We have the brands, we have the based around Mass Effect and Plants vs land. We’ve got everything we’d want in a concept of the Ubisoft theme park and Zombies. Six Flags has recently seen the location and we’re very happy with that.” the strategy, confidence and trust of the appeal of video games too, temporarily company to go in the direction we want. incorporating Street Fighter V and GLOBAL VENTURE We also have a strong alternative vision to Monster Hunter into its parks. Ubisoft’s ambitions for the attractions what’s been done previously. It’s fresh and industry don’t stop in Kuala Lumpur different and the audience will love it.” O

AV SYSTEM INTEGRATION FOR: > 4D THEATERS / WATERPLEXX 5D > DARK RIDES > SUSPENDED THEATERS™ > INVERTED POWERED COASTERS > FLYING THEATERS > 3D AND 2D DOMES > CIRCUMOTION THEATERS™ > HYBRID DOME THEATERS > TUNNELS / VIRTUAL AQUARIUMS > IMMERSIVE TRAM RIDES > AND MANY MORE ... TALKING POINT Kath Hudson, journalist, Attractions Management

As Europa Park turns 40 this year, many of its original visitors will now be grandparents What can we do to better accommodate older visitors?

The 65-plus market is growing and this age group tends to be internet savvy with plenty of spending power. Is your attraction welcoming them? Kath Hudson reports

here’s no escaping the fact From now until 2037, the 15 to 64 age decisions, and another advantage of this that, as a population, we’re group in the UK will, on average, grow by market is that they’re often available getting older. In developed just 29,000, compared to a growth of during off-peak hours. countries especially, people 278,000 in the over 65s group. Furthermore, as the demographic is T are living longer and birth rates In more economically developed nations, changing, culture and heritage has been keep decreasing. The market the proportion of over-65s will rise from identified by the EU as a way of stimulating is shifting dramatically, and that means 16 per cent to 26 per cent. The over 80s mental health, which could potentially every industry needs to start actively will rise from 4.3 per cent to 10 per cent. become another revenue stream for responding to the ageing population. museums and galleries going forward. In the EU alone, the number of elderly will And it’s not just about having over-65s almost double from 85 million in 2008 to Over-65s are a less budget- as customers – what about as employees? 151 million in 2060. The numbers are vast, They bring experience, maturity, knowledge, but we must remember that each person conscious market. They fund memories and enthusiasm which can be a will vary wildly from the next in personality, trips, make decisions and are tremendous asset in this industry, as we physical ability and financial situation. have seen in the heritage sector. available during off-peak hours However, according to figures from the So what should your attraction be International Longevity Centre, over 65s in doing to ensure it’s welcoming to older the UK currently spend £2.2bn ($3.4bn, age groups? Is investment in attractions €3bn) a week – that’s £114bn ($174bn, There are many compelling arguments aimed specifically at them necessary, or €156bn) per annum – on goods and for the attractions industry to do more to will aiming for the family market suffice? services. Assuming their weekly spending appeal to the older customer. This can Should older people be reflected in the rises in line with annual inflation of 2 per be a less budget-conscious market and marketing and should there be discounts cent, they’re likely to be spending more than multi-generation days out and holidays are and memberships tailored around this age £6bn ($9bn, €8bn) per week – £312bn growing in popularity. Grandparents often group? How about the design of parks and ($470bn, €427bn) per annum – by 2037. fund these trips and make the important attractions? We ask the experts.

38 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Francesca Rosenberg and slightly younger. They also member says that she spent liked having their peers and her grown-up life coming with MoMA, director of cohorts in charge. her children and then her community, access and They also wanted an grandson, but now she feels schools programmes invitation: it wasn’t enough to like the museum is hers and offer a discount, they wanted a that’s important to her. At the Museum of Modern Art warm welcome to feel like they We ran a free day for the (MoMA) in New York, we have were really included and they over-65s in May, offering extra always offered programmes to wanted opportunities to learn programmes and workshops older adults, but we wanted and develop skills regarding and a discount in the to do more to specifi cally art and print. restaurant. When promoting appeal to them so we started We started a fi lm programme this we had to think carefully an advisory board made up of as a consequence of the about the media channels that people aged from 61 to 94. feedback, as lots of them age group uses, and also to We asked them to try out a wanted to delve more deeply refl ect that age group in the selection of our programmes, into our fi lm collection. marketing itself. courses and workshops, both MoMA did a lot of training It’s been a wonderful at the museum and online, to in communication techniques, Opportunities were created experience for me and my team establish what was missing with both front-of-house for grandparents to come with to work with older adults. We’ve and what more we could do to and back-of-house staff, to their grandchildren, to look at learned so much from their rich meet their needs. make sure that they all really art and create art, but also and interesting lives, such as Firstly, we found out that understood this age group and to come on their own, or with fascinating stories of migration. they liked the idea of being would be able to provide a their own peers. It’s interesting with people their own age, positive experience. that our 94-year-old board @francescatime

We started an advisory board made up of people aged from 61 to 94. We asked them to try out a selection of our programmes and workshops to establish what more we could do to meet their needs

Jakob Wahl We have also strengthened want burgers and pizza, and the areas of the park which who might be attracted by the Europa Park, director are of particular interest to restaurant and then visit the of communications older people. In the Castle theme park as well. Park area we have paid great In order to attract this We’ve found the over-65s to attention to the gardening and audience, we work hard to put be a golden generation: they’re landscaping to create a calm together appealing special a nice audience with good and relaxing atmosphere for offers and then take these spending power. older guests to get away from to trade shows and work Our overall philosophy and the noise and action. with magazines read by this strategy at Europa Park is Europa Park turns 40 this particular demographic. to try to suit all ages. Three year, so our original guests We have found that this generations of the Mack family are now coming with their audience interacts with the live at the park and they want own grandchildren. We aim park differently: they have to experience things together. to appeal to them with quiet more patience, so are happy That’s reﬂ ected in the park spots, a variety of restaurants, to sit down at a high-quality because we create rides and family rides, entertaining service restaurant. They also experiences which grandparents At Europa Park, we’re not shows and high-quality hotels, like to stroll and appreciate and grandchildren can do looking to build the fastest with golf and wellness offers. the landscaping. Going together. This includes gentle or highest rollercoasters, We’re also the only theme forwards we will continue scenic rides and the monorail, but to create a great family park in the world with a two- to come up with attractions but also our new addition by experience. For example, Michelin-starred restaurant. which appeal to the broadest Mack Rides last year, Arthur the latest 4D movie, The The main reason for creating audience possible. and the Minimoys Kingdom, a Time Carousel, has been this was to reach out to new dark ride/coaster combination. pitched not to be too fast. audiences who don’t just @europa_park

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 39 TALKING POINT

Henrik Zipsane museum tells the stories which when carers are taking a our older visitors recognise. break is being used to take Jamtli Foundation, CEO They want to be part of the the sufferers on a trip to story. For example, between the our museum. We created To be sustainable in the 1950s and 1970s there was a the environment of a 1970s future, the attractions industry Swedish policy of moving older house, which can be used to needs to produce something people out of the countryside jog their memories of happy, for this market. At the Jamtli and into purpose-built towns in younger years. This has had Foundation, a museum and order to be near their offspring. very good results and been heritage organisation in We’ve recreated these engaging for them. They are Ostersund, Sweden, we started environments and we recruit very calm and happy in this looking at this area about 10 over-65 actors to bring the environment and it is a cost- years ago and we implemented stories to life. We plan to create effective intervention for the three new strategies which more environments which show municipality. We’re giving back have all been very successful. how older adults live. to society, which is good for our Firstly, we recruited a number Another successful initiative branding, and as we are paid by of older volunteer staff. They has been inviting groups of the municipality it has become take evident pride in their we’ve been able to use their dementia sufferers into the another income stream, which work and produce a fantastic memories as a resource: for museum. We have a problem is useful in low season. atmosphere. It makes visitors example, they can look through in Sweden with under-70s Furthermore, we’re always feel more comfortable when old photos of the town and suffering from dementia. working on making our museum they see staff from their age identify people and locations. The state gives their carers accessible to everyone. group. Another advantage of We’ve also made an effort eight hours a week of free using older volunteers is that to ensure the content of the time and part of this time www.jamtli.com

Older people need something to engage them. They don’t necessarily need rides made for them, but family rides should be accessible ... and mobility scooters or Segways help people get around

David Sinclair portrayed as an “old person’s coffee while watching the kids, park”. This age group cannot should also be on the list. International Longevity be ignored. Older consumers If theme parks want repeat Centre, director are spending more and will visits from older people they continue to do so. They make also need something to engage While they won’t admit it, decisions on behalf of their them. They don’t necessarily many attractions, and other children and grandchildren and need rides made for them, but industries, don’t want to they pay for the day out. family rides should be fully be associated with this Implementing changes accessible. Larger attractions demographic because they to make attractions more should consider providing think other target groups will be welcoming for older people will mobility scooters to help older turned off by the association. benefi t all users. Older people people to get around. One supermarket chain are a diverse group and as We can look to places like started building supermarkets such there isn’t going to be a Las Vegas and Benidorm, around the needs of older model which works for all, but which are – unoffi cially – people, but they were reluctant many older people will want becoming age-friendly resorts, to talk about it. They then the same as younger people: where older people are met incorporated the design plenty of clean toilets, good especially appealing to older at the airport, offered a range features – wider aisles, access, good signage, shade, people and multi-generation of mobility options and where larger font on signage – into benches (ideally with backs on) groups. You can offer food at all restaurants are wheelchair their general stores, which and water stations. different price points. Some accessible. Older people are benefi ted everyone. We’re already starting older customers will be happy comfortable there, so they stay It’s time for the attractions to see some attractions to pay £40 ($61, €56) for a longer and spend more. O industry to make a few changes operating more upscale good lunch. Nice cafés, where and get over the fear of being restaurants and these can be grandparents can have a @ILCUK

40 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 SAVE THE DATE EURO ATTRACTIONS SHOW 2016

WHERE THE BUSINESS OFFUNBEGINS

20–22 September

Fira Gran Via, Barcelona, Spain

www.IAAPA.org/EAS ATTRACTIONS GONE, NOT FORGOTTEN DISMALAND: WHERE DREAMS (DON’T) COME TRUE

In late summer, the world’s media focused its lens on a depressed beachside town in the UK. The reason was the anonymous urban artist, Banksy, and a satirical pop-up art attraction

Alice Davis, managing editor, Attractions Management

42 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 “We just built a family attraction that acknowledges inequality and impending catastrophe. I would argue it’s theme parks which ignore these things that are the twisted ones”

Banksy

Cinderella’s Castle is the crowning glory at Dismaland. Nearby, an armoured riot van from Northern Ireland boasts the addition of a kids’ slide

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 43 ATTRACTIONS

Artworks at Dismaland include Big Rig Jig by Mike Ross (top left) and a migrant boat installation by Banksy (top right). A mural on the wall is one of several Banksy works around the park (right); and a seemingly innocent carousel makes a satirical dig at the horse meat scandal (left)

ollowing a life span of just five workforce, the long queues, the litter on PHOTOS: NORTH SOMERSET COUNCIL weeks, Banksy’s Dismaland has the ground, the unwinnable games and the been dismantled. general ambience of disrepair – and despair The building materials are now – underlined what can be wrong with parks. F shelters for refugees stranded at In a way, Dismaland also highlighted the French port of Calais, where what’s right. Dismaland brought people 6,000 migrants live in limbo in the “Jungle”. out, together. It got people talking, it got The site where the “bemusement park” them excited and – whether they were briefly stood has returned to normal: an supposed to or not – they had fun. abandoned lido, called Tropicana, once the We see plenty of crossover between heart of British seaside town Weston-super- sectors in the modern industry, with Mare, and a place where Banksy spent his museums seeking to entertain and visitor (or her) summers until the age of 17. Taking the Mickey? The Dismaland uniform attractions seeking to educate. Banksy The Dismaland website – which drip- took this to the extreme with an art gallery fed information to a clamouring public in Weston’s hotels and train passengers in an amusement park – although he says – is now defunct, and just a photo of a between the town and London doubled he was not too pleased with the result. cardboard-cutout Dismaland remains. during the 21 August to 27 September “I have to admit there was no one more But Dismaland left much in its wake. period when Dismaland was open. disappointed than me. I think the whole The pop-up art installation – based The park featured 10 new sculptures and idea might have been a big mistake. By around the idea of a twisted Disneyland artworks by Banksy, as well as works by 56 repackaging an art show as an amusement – generated more than £20m ($30.5m, of Banksy’s favourite contemporary artists. park, everybody’s expectations were €27.3m) for the local economy, with Attractions included Mini Gulf, Guerilla raised substantially – the branding writes tourism businesses such as hotels, B&Bs, Island and Cinderella’s Castle. Live comedy a cheque that the event doesn’t cash,” restaurants and attractions reporting and music events also took place, with Banksy told The Sunday Times. significant boosts in revenue, according to Fatboy Slim, Damon Albarn and Russian “I suddenly realised the whole premise tourism body Visit Somerset. feminist punk act Pussy Riot performing. was wrong. I’d pushed it too far and it had The Hoteliers Association said an Dismaland was a satirical jab at gone from being a pretty good art show to additional 50,000 bed-nights were sold theme parks, there’s no doubt. The sulky a very sub-standard amusement park.”

44 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 A DAY OUT AT DISMALAND

KEVIN MURPHY I spent two hours, but I could have spent VP of sales four. Dismaland was an art installation like Attraktion! nothing you’ll see again. The setting in a slightly worn English seaside resort and an Whilst I’m not a great art abandoned building was perfect. fan, the opportunity to visit The art complemented the setting, and Dismaland was not to be it was challenging in terms of the subject missed. In the long queue to get in, the matter. The staff were something else, and buzz of expectation came from an enthused they really did looked bored. arty crowd and a younger, more rebellious You went in with interest but expecting visitor. There were very few children, and little and you came out, well, enlightened! none of the usual theme park visitors here. Funny, entertaining and frankly unique: It wasn’t dismal. Frayed and run down, but impossible to duplicate and a one-off expe- well put together with no signage needed. rience in the right place at the right time.

ALICE DAVIS Little Mermaid was distorted and disﬁgured. Managing editor Cinderella was killed when her carriage Attractions Management overturned – to the paparazzi’s delight. In a traditional gallery, it might be too Banksy’s dystopian park dark. But the “bemusement park” setting is about inequality. It’s the brought levity, and the humour – albeit anti-Disneyland. The art is the blackest humour I’ve encountered – highly politicised. Dismaland is asking us stopped it being overwhelming. (or asking young people) not to become Using click-bait installations, attention- immune and desensitised to the suffering grabbing Disney references and a “theme that happens – we don’t live in a happy- park” as a vehicle, the art – 56 artists’ ever-after Disney-type world. works were on show – reached a global The world of Disney had to be parodied. audience on an unprecedented scale. And Mickey Mouse was eaten by a snake. The what art museum wouldn’t love to do that?

MAGALI ROBATHAN on behalf of the state, from stun tongs to Managing editor anti homeless spikes. I found the timeline CLADmag explaining the history of CCTV enlightening – it made me think about how we blindly While the anti-corporate, accept an increasing lack of privacy without anti establishment questioning where it might be leading us. message of the park Not all of the exhibits worked for me – isn’t exactly breaking new ground, there some felt one-dimensional; as though they were installations that I found genuinely were trying to be clever without any genuine throught-provoking. meaning behind them. The oil caliphate- The Museum of Cruel Objects, curated themed crazy golf course Mini Gulf fell into by Gavin Grindon, is a series of exhibits this category. All in all, it was dark and inside a caravan. It tells the story of the unsettling, at times thought-provoking, and role of design in keeping people in line a lot more fun than I’d expected.

MARTIN BARRATT queues. Queues to get in, queues for the Visitor attractions rides – but no queues for the toilets. consultant In his foreword in Dismaland’s brochure, Banksy suggests that in the face of “global I’m not sure why I wanted injustice”, “climate catastrophe” and a lack to visit Dismaland. Was it of jobs, today’s children should be taught because I had an interest that “maybe escapism will have to wait”. A woman is attacked by seagulls in Banksy’s dystopian world vision? Or That’s where Dismaland makes its and a killer whale performs in two because it was a parody of a theme park? comment on our industry. Is riding out your sculptures by Banksy. In an indoor Either way, it was the most thought- day on theme park rides the equivalent of gallery, contemporary art is on display provoking thing I’ve done this year. From riding to hell in a handcart? Fiddling while a theme park perspective it shared the Western civilisation burns?

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 45 ATTRACTIONS

THE DISMALS

JEMMA GRAY How hard was it to look so dejected? Dismal Steward I found it quite easy being Dismal – but then I do want to be an actor. The What was your job title? hardest part was not smiling or laughing. We never had an offi cial title, but came There’s a position at Bill Barminksi’s to be known as Dismal Stewards or, security installation where stewards more affectionately, the Dismals. hand out maps as the public enters Dismaland. I’d drop the maps before the How did you apply? punters had a grasp of them, provoking I saw it advertised on reed.co.uk as laughter from the visitors. But if I’d a runner for a movie being fi lmed in broken character and laughed it would Weston. It was also in the local paper, a have diluted the entire encounter. The tiny ad that barely anyone noticed. improvisation training did help us each fi nd our own unique Dismal approach. What did you know about the job? “Training” began a local hotel on 17 How did visitors react to Dismaland? August, but when we started having It was mixed. Most people loved our improvisation training and developing Dismalness and the more miserable we characters, it all seemed a bit odd. were the better. There were others who At the end of the third day we got more thought we were rude and bad at our jobs details about the job – only because a and got quite upset with the concept. tabloid had leaked something. There were a few people who hadn’t What did you think of Dismaland? heard of Banksy, but others were avid It’s one of the best art exhibitions I’ve fans and couldn’t believe we were going seen. I think it was brave and ambitious to be part of something like this. and visitors were very lucky to pay £3 for world-class art and the experience. What was the brief for your job? I also got to go in the Tropicana again, Be Dismal! It sounds simple but there a favourite childhood memory, so I’m was a fi ne line between what we could grateful to Banksy for dreaming this up. and couldn’t do. We couldn’t laugh, smile or give any customer service to Was there a moment that stood out? the public, which is hard when you’ve At the masked ball – the fi nal gig night got a seventy-year-old begging you – we all wore bandanas so Banksy could to direct them to the loos. It was a roam around and not be spotted. team effort building up the Dismal That, and the very last night when the environment and hard work to maintain staff had the park to themselves, a free a Dismal persona all day, but I’m glad I bar and the giant supermoon eclipsed – did – the feedback has been amazing. that was a pretty special night.

46 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 A night view of Dismaland (top) and a view of the exterior, the entrance to the abandoned lido (right). Staff were directed to look miserable and “dismal” at all times (left). A mushroom cloud artwork by Dietrich Wegner (bottom left) and the Little Mermaid sculpture by Banksy (below)

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 47 IDEATTACK PROMOTIONAL FEATURE TIMELESS CHINA The traditions, beauty and mysteries of China’s rich culture are at the heart of IDEATTACK’s new mixed-used tourism destination – with a healthy dose of high technology, futuristic fantasy and time travel

What is the project? 1.5 million and 1.8 million people are The project, entitled Timeless China, is a ABOUT IDEATTACK forecast to visit every year. cultural experience park which is inspired by the timeless values of the Chinese Can you describe your design? cultural heritage. IDEATTACK brings architecture and The architectural style of the park follows entertainment design together to the idea of the “limitless” nature of the Where is it? create large-scale, mixed-use leisure attractions and symbolises a passage Timeless China is located 35km (22 tourism projects. Founded in 2004 by between past, present and future. The miles) from the centre of Beijing, on the Natasha Varnica and Dan Thomas, the architectural forms, colours, textures and way to the most-visited section of the Los Angeles-based company creates shapes of the buildings are a combination Great Wall at Badaling. The theme park high quality, original and profi table of stylised old and new forms, forming a is part of Beijing Outlets World, a large attractions on a realistic budget. The new and distinct, eternal architectural form. complex that also includes a shopping service includes all stages of project Timeless China has two entrances: one mall, a resort and a conference centre. development, from masterplanning in the north and one in the south, following and concept design to brand design the symbolism of feng shui principles. The What’s your role on the project? and construction supervision. theme park will be divided into two zones, IDEATTACK has designed all stages of the one with indoor attractions with partially project, from the overall concept to the covered walkways and another completely smallest details. outdoor area with outdoor attractions. technology. The idea was to connect the The layout of the theme park is designed When does it open and how attractions with the limitless possibility to transform the relatively small area of much is it costing? of travel within China, without temporal or 76,000sqm into a very diverse and, from It opens in the fi rst half of 2016 and the spatial limitations. Some of the attractions the point of view of the visitors, much budget is $150m to $200m (£97m to are dedicated to Beijing as the capital larger area. The confi guration of pathways £129m, €133m to €177m). city. Each attraction is a “technological makes it look much bigger than it actually fantasy”, a simulation of future technology. is, and there is additionally a second-level What is the aim of the attraction? walking area in the central part of the park, Most of Timeless China’s attractions are Who is the target audience? connected by three bridges. Every part of inspired by important historical events and Both local people and domestic and the project will have a green, individually highlights of Chinese history, interwoven international tourists. designed landscape to fi t the overall with local legends and myths. Some of the space-time vortex theme. attractions are inspired by the future. The How big is the attraction? As part of the wider concept, the park is envisioned as a “time machine” It’s a 76,000sqm (818,000sq ft) site, and environment is very important and in itself that enables visitors to experience the approximately half of the site will be built plays the role of an attraction. Timeless fourth dimension with the help of high on (32,500sqm, 350,000sq ft). Between China has a wide range of unique retail and

Voyages of Discovery attraction at Timeless China, near Beijing

48 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 The Voyages of Discovery is a boat ride and special effects theatre attraction based on seven expeditions of the admiral Zheng He

OUR GOAL IS TO DEVELOP A WORLD-CLASS THEME PARK IN CHINA AND TO CREATE A UNIQUE IP FOR THE PARK WITHOUT USING EXISTING ESTABLISHED BRANDS food offerings. One of the areas of the park a unique IP for the park without using Is this typical of IDEATTACK’s approach is specially dedicated to the concept of existing established brands. to design and design philosophy? organic food and a healthy lifestyle and this For us, every project is different. We don’t concept is present throughout the park. What themes and motifs are you using? have a typical approach. Important historical events from Chinese What was your inspiration? history, Chinese myths and legends, IDEATTACK specialises in “one-of-a-kind” The inspiration was Chinese cultural modern technology and the simulation of attractions. How is this one-of-a-kind? heritage. The inspiration for the future technology. Here, for the fi rst time, we have a concept design is a vortex of fusion of two of the latest concepts: a time, a trans-dimensional What materials are being commercial development and lifestyle spiral that connects used? Who are the suppliers? centre, and a story-based attraction different points in Most materials are sourced inspired by local heritage. space and time. and supplied in China, with a The theme park is designed to introduce couple of foreign suppliers. a human-scale environment into a huge What do you want Wherever possible we use city, and to create something unique by to achieve? natural materials such as building an original IP for the park. Our goal is to develop wood, brick and stone, The interpretation of historical events and a world-class theme park but also technological legends is also original. We didn’t create in China and to create materials such as literal replicas of historical events, myths bioplastic façade, and themeing, but modern interpretations composite panels with to appeal to a modern audience. IDEATTACK natural wood, polyurethane designed all and polystyrene foam facade Is this a modern/cutting-edge attraction? details, such elements, polyolefi n plastics, Timeless China is modern in terms as mascots non-transparent Plexiglas and of technology and ride systems used and logos artifi cial and natural grass in the attraction and in its abstract for covering the roofs. interpretation of historical heritage. O

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 49 MASTERCLASS

CONTROVERSIAL TOPICS: PUSHING THE LIMITS IN THEMED & IMMERSIVE SPACES

Are some themes out of bounds, or should we push the limits of design, context and content? Should we assume that guests want clear-cut and simple attractions, or ask if they want to be challenged? Scott A Lukas investigates

esigners and operators are Joseph Campbell offered the idea that of the space itself. Certain spaces rely known for paying attention to certain stories resonate with us because on specifi c themes or contexts for their the most minute details in they are retellings of classic folktales and stories because of the main purpose of themed and immersive spaces myths – the hero’s quest, the struggle their venues. Theme parks, as an example, D – whether theme parks, casinos, of good and evil – which have become commonly offer guests the idea that cruise ships, museums or other powerful traditions or canons within the the theme park is an escape from their spaces. They use the most evocative industry and within the popular culture everyday reality and thus topics that might sensory approaches and the most world of fi ction, video games, TV and fi lm. remind guests of their non-theme park powerful ways of storytelling. The themes, Another reason for the predominance lives should be avoided. topics and contexts used in immersive of certain themes is to do with the nature Mood refers to the emotional and storytelling in contemporary spaces vary, subjective feelings of guests as they but they tend to follow memorable patterns interact with a space. Dark topics, like and refl ect common elements. Disaster spectacles – like Fighting the those of tragic periods in history, will likely These common elements of themed Flames at Dreamland, Coney Island – create negative or depressing moods in and immersive spaces include branding, realistically recreated terrifying events guests’ minds. Cultural critics have noted good versus evil, freedom, confl ict, sexual that Disney’s Hall of Presidents makes appeal, positive history and nostalgia, fl eeting and subdued references to optimism, myth, progress, the future, disturbing periods in US history, such happiness and (clean) death. as the Vietnam War, but the designer In contrast, other patterns and of such an attraction would argue elements tend to be considered either that including more explicit points not at all in popular spaces or only in of reference would impact the mood certain ones – notably, the museum planned for that themed space. and interpretive centre which, as we Yet, the question remains, should shall see, often ask the guest to deal such topics, themes and contexts with dark and depressing issues. play a larger role in more spaces of Uncommon elements of themed and popular amusement? immersive space include harrowing cultural topics (slavery), dark historical A Tradition of Dark Topics issues, explicit and gruesome death, There was a time when controversial, explicit politics, explicit sexuality, dark and depressing topics were social “isms” (racism, sexism, represented in popular amusements. classism), religion, pessimism, anti- The amusement parks of Coney authoritarian themes, depression and Island – including Sea Lion Park, struggle and existential issues. Steeplechase Park, Luna Park, and One reason we see certain Dreamland – included forms of topics predominant in themed and entertainment, rides and attractions immersive spaces is their archetypal that covered topics ranging from the quality. Mythologist and scholar Boer War and the Galveston Flood to

50 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Udamus modio illantuscias assinctecus num sit, ofﬁciis assi voluptate si quam velestiur rerovit lignimi PHOTO: BEN LEUNER/AMC

Disney’s Hall of Presidents (top) refers to disturbing events in history in a theme park environment. Breaking Bad’s anti-hero Walter White (right)

The anti-hero has the potential to disrupt rides and attractions with a more potent and disturbing storyline and morally complex characters and dilemmas the Fall of Pompeii and the gates of hell, The wholesome outdoor entertainment of questionable decisions that end up and offered oddities like “midget” worlds Disney, Six Flags and other themed spaces affecting, often killing, numerous people. (Lilliputia), fire-fighting demonstrations and may be the norm, but it’s very possible In themed and immersive spaces, the premature baby incubators. to imagine new spaces that will revive anti-hero has the potential to disrupt the Many of these attractions also opened the dark and creative traditions of Coney tendency in which rides and attractions in world’s fair midways, generating much Island past. New trends on the horizon will, feature stereotypical good guys who defeat of the popularity of late 19th and early perhaps, impact the ways in which leisure the stereotypical bad guys. In place of such 20th-century outdoor amusement spaces. designers approach the themes, topics and storytelling is a potentially more potent and Simultaneously, carnivals and circuses contexts of their spaces. disturbing storyline in which audiences are supplemented these themes with “freak” presented with morally complex characters shows and other public displays of the Influences from Popular Culture and dilemmas – all of which suggest a grotesque and the tawdry. Themed and immersive spaces do not moral relativity that could impact the world During the period that followed and exist in a vacuum. The changes in the of popular amusements. culminated with Disneyland and Six design, content and thematic aspects of Flags Over Texas, popular amusements these contemporary spaces can be linked 2. The Blurring of Media: changed. Many designers were influenced to significant developments in the worlds In recent years, popular storytelling has by Walt Disney and Angus Wynne Jr, of consumer and popular culture. become more complex. Forms of media who believed that popular amusements convergence and transmedia – in which needed to be cleaned up, and thus a trend 1. Anti-Heroes and Bad Characters: fans of popular culture play a greater role developed in which the previous displays Popular TV dramas like The Wire, Breaking in the stories and in which the stories of dark, unsavoury, controversial and Bad, Luther and Dexter point to a trend themselves stretch across multiple media grotesque topics would become much less in which audiences root for the bad guy forms and platforms – have impacted common. Some designers and operators or come to terms with the fact that the the ways stories are told in themed and felt that while one could present a topic protagonist of the drama is flawed, often immersive spaces. Mobile technology and like the Boer War, the dark nature of it deeply. In Breaking Bad, the show’s anti- approaches that extend the narratives of could be off-putting to guests. hero, Walter White, is constantly making rides and attractions beyond the immediate

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 51 MASTERCLASS

Dennis Severs’ House in London uses evocative sensory design to create a “still-life drama” telling the story of a family of Huguenot silk weavers

spaces in which they are presented to the guest offer many possibilities for telling different and more complex stories. At the same time, there is a blurring of themed and immersive spaces in which it is becoming increasingly more difﬁcult to state the differences between a museum and a theme park, a cruise ship and a themed casino. In such a world, the opportunities for exploring deeper, darker and more complex stories and characters abound.

3. Extreme and Experimental Tourism: More and more, guests are desirous of different attractions, rides, experiences and forms of tourism that take them into new, unexplored and even dangerous worlds. Extreme tourism, where a guest might descend into a volcano or swim at the top of a high waterfall, and experimental tourism, where a guest might approach a traditional tourist experience in a new, surreal or unexpected way, offer numerous opportunities for designers and operators of leisure spaces. The key is the desire to experience things in a new way and thus designers may consider new approaches, topics, themes and contexts where a desire for the unexpected may be better met.

4. Historical Reenactment and LARPs: leisure spaces that could benefit from a travelling through solid objects – asks the Across the world, people participate in more nuanced and sometimes disturbing guest to reflect on the idea of museums immersive and engaging dramas that span look at history, culture and imagination. themselves, what is true and untrue. the historical, cultural and imaginative A second example is Dennis Severs’ realms of society. Historical reenactment 5. Conceptual Spaces: House in London. Like the Museum of (in which participants recreate a time Conceptual spaces challenge the traditional Jurassic Technology, Dennis Severs’ House period like the Civil War) and LARPs (or live understandings, uses and constructions challenges the visitor’s perceptions of action role play) are examples of evocative of themed and immersive spaces. Such a museum or interpretive centre. The settings that allow those involved to spaces are “type breakers” as they suggest exhibitions are offered in fanciful ways that more fully experience the sights, smells, new ways of understanding traditional seem to “wink” at the guest, as if playing sounds and experiences of another spaces and, indeed, point us in new a joke on him or her. An evocative use of world, regardless of its specific origins. directions. As conceptual spaces they get sensory design suggests a much different Such forms of creativity have also drawn us to think about themed and immersive approach to the staid museum. Applying attention to the depth of consideration spaces in the deepest senses possible. principles of conceptual spaces to other that may be applied to the creation of and The Museum of Jurassic Technology in themed and immersive spaces – including participation in an immersive or themed Culver City, California, is an example. One theme parks – would likely result in an world. In the case of historical reenactment, could call it a museum, but this misses the expansion of the immersive potential of the deep and disturbing aspects of history point of the space, which is to challenge space as well as an ability to include topics may be relived in order to gain a new our perceptions of what a museum is. An and themes that may be more impactful appreciation of troubling and tragic aspects exhibit of a bat suspended mid-flight in a when considered through the modalities of human history. Such deep realism may piece of solid lead – it is said to have got of spaces like the Museum of Jurassic be applied to the many contemporary stuck while using its unique technique of Technology and Dennis Severs’ House.

It’s the sense that harrowing topics like war should only be considered in serious spaces and understood in an educational, not entertainment, context

52 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 PHOTO: WONG CHEE YEN | DREAMSTIME.COM PHOTO: ROELOF BAKKER A hospital-themed restaurant plays with ideas of overeating, obesity and premature death

The effects of these trends will likely be and curries and soft-serve ice cream that – what could be loosely called its “genre” felt in future embodiments of themed and are served in toilet serving plates and made – dictates the types of topics that may be immersive spaces. We may reﬂect on some to resemble excrement (closed in 2014) considered as well as the manner of their examples of spaces that have, in various QBonBon Land (Holme Olstrup, presentation to the guest. For many, the ways, pushed the limits of traditional Denmark) – a theme park known topic of the Civil War belongs in a museum themeing and immersive world design. for its bawdy attractions, themed or a historical reenactment, not in a theme like vomiting or defecating animals, park. It’s the sense that a harrowing topic Controversial Spaces including the “dog fart rollercoaster” like the Civil War should only be considered The many controversial themed and These spaces suggest it’s possible to in such serious spaces because the topic immersive spaces of the last few years push the limits of design and operation of must be understood in an educational, not vary greatly in the contexts, approaches leisure complexes, but such effort does entertainment, context. and stories that are used to give meaning not preclude controversy. Unfortunately, such views are limited to their environs. Themed restaurants A classic example of a space that by their traditionalism. As more and may use a unique theme – like toilets or attempted to push the limits but which more blurring occurs in the outdoor hospitals – as a way of distinguishing met with considerable controversy and entertainment industries, we will likely see themselves from other competitors. ultimately was never built was Disney’s museums adopting principles of theme America theme park. The park would have parks and theme parks appropriating Examples of Controversial Spaces included historical reconstructions of a the approaches of museums. Industry QHeart Attack Grill (Las Vegas, Nevada) – a Native American-themed area, a Civil War- conferences, like those of the Themed hospital-themed restaurant that is known era theme land (complete with a Coney Entertainment Association (TEA), reﬂect for its 9,982 calorie Quadruple Bypass Island like Monitor and Merrimac battle more and more dialogue between designers Burger, scantily clad waitresses dressed reconstruction) and other themed lands. and operators of themed and immersive as nurses and a policy that allows any The controversy stems from references to spaces that have in the past seemed customer over 350 pounds to eat free the Civil War. For some historians, Disney’s worlds apart in terms of their contexts, QMagic Restroom Café (City of Industry, efforts to represent the Civil War in a themes, designs and approaches. As well, California) – a toilet-themed restaurant that theme park space was blasphemous. For education and entertainment need not features dining seats fashioned as toilets such critics the form of the themed space be seen as being in competition with one

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 53 MASTERCLASS PHOTO: © STEVE ESTVANIK | DREAMSTIME.COM | DREAMSTIME.COM ESTVANIK © STEVE PHOTO:

A ride at Bonbon Land, a Danish theme park that’s based on wacky ideas and toilet humour (left). Historical reanactment (top) is an increasingly popular immersive activity

As societies change, themed and immersive spaces have an opportunity – some would say a responsibility – to reﬂect such change in their spaces

another. More and more, designers realise cruise ships and numerous other themed challenge. Spaces may also place greater the immersive potentials of entertainment and immersive spaces should push emphasis on the guest by stressing values and the pedagogical potentials of education the limits of their design elements, the of reflexivity and complicity. Team Earth may go hand in hand in a themed space. contexts and content of their displays and on Celebrity cruise ships asks guests to attractions, and the expectations of the examine their complicity in environmental Why the Limits May Be Pushed guests within their spaces. One reason is issues. The Museum of Tolerance and other As design approaches and guest interests to be more inclusive and to speak to the Holocaust and genocide museums ask continue to evolve, themed and immersive diverse needs of guests in terms of their guests to confront their own prejudices. spaces have unique opportunities to push backgrounds and life interests. The industry should lead the way in the limits of the stories that are told in incorporating these new approaches that their spaces. New spaces offer the ability Addressing Existential Needs challenge the limits of their spaces. New to retell a story in new ways. A family theme park excludes LGBTQ topics that focus on dark cultural issues, Disney’s America would have allowed guests if the attraction only addresses the controversial subjects and disturbing a new interpretation of the Civil War and heterosexual family. Likewise, spaces may aspects of history should also be explored many other spaces may be inspired by reflect the tendencies of social change as they allow us to not only to entertain the retelling to create amusement venues that are found outside of their confines. As guests, but to teach them important social, that push beyond the limits of traditional societies change, themed and immersive cultural and historical lessons. themeing and immersive design. We spaces have an opportunity – some would The risks of including such topics in discover that many themed and immersive say a responsibility – to reflect such future themed and immersive spaces are spaces follow the same design and change. The values of multiculturalism, for numerous. The guest could be alienated, narrative lines, resulting in ritualistic, example, have begun to play a greater role turned off or outright offended, and the stereotypical and traditional spaces that in many contemporary leisure spaces. ultimate outcome could be lost revenues look very similar to all the other spaces. Awareness of the guest does not end – making mute any conceptual gains that Thus, designers may look to new topics at his or her consumer needs. Guests might be made with greater inclusion of and approach themeing by emphasising have existential needs and it’s important dark and controversial contexts. No doubt new perspectives. Underground Adventure that designers consider these in the the future of themed and immersive spaces at the Field Museum in Chicago uses the development of their attractions. Museums will reflect this tricky compromise. O perspective of insects to give visitors the like the Museum of Jurassic Technology illusion that they are 1/100th of their size. and Dennis Severs’ House challenge the The unique telling of the story of the soil assumption that guests want simple, cut- Scott A Lukas is an author and and its organisms illustrates how attraction and-dry attractions requiring the least researcher who specialises in design may push the limits through not only cognitive ability. These and other spaces immersive worlds and cultural the topic being told but how it is told. grant the guest their intelligence, as remaking. He studies theme There are many important reasons attractions designed for complexity and parks and themed spaces, film, why theme parks, interpretive centres, depth, to intellectually and conceptually video games, gender and crime.

54 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 [email protected] www.scruffydogltd.com ANALYSIS Royal Botanic Gardens at Kew uses an audience segmentation system to understand engagement

People Power

Old market research techniques are making way for Culture Segments – a mass personalisation approach that asks what motivates different types of cultural consumers. Gerri Morris explains

number of the UK’s museums, cultural research consultancy Morris stages, income levels or social class. Or galleries and heritage Hargreaves McIntyre (MHM), it’s designed they’re based on behaviour – people who attractions have adopted a as a system that can be used by any already engage in different types of activity new way of looking at their organisation targeting audiences for and people who might. There are other A audiences, and it’s paying cultural, leisure and heritage attractions. proprietary systems that are based on dividends. making assumptions about the attitudes They’re using an audience segmentation Why segment? and values people might have depending system that’s based on understanding the Audiences are not homogenous. They’re upon their postcode. deep-seated values that drive people’s made up of diverse people with different Most of these systems are concerned engagement with culture. Then they’re needs and wants. To be audience-focused, with ﬁnding audiences for mass-market using these insights to craft offers and we need to understand and meet those products and so they take a broad- messages that really resonate. needs and wants. In an ideal world we’d brush approach. What we’ve found when Using this system, the Museum of develop personalised offers for everybody, people engage with culture is that such London saw a massive increase in visits but this is expensive and impractical. approaches simply don’t apply and so these last year; Royal Botanic Gardens at Kew is Segmentation is a good half-way house: systems will always have limited success. increasing its exhibitions engagement; the clustering people into groups who share Tate Modern is maximising its audiences; the same needs and wants and developing What motivates us? and Historic Royal Palaces (HRP) is using differentiated strategies for those segments Cultural activity is highly discretionary. the insights across every area of its work, whose needs we can best meet. The motivations people have for engaging from marketing to interpretation to retail. with culture and the beneﬁts they seek The system is called Culture Segments Why use psychographics? are highly personal. In this respect, broad and it takes a psychographic approach Many segmentation systems are based demographic groups are not homogenous to classifying customers. Developed by on demographics such as age groups, life in their attitudes towards culture. In those

56 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Tate Modern hosted its most popular exhibit ever after targeting certain sectors in its audience

areas where there’s a critical mass of EXPRESSION – community-focused, cultural offerings – in cities, for example receptive, confi dent; value inclusivity and – housing is so diverse that a single creatively inclined postcode can’t possibly serve as a proxy STIMULATION – contemporary-minded; for what all residents might be looking for Culture social, active, experimental and like as cultural options. discovery Through years of research we have Segments AFFIRMATION – aspirational; seek quality found that values and attitudes are the key time, build their self-identity and look for factors that drive cultural behaviour. self-improvement Some people are open to taking risks RELEASE – time-poor, busy, ambitious; Morris Hargreaves McIntyre identifi es with what they see and do, others are more struggle to prioritise leisure activities; eight distinct types of cultural consumer conservative and want the reassurance of wistful and need guarantees they’re not popular events. Some people want to have wasting time or money a great time with friends; others want deep and multivariate 3D cluster analysis. The PERSPECTIVE – settled, self-suffi cient, and meaningful experiences, sometimes system divides the majority of the adult focused, content, with fulfi lling interests; on their own. Some people want to be population into eight distinct groups. In appreciate being reminded how much they challenged and provoked while others want this system, the defi nition of “culture” enjoy occasional cultural outings the comfort of familiar things. Some people is very wide – stretching from high art to ENTERTAINMENT – enjoy mainstream fun, have their imaginations fi red by the creative movies, from playing an instrument to popular acts and events; see mainstream process, while others prefer to be wowed by making a fi lm, from going to a pantomime culture as great social and leisure the fi nished article. Some people want to to going for a walk. opportunities learn; others want to have fun. These and This is not to suggest that there are many other factors determine the type of THE EIGHT SEGMENTS ARE: only eight kinds of people in the world, cultural consumer an individual is. ENRICHMENT – mature; traditional-minded but that if we group people according to and interested in heritage, nostalgia and those who have these factors in common, Eight Culture Segments life-long learning we’re in a better position to understand Culture Segments have been ESSENCE – sophisticated, discerning, and meet their needs. derived from robust research using independently-minded and spontaneous; We have developed detailed “pen large-scale quantitative methods very active cultural consumers portraits” – easy-to-use data sketches

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 57 ANALYSIS

MUSEUM OF LONDON Sharon Ament, Museum of London, director

The Museum of London is we wanted to understand and as much about the people of target our audience more London as the “stuff” and the accurately to make the most history of London. Therefore, of our resources. it’s imperative that we’re Audience segmentation connected to our audiences has a real ability to impact on and understand them in a an organisation if it’s part of sophisticated way. a bigger package - a bigger It was important for me transformation agenda. At that the museum went beyond the Museum of London we’ve the broad classifi cations been thinking about ourselves of audience. I wanted to strategically in a new way, understand motivations as and now a whole slew of new much as demographics. strategic activities are coming We worked with MHM on together as one. Culture Segments, because Culture Segments allowed us to identify core audiences and effectively target exhibitions at existing and new segments. A Michael A Michael Caine exhibbit was targeted at London insiders Caine exhibition and a Sherlock Holmes exhibition were aimed at attracting group are locals who love to years. We have found using specifi c audiences. We go behind the scenes and YouTube videos to promote our prioritised two groups discover the hidden London, exhibitions is not only effective, of our main audience, and the second group use but quick, economical and which we called “London and consume culture all the sharable. insiders” and “cultural time. We chose to target them, In 2015, the exhibition was connoisseurs”. The fi rst because where they lead, other Sherlock Holmes: The Man groups will follow. Who Never Lived and Will The “Look Again” The “Look Again” campaign Never Die. Everything from our campaign refl ected the to promote the museum was advertising to our late nights Museum of London’s designed to attract London to our Sleeping with Sherlock decision to re-assess insiders, and has been hugely sleepovers, all our products its target audience successful over the past three tried to be more contemporary and to connect more with audiences. We also did a Museum of London tweed. Our curators analysed the colours referred to in the Sherlock Holmes stories, and we designed an urban tweed fabric with Liberty’s of London to create Sherlock-style hats and other items, which were priced around £40 and sold out. We had advocates who wore the hat, helping us promote it and communicating the message of the museum to the contemporary London audience we want to attract. In the end, it’s about being extroverted rather than A new tweed was developed by the Museum of London in partnership with Liberty from colours introverted and being more mentioned in the Sherlock Holmes books. It was used to make items for the museum shop savvy when it comes to the audience needs.

58 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 The Full of Spice festival at Royal Botanic Gardens, Kew. Culture Segments were used to understand visitor motvations

Organisations are proving this approach to “mass personalisation” is far more eff ective than targeting people by superﬁ cial and irrelevant factors

full of details about the eight segments, were used to identify those audiences understand what potential visitors might designed to help attractions recognise that are always slow in booking tickets want from a festival depending on their and understand their current audiences and attending certain exhibitions, to then segment. This has allowed the attraction and prioritise those that offer most urge them into taking action promptly to actively focus on and address visitor potential. Organisations are proving that and reassuring them that the show would engagement with their festivals. this approach to “mass personalisation” deliver positive benefi ts. The result was Culture Segments are universal. is far more effective than targeting people that the Matisse exhibition broke all of MHM has now conducted studies in 14 by superfi cial and irrelevant factors. Tate’s records to date, attracting some different countries, including the UK, 600,000 visits over its fi ve-month period. the US, Norway, Sweden, China, India, Reaching your audience Brazil, Australia, South Korea, Turkey and Using these insights about their markets, Understanding your visitors Indonesia. It works across the subsidised organisations can begin to develop cross- At HRP, every department is familiar with and commercial cultural sector from departmental strategies to respond to Culture Segments and develops its strate- performing arts and exhibitions to plays the needs, values and motivations of gies with its priority segments in mind. and visitor attractions. O audiences. This gives teams across Each palace has priority segments that departments a common language for inform programming and events planning. Gerri Morris is an arts talking and thinking about audiences. Developments, retail and catering offers management consultant. Culture Segments have worked effectively are all increasingly being informed by In 1997, she established for the Museum of London, where they have research with key segments. strategic cultural management increased their audiences from 500,000 MHM also works with the Royal Botanic and research consultancy to over 1 million in the past two years. Gardens at Kew, most recently to evaluate Morris Hargreaves McIntyre with Jo The museum used Culture Segments to several of their festivals, including the Hargreaves and Andrew McIntyre. Morris identify its core, priority and developmental summer festivals Plantasia and Full has led projects for clients such as Tate, the audiences, creating events programmes to of Spice. Applying the segmentation British Museum, National Trust, Art Institute attract new groups and effectively target developed for the attraction – which Chicago and the Philadelphia Museum of Art. exhibitions at very different segments, is based on the attitudes, needs It’s free to access Culture Segments on thereby attracting entirely new audiences. and motivations of visitor groups – the MHM website, where you can also At London’s Tate Modern, for Henri enabled Kew to understand its festival fi nd out which segment you are in. Matisse: The Cut-Outs, Culture Segments visitors through a segment lens, and to www.mhminsight.com

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 59 VAE PROMOTIONAL FEATURE

+"/6"3:ŗǆ&Y$F--POEPO VISITOR ATTRACTION EXPO

A unique show for the leisure park, piers, zoos, FECs and adventure play sectors

fter a successful launch in “ExCel is one of the top exhibition suppliers of children’s play equipment, January this year, the Visitor venues in the world and it’s still winning branded merchandise, payment and Attraction Expo (VAE) is set awards for its accessibility and the ticketing solutions, iced drinks, cash for a repeat performance from standard of facilities offered. By co-locating handling products, inflatables, 4D motion A 12-14 January 2016. Presented the show with EAG International, VAE simulation, adventure play and high ropes, by BALPPA and supported by exhibitors have access to a level of venue climbing towers, laser games and even a BACTA, the event will again take place at not normally associated with smaller fully-equipped play bus. the prestigious ExCel London, alongside launch events,” says Cooke. A number of specialised service providers the EAG International Expo. VAE 2015 certainly attracted a wide also exhibited, offering leisure development It would be difficult not to be impressed spectrum of exhibitors, each with a consultancy, insurance, purchasing and by ExCel’s truly world-class facilities unique product offering for operators of procurement solutions, safety consultancy and, according to expo organiser Karen leisure parks, piers, indoor attractions, and staff training. Cooke, of Swan Events, they were well zoos, adventure play and indoor play. With visitors also enjoying free access to appreciated by the show’s participants. VAE showcased the latest products from EAG International, the product offering was further extended to include: basketball and air hockey, the very latest in access control, Operators will find a wide candy vending kiosks, capsule, stickers and variety of suppliers and toy vending, cranes, licensed and generic manufacturers at VAE plush, loyalty card systems, video games, go-karts, coin-op mini cars, jukeboxes and customised music services, kiddy rides, revenue management systems, redemption games and ticketing solutions – to name just a few of the exciting business–building opportunities on offer. Networking opportunities at VAE 2015 were also excellent, with events held by individual trade associations and interest groups. For 2016, the second night’s After Show Party, just a stone’s throw from the expo floor, is expected to be attended by over 1,000 showgoers.

Holding the event alongside EAG gives VAE participants the chance to exhibit at London’s ExCel, a world-class venue with excellent facilities

60 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 VAE is an annual trade show for those who target family attractions

By co-locating the show with EAG International, VAE exhibitors have access to a level of venue not normally associated with smaller launch events

What makes VAE unique? timing, right at the start of the new year, inclusive effect, making both shows more In a crowded expo and show calendar, make it perfect for discussing the previous viable for smaller exhibitors and start-up a new event has to deliver something season and laying plans for the next. businesses. unique to justify any participant’s A huge bonus for attractions operators investment, in both time and money. VAE is primarily focused on the UK is that the majority of EAG’s exhibits are VAE is differentiated from other industry VAE has a European outreach but is very designed to generate those all-important events by a number of factors: much about the UK; the show’s overseas incremental revenues. Some of the exhibitors are at the event because they products on display can have a major VAE meets a genuine need have a particular interest in our market. effect on profitability. VAE was conceived after recommendations from within the industry, made to BALPPA, VAE has a first-class programme by suppliers looking for a UK event they of seminars and educational REGISTER NOW AT could call their own. events, organised by BALPPA. www.attractionsexpo.co.uk BALPPA is recognised for the excellence VAE is run by the industry for the industry of its education and training. Indeed, the VAE is organised by Swan Events Ltd. In common with its sister show EAG organisation’s events are regularly attended For further information contact Karen International, VAE is not part of a large by employees of leading UK operators. A Cooke on +44 1582 767254 or at corporate portfolio, meaning it can focus on the UK market ensures that VAE’s [email protected] focus exclusively on its participants. The attendees are offered sessions that are show’s small operational team is open to both topical and relevant. feedback on every aspect of the event. VAE has a very interesting neighbour! Presented by In association with VAE will be held in the same location As the distinction between out-of-home and at the same time every year leisure markets becomes increasingly Many operators of smaller attractions in obscured, visitors to both EAG and VAE particular have indicated that they are are likely to find business-transforming unable or unwilling to travel overseas to products at both shows. The critical-mass trade shows. VAE’s convenient location and achieved by joining the shows has had an

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 61 SHOW REPORT SATE 2015 The rules are changing. Be disruptive. Explode the experience. Those are the messages from this year’s SATE conference, which was headlined by Star Wars legend Anthony Daniels. Christine Kerr ﬁles this report

Christine Kerr, vice president, BaAM Productions

his year’s SATE (Story + cooperation and teamwork are required. In Architecture + Technology = order to do this, he challenged experience Experience) conference featured creators to consider smaller attractions. many highlights, not least that Instead of one $50m (£33m, €45m) ride, T the attendees were privileged to what about 10 smaller experiences that share an up-close-and-personal each cost $5m (£3.3m, €4.5m)? conversation with Anthony Daniels, famous Matt Earnest of Entertainment + Culture for his role as C-3PO in the Star Wars films. Advisors explored the success of London’s The Themed Entertainment Association’s Secret Cinema and their Star Wars events (TEA) annual storytelling conference was – a great example of tying community and hosted by Carnegie Mellon University in immersive participation by combining a Pittsburgh, Pennsylvania. This top-ranked film screening with a role-playing event. university is home to the Entertainment These events allow audiences to “live the Technology Center (ETC) and Disney film” by combining live actors and role Research Labs among many other playing. Attendees are assigned an identity prestigious programmes and partnerships. (a character and a costume) and join a Conference attendees were welcomed community when they purchase a ticket to a showcase of student projects at – before the event even starts. Secret the ETC, were active participants in Anthony Daniels, who plays C-3PO in Cinema creates further opportunities for demonstrations of projects in development Star Wars, was SATE’s headline act attendees to interact at social events, at the Disney Research Labs, treated to where they must still wear their costumes. drone flying demonstrations and gained It becomes a season-long community insights into how the Pittsburgh Penguins seamlessly supported by other promotional event that creates value with immersion. NHL hockey team is integrating technology and media elements that serve to build into its arena and fan experience. anticipation in advance, promote sharing BUT IS IT ART? during the event and provide opportunities Adam Bezark is always a thought-provoking EXPLODE, EXPAND for follow-up after the event. and popular speaker. He engaged the The theme of SATE this year revolved In the world of themed entertainment audience immediately by wondering if we around the idea of extending experiences and built environments, what is happening are artists, if the experiences we create are beyond a defined time and place. that parallels or echoes this marketing ones that will stand the test of time, asking Words like explode, disrupt and expand evolution? How are themed entertainment if people will study them in 500 years? guided the thinking of co-chairs Shirley experiences expanding their traditional He shared what he believes makes great Saldamarco (president of Interactive boundaries? Are there categories of work art great: technique, medium, concept, Media Productions and an ETC faculty that used to be the responsibility of the newness and emotion. He further suggested member) and Loren Barrows (director of marketing department that are now falling that places and experiences – such as business development at Alcorn McBride). to the experience designer? What other Cirque du Soleil’s shows, Sleep No More (a Speakers explored the trend and identified industries offer examples that help us meet theatrical experience from British production examples, demonstrating that the nature the expectations of audiences? company, Punchdrunk) and Universal of experience design is changing. Studios’ Diagon Alley – are all art. We’re seeing this trend rapidly COMMUNITY SPIRIT Even the Disneyland Castle – because expanding in the world of experiential Matthew DuPlessie from 5 Wits opened it was parodied in graffiti artist Banksy’s marketing. Marketers are creating brand the conference by challenging the group Dismaland (a temporary art installation in activations that include destinations – built to create more experiences that depend Weston-super-Mare in the UK this summer environments – as one pillar of a total on the guest being there – that are – see our feature on page 42), is now campaign. The in-person experience is interactive because participation, thinking, elevated to the level of art

62 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 PHOTOS: FOR TEA, BY MARTIN PALICKI MARTIN BY TEA, FOR PHOTOS:

Speakers at the SATE 2015 conference at Carnegie Mellon University in Pittsburgh included (clockwise from top left) Jesse Schell, Scott Trowbridge with (C-3PO) Anthony Daniels, as well as Jacob Wahl, Shirley Saldamarco and Loren Barrows, Joshua Jeffery and Adam Bezark

Of course the people who created these She challenged the group to become longer be judged by how good or great it is shows and designed and fabricated the instigators, like that childhood friend who – success will come from being different. structures are all artists, Bezark said. always dared you to do things. She also Then he challenged delegates with this said the “wow” factor is no longer the VIRTUALLY THERE question: can we do a better job of what priority – “cool” is more important. Jesse Schell, CEO of Schell Games, has we do if we treat our work as art? Given Francl shared the trends she sees been passionate about VR since the that many of us have training in some kind emerging, which include a new focus on early 1990s, so he is very excited that, of visual art, design or theatre, we certainly spirituality and creating havens, contrasted in 2016, VR will explode into popular were reminded of our roots and inspired to by unexpected and provocative pop-ups culture. He reminded the group that, like think about our work differently. that are immersive brand experiences. She all technologies, the development curve Bezark shared some advice on how we also suggested that community is more takes time, like the evolution of the TV, can return to those roots or find our inner important than ever and that this extends which has taken 45 years to get to where artist. His advice included: awaken the to experiences that are customised to we are today. New VR is different and will poet by challenging ourselves; fight for the incorporate local connections. be successful because it brings a feeling new by challenging our clients; fight for the She also said the trend towards of presence that is powerful, he said. weird; and stick to the story so you do not collaborative consumption has led to The challenges of the past are solved; disrupt or interrupt the immersion. a shift in consumer values – a shift in there’s no motion sickness because priorities from ownership to access, and content is delivered at a higher frame rate, FROM ME TO WE from me-to-we through crowdpower and with a faster refresh rate, so there’s no Deanna Francl, the brand design practice mobile collaboration. Francl talked about virtual motion. The user moves – not things area leader at Gensler, asked the question: how the world we are living in motivates us in the world – so there’s no nausea: the “What are you doing to dramatically change to redefine the nature of experience and body and brain forget it’s not real. the way people experience your brand?” of service – she suggests our work will no The products already available or coming

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 63 SHOW REPORT

to market are also affordable at up to $500 (£320, €440) for the high-end that includes Oculus Rift, HTC Vive and Sony’s Project Morpheus/PlayStation VR. Products like Google Cardboard and Samsung Gear are much more affordable but sacrifice tracking capability (according to Schell), priced at below $200 (£129, €176). Schell is one very excited and knowledgeable guy – he’s seeing something he’s been passionate about for more than 20 years finally becoming a reality. When asked about augmented A child dresses up as reality, he said it’s at least five years away. Secret Cinema presents In a feat of serendipitous timing, Jakob Star Wars: The Empire Wahl from Europa Park spoke about Strikes Back in London

Mack Rides’ newly introduced VR for a GREENWELL CAMILLA PHOTO: rollercoaster, which had launched that very day (see page 18). Wahl admitted at Thinkwell and then leading interactive And perhaps most importantly, devices there are capacity challenges, so the initial technologies for the Warhol Museum for offer opportunities for experience layering, implementation will be rolled out to select five years before joining the tech giant. including gamification: your phone is like groups such as season pass holders, hotel Jeffery talked about Google’s focus on a heads-up device, acting as scorekeeper, guests and those willing to pay a premium. creating seamlessly woven experiences. image keeper and storyteller during an Wahl agreed VR is a great way to update a Our attention spans are shorter than experience. After the experience, it allows ride. He was pragmatic about the downsides ever and our tolerance for information, you to connect experiences to create – they are using the Samsung Gear but the speed we process it and our ability to your own story out of the experience you accept there are technology challenges focus have all changed, he says. had. Ultimately, Jeffery said, we can take with a new and quickly evolving product. He Our devices are poking the outside world advantage of that digital literacy to focus also admitted it won’t work on all rides and in and the inside world out. They provide on the personalisation opportunities. can be isolating – although based on other social, meaningful interactions – so what speakers at the conference, this could be should we do? Block them? Collect them? FOLLOWING PROTOCOL interpreted as personalisation. Mack Rides No, says Jeffery, because they have SATE 2015 was pleased to present a believes VR is a tool for advancing and value in an experience. They represent Conversation with Anthony Daniels, the enhancing the experience, but it’s not the convenience (on-demand) because they second presentation of this new format of future of the rollercoaster. separate the fun from the functional – use open, direct dialogue. Daniels has enjoyed devices to allow you to focus on the fun by a career spanning four decades, portraying DEVICE ADVICE getting the practical details out of the way. the beloved C-3PO in the Star Wars films Joshua Jeffery, experience design lead on They offer personalisation – like Trunk and having the privilege of broadening his Google’s Experience Centres Team, has Club and Netflix. Your device knows you involvement to many extensions of the had an interesting career path, graduating and can provides concierge-level service franchise as the character and hosting from the ETC at Carnegie Mellon, interning and customise experiences for each guest. various symphonic events, especially Star Wars in Concert in its US and European tours. He is also a visiting scholar at the ETC at Carnegie Mellon University. The upcoming release of Star Wars: The Force Awakens and recent announcements from Disney about an expanded Star Wars presence in the parks made the conversation with Daniels a timely feature of SATE 2015. And who better to lead the conversation than Scott Trowbridge, the creative executive from Walt Disney Imagineering responsible for the strategic concept development and integration of the Star Wars franchise across all Walt Disney Parks and Resorts? This was the ultimate discussion about Europa-Park directors extending the experience. The conversation take the first ever VR circled around the various ways the Star rollercoaster ride in Rust, Wars franchise has been leveraged and Germany, in September expanded to invite people to step into the stories. After a dramatic entrance by

64 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 PHOTOS: DISNEY PHOTOS: PHOTOS: FOR TEA, BY MARTIN PALICKI MARTIN BY TEA, FOR PHOTOS:

Feel the Force: With the latest ﬁlm and the recent conﬁrmation of Disney’s Star Wars Land, the Conversation with Anthony

PHOTOS: DISNEY PHOTOS: Daniels was a timely feature of SATE 2015

“ IT’S AN UNENVIABLE TASK TO BRING STAR WARS TO LIFE IN THE THEME PARKS FOR GENERATIONS OF FANS WHOSE LEVEL OF KNOWLEDGE IS UNPARALLELED ”

Daniels – in a gold sequinned jacket, of Daniels visiting Secret Cinema’s Star Wars R2-D2 to Daniels’ C-3PO, much to the course – both gentlemen were generous event in London, to the challenges of amusement of the audience. with their stories and witty banter. translating the onscreen character into the TEA’s SATE 2015 took delegates on Among the highlights of the conversation requirements (and restrictions) of the Star a journey that challenged their thinking was how the C-3PO costume has changed Tours attractions. and inspired – even provoked – them – evolving from a metal construction made to approach their projects in new ways. from a full-body casting that required two STAR WARS LANDS Themes of creating experiences that hours to put on and was so heavy, Daniels Trowbridge was asked many questions encouraged community, teamwork and considered not participating beyond the about Disney’s plans for the Star Wars shared human experiences were repeated first film. The current costume is 3D franchise across the parks and resorts. by almost every speaker. This was printed and easily worn and modified. Avoiding specifics, he nevertheless built contrasted by ongoing discussions of how Daniels also told the story of how excitement among the attendees. He and to use guests’ personal devices in the right George Lucas auditioned many actors to his team have an unenviable challenge of way, rather than just asking them to be be the voice of C-3PO after filming was determining how to bring the films to life turned off – to incite social action, deliver complete on the original Star Wars movie. in the theme parks for generations of fans personalised content and extend the guest Eventually he decided nothing fitted whose level of knowledge is unparalleled. experience by creating and sharing stories. the original like the original, and asked The conversation was full of banter and The presentations and conversations Daniels to record his own voice. dramatic action. Daniels had a hard time reminded us that we all create the art of The anecdotes and insights shared sitting still and often jumped up to act out the 21st century; perhaps we are defining were many – ranging from a disguised a point. Trowbridge took delight in playing the meaning of art for future generations. O

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 65 PLANETARIUMS PLANETARIUMS the next 20 years

What challenges and choices will planetariums face in the coming decades, and what can they do now to shape a future that’s relevant and inspiring for the sector and its audience? Staffan Klashed of Sciss shares his thoughts

Staffan Klashed, CEO, Sciss

Planetariums have a value proposition as centres of excellence for astronomy and space exploration, says Staffan Klashed, CEO at Sciss

66 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 The Earth seen from the International Space Station with Uniview fulldome software

’ve spent a lot of time else will be compared against. this year analysing and A market study that Alan researching the potential Caskey presented at the future of planetariums. My IMERSA Summit (Immersive I fi ndings made me want to Media Entertainment, Research, try to identify where the Science & Arts) in 2013 winds are blowing for the next listed user interfaces and 20 years. By understanding real-time system functionality where we stand today and Staffan Klashed as the two most important what the major tendencies features of a planetarium are – tendencies that are bigger than any (from a survey of 139 planetariums). The single innovation, company or institution ability to encourage repeat visits and the – planetariums can shape a strategy to availability of new content were the two top grow increasingly relevant. That means concerns. All of these points are directly maintaining current, growing and recurring related to advanced software and content audiences, and providing them with development, work that will be carried out meaningful and inspirational experiences. by some of those 18.5 million talents – I’d like to take this opportunity to and we’re competing with every other IT share some of the trends that I identifi ed industry on the planet to get them. as important in a recent white paper Fortunately, the planetarium industry is entitled The Next 20 Years: A Vision for increasingly successful in the competition Planetariums in the 21st Century. for talent. As an industry, we are investing in research and the development of The competition for talent products that are technically stimulating, Whether we like it or not, planetariums are considered relevant by the majority of the just as involved as any other industry in the public, and socially much “cooler” than competition for talent. The International the conventional planetarium technology. Data Corporation (IDC) estimated in 2014 that there were approximately 11 million Public perception of professional software developers in the astronomy and planetariums world, or 18.5 million if hobbyists are People are just as interested in astronomy included. The best ones will choose a now as they have ever been. Data from career in those industries that reward them the US General Social Survey from 2012 PHOTO: BARABILD.SE best fi nancially, creatively and socially. says that approximately two-thirds of The best ones will create the audiovisual the American public think government experiences – whether under the dome, spending on space exploration is too small online or in gaming, or in the VR headsets or just about right. European numbers are of the very near future – that everything similar. Data from other parts of the world

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 67 PLANETARIUMS Satellite imagery of the Alps, streamed with Uniview fulldome software from NASA’s WMS servers

WE NEED THE PUBLIC TO REGARD PLANETARIUMS AS A PRIMARY PLACE TO FOLLOW EVENTS IN ASTRONOMY AND SPACE EXPLORATION – THAT WILL HELP US GROW AUDIENCES AND REPEAT VISITATIONS would be most welcome and help to paint a more complete picture. Planetariums vs Giant Screen Cinemas: An identity crisis? To fi nd out how the public feels about planetariums, we conducted our own survey by analysing reviews on the travel website There’s an argument that digital planetarium shows, live presenter-led discussions, TripAdvisor. Visitor satisfaction appears to technology is converging with giant screen audience-driven experiences – but don’t come from four primary factors: things to cinema. While this might be true for the mistake format for value proposition. do outside the dome (24%); good shows technology, there’s very little convergence in Giant screen cinemas show, for example, (23.5%); location, view and the building terms of purpose and use of the technology. documentaries about butterfl ies, artifi cial itself (16%); and good live presenters Planetariums have a value proposition intelligence, dinosaurs and aviation. They (15.5%). Disappointment appears to as centres of excellence for astronomy and have an amazing cinema format. People come primarily from worn down or poorly space exploration. This is a sustainable visit giant screen cinemas to pursue their maintained facilities, alongside low quality proposition and if planetariums don’t fi ll it, interest in documentaries and fi lm – that’s a programming (14%), technical issues something else will. Formats vary – fulldome completely different value proposition. (8.5%), lack of things to do outside the dome (6%) and cost of admission (3.5%). there is tremendous growth potential in grow audiences and repeat visitations. So how are we doing? our industry, especially considering that We don’t have to abandon our scientifi c According to the annual Dome Theatre a lot of those 107 million visitors went integrity to be relevant and cool. In fact, the Compendium survey from Loch Ness with a school group and did not actually opposite appears to be true, as the public Productions, approximately 107 million choose to go to a planetarium. is quite invested in astronomy and space people visited a planetarium last year. That We have the chance to cater to the two- exploration. This means planetariums are sounds like an amazing number – I think we thirds of people who are actually interested interesting places for talented individuals can be proud of our industry. In comparison, in our topics and to give them meaningful to work, which increases the quality of our the documentary giant screen industry experiences of science visualisation. We programming and, in the long run, also our attracts a total of 36 million people per need the public to regard planetariums as a audiovisual systems – in turn attracting year, and that includes their fl at screens. primary place to follow events in astronomy more visitors. This virtuous circle has just I don’t think our numbers are bad, but and space exploration – that will help us begun, the next fi ve years will accelerate it.

68 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 MARKETING IN THE ERA OF BIG DATA

Planetariums need an increased focus on marketing, and understanding our identity and value proposition. Jim Sweitzer illustrated in his SPECTACLE model in 2004 the effects of the many factors at play during the early years of a new planetarium, and showed the long-term importance of having a balance between good marketing, innovation, high-quality programming and the ability to attract new markets. Thanks to big data, marketing today is much more reﬁ ned than it used to be. We can pinpoint target groups online and give them compelling reasons to go. The most successful planetariums are already reﬁ ning their offerings and introducing special events such as planetarium after dark, science cafés and guest lectures. The key – besides spending on marketing – is to The Earth seen make sure that the overall content and with Uniview marketing message aligns with the fulldome software overall identity of planetariums.

The next 5 years: Supported by multi-platform software it will take two decades to transform the Big data and the virtuous circle solutions, planetarians will gradually world’s education systems. We are talking The next fi ve years will inevitably be about start to roll out programmes and extend about redefi ning the purpose of education. big data – the vastly increased amount of their relationships with their visitors. This Sugata Mitra, an educational researcher meaningful data accessible to the public. creates new business opportunities, thus and TED Prize winner, has shown that in the Space exploration will produce a huge injecting more resources and more talent absence of formal teaching, children can amount of data and private initiatives in into our industry. The planetarium becomes teach themselves and each other, if they air and satellite-based imaging, remote the magnet, the central point of gravity are motivated by curiosity and peer interest. sensing and laser scanning will accelerate around which a vast number of satellite And with planetariums now having attracted what the International Planetarium programmes are orbiting. Experiential hubs a large pool of talent and expanded to Society’s science and data visualisation for astronomy and space exploration fi rst, multiple platforms, we will be the world’s task force calls the “data tsunami”. buildings second – and that’s an incredibly primary source for inspirational and Big data is relevant and interesting. It’s strong position to use to increase engaging experiences about astronomy and socially cool and attracts talent, and thus attendance to the building itself. space exploration. As such, we have a given the virtuous circle can accelerate and turn role in these vibrant learning grids. O planetariums into what they need to be: The next 20 years: places people go to pursue their interest in Education redefi ned astronomy and space exploration. Two decades out, the very way we think ABOUT THE AUTHOR about learning will be dramatically Staffan Klashed is the CEO and The next 10 years: different. In a report called Building co-founder of fulldome theatre New platforms the Future of Education: Museums and company Sciss. He has experience The data visualisation explosion will happen Learning Ecosystems from the Center for in the fi eld of science visualisation foremost on other platforms than the the Future of Museums, Katherine Prince and immersive digital spaces. Over a dome. With this, the sense of identity in describes “vibrant learning grids”. These decade ago, Staffan introduced the the industry will change. At the moment, are communities where learning is not visualisation software Uniview to the most planetarians think of their planetarium bound by a time and a place, but happens fulldome industry and today Sciss as the building itself and everything under everywhere, all the time. is one of the main fulldome system the dome, but increased visualisation Our relationship with formal institutions vendors with over 150 installations capabilities online are already starting to will change so the place we refer to as worldwide. change this. Soon, virtual and augmented “school” may be the classroom, the For a copy of The Next 20 Years: reality glasses will change the perception library, the internet or, indeed, the multi- A Vision for Planetariums in the 21st and value of immersion. In 10 years’ time, platform planetarium, where learning is Century, email [email protected] or search to think of the planetarium as only the not motivated by authority, but by curiosity. on www.sciss.se/blog/ dome will be a conservative standpoint. This theme is everywhere already today, but

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 69 MYSTERY SHOPPER

THE HUNGER GAMES EXHIBIT: IGNITING PART 2 IMAGINATION

The Hunger Games movie franchise is on the road, with a temporary exhibition opening in New York and then San Francisco. Tom Anstey goes to see if the interactive tour is catching ﬁre

Tom Anstey, journalist, Attractions Management

hey say if you make it in New York the centre doors swing open to reveal the you can make it anywhere. That’s THE EXHIBITION exhibition and the first area – District 12. where the The Hunger Games: The Creators: Lionsgate; Thinkwell Group This area is relatively small, but doesn’t Exhibition has taken its first steps Tour operator/co-producer: feel crowded, thanks to the timed ticketing. T as the temporary exhibition begins Imagine Exhibitions In it guests can look at a number of props its tour of the US with a debut at Host Venue: Discovery Times Square and costumes, notably the Mockingjay pin Discovery Times Square. AV: Electrosonic which is an important symbol in the film. With a collection of props and costumes Fabricators: MC2 Heroine Katniss Everdeen and her best used in the movies, as well as a host of Audio tour: Acoustiguide friend Gale Hawthorne’s hunting outfits are interactive experiences, the exhibition Retail: Event Network also displayed, while nearby interactives offers something akin to the successful Image capture: Picsolve show more details of District 12. Warner Bros Studio Tour London – The The hands-on exhibition includes an Making of Harry Potter (see Attractions ADMISSION PRICES interactive touchscreen map of the world Management Issue 2 2015, p80) – telling VIP front-of-line entry with no of Panem, profiling each of the 13 districts. the story of The Hunger Games and what reservation time $49.50. Adult went into production behind the scenes. $29.50. Senior 65+ $27.50. Child RIDING A CHARIOT Operating on a smaller scale than the 3-11 $22.50. Mobile guide (free From there, visitors follow the story of the Harry Potter attraction – both are designed for Amex customers) $7. Meyers franchise in chronological order, moving on by the Thinkwell Group – the Hunger parking (10 hours at Times Square to the Tribute Train area. More costumes Games exhibition starts in similar style, 45 per cent saving) $25 are on display here and the experience with the timed-ticket experience putting includes several photo opportunities, the consumers in a room for an initial reveal. first allowing guests to pose for a photo in The pre-show theatre – designed to look seated, the entire front wall turns into a an area set up to look like the banquette like the Hall of Justice – airs a film delving projection where a life-sized Effie Trinket area at the back of the train. into the history of The Hunger Games welcomes you, before transforming into One of the film’s iconic scenes features and sets the tone for the exhibit, also Elizabeth Banks, the actress who portrays Katniss riding a chariot at the opening of introducing major themes for someone the character. Banks takes visitors over the Games. In the next area – representing less familiar with the franchise. Once the key moments of the film series before the Capitol – you can see the chariot from

Technology plays an important role in bringing visitors into the world of Panem, creating a modern and entirely immersive experience

70 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Iconic costumes from The Hunger Games are on display

GUESTS ARE GIVEN HUNGER GAMES GARMENTS AND PLAY OUT THE CHARIOT SCENE FROM THE MOVIE. THE VIDEO CAN THEN BE PURCHASED, ALONG WITH A SELECTION OF PHOTOS the film set up with the costumes and of the creatures seen in the film, such as ALL PHOTOS: STARPIX flames in tow. Opposite is the balcony the tracker jacker and the jabberjay. where President Snow welcomes the Visitors then move to District 13 – the victors during the tribute parade. Guests secret rebel setting of the films. They visit are taken to Snow’s mansion and have President Coin’s balcony, before moving to the chance to visit Cinna’s design studio, Beetee’s lab, which has a range of weapons complete with the Girl on Fire dress, and the chance for visitors to create their arguably the most famous of the costumes own propaganda film. The area looks at the seen in The Hunger Games. science behind the underground bunker, Guests also have the chance to be with a deleted scene from the film showing “interviewed” by Caesar Flickerman. how technology allowed District 13 to grow plants underground. THE GAMEMAKERS’ TABLE From the Capitol, guests move to the next HEROIC MOMENTS area, Making The Games, a high-tech The next area shows a collection of section dedicated the actual event of the Actress Jennifer Lawrence and Lionsgate Katniss’s costumes, as well as the iconic Hunger Games. This area contains iconic CEO Jon Feltheimer at the exhibit launch Mockingjay armour. Footage airs of the props, a weapons cabinet and costumes, character’s most heroic moments, to with a range of interactive features. triumphant, ceremonious music. As they enter, visitors have the chance IN NUMBERS A fan gallery is also included in the to try their hand at a range of challenges, Q12,000sq ft tour, showcasing works of art drawn and such as tying knots. Beyond that, inter- Q Seven galleries painted by the general public. Visitors are active games teach stunt choreography Q 16 scenic vignettes given Hunger Games garments and the using Kinect technology. Q 46 costumes tour ends with an interactive green screen The big highlight of the area is the Q 1,000+ authentic props experience by Picsolve, during which they Gamemakers’ table, an interactive Q Five digital interactives can play out the chariot scene from the touchscreen table where visitors can Q 10 analogue interactives movie with instruction from staff. The explore the technology behind the Games. Q Length of stay 1-1.5 hours video can then be purchased, along with a The area also features models of some selection of still photos.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 71 MYSTERY SHOPPER

WHAT’S THE SCORE?

Toilets 8/10 Staff 9/10 Cleanliness 9/10 Experience 7/10 Value for money 7/10 Overall experience 7/10

SIGNAGE Discovery Times Square is located just off Times Square. Among the array of signs and advertising boards there are directions to the Hunger Games attraction. Once on the street, it’s clearly signposted and easy to ﬁ nd thanks to its prominent location in the heart of New York.

RETAIL Guests exit through a gift shop created by Event Network. Products on offer are on the whole exclusive to the tour and range from low-cost to high-end, with the most expensive item – a diamond mockingjay – retailing at $7,500. Merchandise is also available via the exhibition’s online store.

EXTRAS With so many things to see, the additional $7 Acoustiguide audio tour, adds a lot to the experience. Using the modifi ed iPhones and a specially designed app, guests can take photos of the exhibition – which are later emailed to them – and then, using beacon technology, they listen to audio clips explaining what they see in A Peacekeeper’s uniform on display at The Hunger Games: The Exhibition front of them. While the tour isn’t lacking without the guide, it certainly adds to the experience, particularly if the visitor isn’t THE EXPERIENCE compared to similar attractions – is lack- familiar with The Hunger Games. The Hunger Games: The Exhibition is aimed ing the wonderment you might experience at the teenage market, but that’s not to elsewhere. That said, this aspect could DESIGN say adults can’t also enjoy it. While I was also be put down to the dark overtone of Located in the bowels of Discovery Times there, the majority of visitors appeared to The Hunger Games storylines. Square, it’s easy to forget the hustle be between 14 and 18, so the hands-on All in all the production lives up to the and bustle of New York just outside. interactive approach is defi nitely one that standard you’d expect from Lionsgate and With no windows appeals to this age group. Thinkwell. If it can maintain that standard upon entry, the With the entire experience taking 1 to as it tours the US, The Hunger Games: The tour offers a good 1.5 hours, its location just seconds away Exhibition should excite and entertain an level of immersion from Times Square is very good, as this audience of young adults in the run-up to and suspension of isn’t something that will take an entire day the launch of the fi lm later this year. O disbelief. Thinkwell – rather something visitors would incorpo- has done a great job rate into a full day experience of the area. with the design. Staff interaction throughout most of Tom Anstey is a journalist the exhibition is minimal, though they are who has worked across the friendly when interacting for the photo UK, Europe and Asia in edi- Acoustiguide opportunities and green screen experi- torial positions at national designed a mobile ence. The exhibition itself is very clean publications. He now spe- experience for the and well maintained, though the queue cialises in attractions as News Editor for travelling exhibition line for entry is very clearly a waiting area AM2 and Attractions Management. with little or no themeing, which – when

72 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015

SIMWORX PROMOTIONAL FEATURE

RoboCoaster RCX comes in the small G1 model and larger SIMWORX G2 for theme parks ROBOCOASTER: A NEW CHAPTER

With high-proﬁle installations and the acquisition of RoboCoaster, the Simworx story unfolds

imworx, one of the world’s leading the London bus adventure at Merlin’s new offers to the industry – have been working suppliers of turnkey advanced Shrek’s Adventure midway. together for some time, but when Simworx media-based theme park Recent months have opened a new won £4.5m ($7m, €6.5m) in investment attractions, is entering the next chapter for Simworx, thanks to fresh from the Business Growth Fund, the S chapter of its story. investment and the acquisition of acquisition was the next step. The West Midlands, UK-based ride system innovators RoboCoaster, The established Simworx line includes company has blazed a trail in the industry whose technology is behind world-class the 4D cinema, the Stargazer Motion since it was established in 1997, and rides such as the Forbidden Journey at Theatre, the Cobra Motion Theatre, the today boasts a product portfolio that Universal Studios Orlando. Immersive Tunnel and the Flying Theatre includes the Lost Temple at Movie Park, The two companies – which are (in partnership with Mondial). With the Germany, Marvel Avengers at Trans Studio both driven by in-house technological acquisition of RoboCoaster, the company Indonesia, Arthur 4D at Futuroscope and innovation and the desire to bring fresh is launching its next generation of new technology rides, include trackless and robotic attractions.

Next Generation Simworx and RoboCoaster plan to focus on the design and manufacture of a next generation of dark ride and robotic attractions, adding to their existing portfolios. One of the new products in development under the RoboCoaster umbrella - the difference between Simworx and RoboCoaster is that the latter’s products enable a huge range of linear and/or vertical travel, specialising in passenger- carrying robotic technology and trackless dark rides – is the Advanced Guidance Arthur L’Aventure at Futoroscope, France; a Simworx Cobra Motion Theatre Vehicle (AGV). The AGV is a dark ride

74 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Simworx entered the atttractions industry with its 4D Cinema, and has installed 50 to date

vehicle for eight to 12 passengers and a “One of the goals that Terry and I set in trackless, cable-free dark ride experience. the early days was to position ourselves The AGVs are powered by Ni-Cad batteries to produce a quality product for a fair which charge overnight. price, and to always aim to have repeat The beauty of the AGV is that you can customers. By the end of every Simworx create any type of ride path and multiple project we ensure our customer has got route options within the site space, with a what he really wants – and that’s how vehicle that can drive forward, backwards we measure quality. We also ensure and spin. It can also move sideways, the equipment that we use and the raw “in a crabbing motion, like a hovercraft,” materials that we use are always the best Monkton says. quality,” Roberts says. Simworx partners with Mondial to The RCX G2 – the second model from Simworx is located on one of the biggest launch the 360º Flying Theatre RoboCoaster – is a number of track-based trading estates in Europe, and many robots that each works in conjunction with of the materials are manufactured by a dome dolly, meaning the screen travels likes of Disney and Universal can afford suppliers in the nearby area. Simworx has together with the passenger vehicle. that,” says Roberts. “The robots that are built up working partnerships with many “The Immersive Tunnel, where typically used on the Harry Potter ride are welding of those, and there are fabricators who you board the simulator and it goes robots and they’re so precise that they have invested in learning new skills and forward on a straight track into the could weld a piece of hair together. With techniques to maintain the high standards show area, was really our ﬁ rst venture the RCX we value-engineered the cost of demanded and to advance their knowledge. into actually physically moving people,” producing the arm to make a similar ride Monkton says. “But the RoboCoaster RCX that’s more affordable.” Success Stories models and the AGV move people around “We’ve taken the concept of seats on The Immersive Tunnels have been well in fully immersive environments.” a robot and produced a new machine. received and are marked out as at the According to Andy Roberts, operations It’s a manipulator arm that has the same leading edge of this type of ride. Simworx director at Simworx RoboCoaster, the movements but is more akin to a theme is currently working on its third installation, affordability of the RoboCoaster technology park collaboration than a high precision on the island of Langkawi in Malaysia – a is central to the business strategy. robot. We can deliver that ride to the sign of the increasing popularity of cost- “If you buy a Harry Potter ride you mainstream theme park industry at a effective, indoor media-based attractions need a £250 million purse, and only the price similar to a rollercoaster.” in the EMEA region.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 75 SIMWORX PROMOTIONAL FEATURE

Multiple robots can be conﬁgured and customised to create a unique dark ride experience with the RoboCoaster RCX G2

“THE NEW ROBOCOASTER PRODUCTS GIVE A FAR MORE IMMERSIVE FEEL, AS THE ROBOTS MOVE ALONG TRACKS AND INTERACT WITH DIFFERENT TYPES OF AV ALL WITHIN ONE EXPERIENCE” Terry Monkton, Simworx managing director

“This summer we completed a project New Horizons “There’s been lots of development for Merlin’s new Shrek’s Adventure Another new innovation that Simworx work in house and with external groups. midway, the magical 4D DreamWorks RoboCoaster has been developing is We’ve worked on trackable VR devices Tours bus. The bus is a 40-seat simulator “show action” technology. Show action that enable people to move around within surrounded by a 360º 3D projection, with robots are used to create visuals and an attraction using a VR headset with sensory effects such as water sprays scenes. Robots hold projectors and collision detection – basically you can and wind. The ride takes visitors to the move along the ride path with the detect other people in the attraction in kingdom of Far Far Away, meeting lots of passenger vehicle projecting imagery onto the VR world,” says Monkton. DreamWorks characters along the way,” screens, which can also be supported To further nurture the innovative design- says Monkton. by robots. This opens up huge potential driven nature of Simworx, the company “We also did a lovely Immersive Tunnel for storytelling, projection mapping and has set up a division called Simworx at Movie Park, where you enter a forgotten creating visual effects. Creative, and has established a creative temple on a Jeep-style 3DOF dynamic “It’s almost like advanced scenery lab of designers, engineers, VR and AV motion-based simulator to rescue a design. One robot with a projector tracks technicians, “a pool of high calibre, highly scientist,” he says. “You encounter these another robot so it’s constantly projecting skilled creatively minded people who dinosaurs which interact with the vehicle. onto the screen, creating a 3D effect are developing technology to implement When the T-rex charges the vehicle from without using 3D technology,” says into wow-factor theme park rides and the side the whole rocks.” Monkton. “There are vast opportunities to attractions”. This has also been extended The vehicles come in configurations of create different illusions.” to include team members who work on 30, 60, 90 and 120 seats and a range of Simworx has also been investing in VR, themeing and storyboarding. themes and film content can be supplied exploring ways to exploit the technology “It’s about continually developing to create unique attractions. and develop new experiences around it. new concepts and technologies to stay Among other projects around the world, The company has used VR to recreate the ahead of the game,” Monkton says. “The Simworx and RoboCoaster are working on experience of its existing attractions, a RoboCoaster attractions, the development seven new rides in the UAE, comprising of handy tool for communicating with clients of VR, show action robotics, holographic Immersive Tunnels, Cobra Simulators, 4D around the world, but Monkton is also technology, interactive technology - these Cinemas and RoboCoaster G1s – all of interested in finding new and innovative are areas where we invest time and them are attached to high-profile IPs – as ways to bring VR technology into a money to stay at the cutting edge and well as two major European installations. mainstream visitor attraction experience. make rides that are different and unique.”

76 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 MEET THE TEAM

Terry Monkton Managing Director

How did you come to establish the company? I was the second “employee” and I was recruited in 1997. It was a new venture set up to manufacture a range of space capsule-style, entertainment motion simulators ranging from two to 20 seats. These were typically sold to museums, FECs, aquariums and corporate markets. By 2004, this market was in decline, but Simworx’s first Immersive we were fortunate to win a one-off custom Tunnel, the Lost Temple, project for a special effects cinema at an was delivered to Movie aviation museum called Kalamazoo Air Zoo Park, Germany, in 2014 in the US. It was one of the first of its kind outside Universal / Disney. With the capsule simulator market in decline, early in 2005 Andy Roberts and Andy Roberts smaller venues and high footfall theme I carried out a MBO of the company and parks. The ride employs complex audi- Operations Director concentrated our efforts in productising ovisual and motion schemes taking what is now commonly known as 4D advantage of the latest available tech- effects cinema. What did you do nologies leading to a truly immersive before establishing experience for our customers. Is there a moment you would describe SImworx? The Immersive Tunnel did not only as a turning point for the company? Before establishing Simworx, I worked trigger interest from the larger theme There have been quite a few, but the as operations director for the AI Group park customers resulting in several ride development of the 4D cinema was a where in 2005 Terry Monkton and I contracts, giving the already growing big one. As a highly scalable product, it acquired the simulation division by Simworx sales a further boost, but also meant we were (and still are) able to offer way of a management buyout. Prior to sparked the interest of RoboCoaster clients anything from 16 seats to a few this I had worked for automation and who expressed a desire to work with hundred seats. This scalability meant that control companies Bristol Babcock and Simworx as a partner. The acquisition the product was suitable for attractions Rockwell Automation. of RoboCoaster presents us a fantastic of all sizes – now including theme parks. growth opportunity with the addition of We now have a portfolio of nine different Is there a moment you would passenger carrying robots and trackless media-based attractions, but the 4D say changed the game for AGV rides to our product portfolio. cinema is still a big seller. Simworx? What was it? The Immersive Tunnel has been a real Growing Simworx over the past 10 What Simworx project has game changer. This was something brand years or so has been and continues meant the most to you? new, embracing immersive AV technology to be extremely hard work. Initially our All Simworx projects mean a lot to me combined with dynamic motion and effects sales effort concentrated on raising as we pride ourselves on delivering we could offer to larger theme parks. I’m the Simworx brand in our market sector the best possible service to our cus- also looking forward to our partnership with and our product development focused tomers, whether they are purchasing Mondial for the 360° Flying Theatre. on the introduction of new technolo- a spare part or a new attraction. It’s Naturally, the RoboCoaster acquisition gies and products to our market. important to Simworx that we have cus- leads us into the launch of the AGV dark We developed our then core prod- tomers who engage with us more than ride and RCX passenger-carrying robotics ucts such as the 4D cinema, Cobra once and we always try our utmost to rides. This combined with the new tech motion platforms, and improved on deliver to their expectations. being developed by Simworx Creative is the Stargazer theatre delivery by I did however feel especially proud to very exciting for the company. introducing 4D SFX and larger format be a part of the team when we opened audiovisual experiences. Drayton Manor 4D cinema several years What project means the most to you? The turning point for me was the ago (then our largest 4D cinema). Movie There are so many, it would be too difficult delivery of our Immersive Tunnel Ride, Park’s Lost Temple Ride and the Shrek to name one in isolation. There really is not only a fantastic new ride concept magical bus ride also brought the team no greater thrill (as well as a few nerves!) but a ride that can be scaled to suit a great sense of achievement. than launch day for a new attraction.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 77 SIMWORX PROMOTIONAL FEATURE wW MEET THE TEAM Continued

Gino Del Gol Edward Pawley Rafael Smith Technical Director Business Development Sales Representative Manager

What do you do? What do you do? I founded RoboCoaster What do you do? I look after sales for the and I’m now the technical director of My role is primarily sales. Spanish and Latin American market. the Simworx RoboCoaster group. What are you working on? What are you working on? What are you working on? Obviously a lot of confidential sales I’m focusing on developing the Latin We have a significant bank of technology prospects. I am excited about our American market, and on a few ongo- and IP to call upon, and we also have Immersive Tunnel opening at Panorama ing projects in Spain. a pipeline to produce new dark ride Langkawi, Malaysia and seeing the final technologies from a single source. My version of our new Dinosaur Island film. What has been your highlight? mission is to bring new technologies I’m currently working on the launch of Seeing how much Simworx has grown and products to the market. our Flying Theatre and AGV dark rides. to become a very big player within the dark and Immersive rides market What do you enjoy about your job? What do you enjoy about your job? I’m passionate about bringing cutting- My background is operating attractions What do you enjoy about your job? edge technology into the entertainment for my family business Drayton Manor. I enjoy working with everyone from arena, which was my motivation for Now I’m on the “other side” of the Simworx. Although I don’t see them starting RoboCoaster in the beginning. table, I find it very rewarding to work very often, every time we see each with clients through the whole process other it seems like it was yesterday. What’s your favourite attraction? of procurement, design, manufacture, Harry Potter & the Forbidden Journey. It installation, commissioning and What is exciting about the industry? took incredible leaps forward with ride operation. I think knowing what it’s like I love all the new rides that are coming and show, creating a new benchmark for on their side of the table, helps me to the market. It seems like there is experiential quality and ride dynamics. deliver all their expectations. always space for new ideas.

Andy Bates Carl Johnson Cassandra De-Gol Project Delivery Manager Head of Procurement IP Asset Manager

What do you do? What do you do? What do you do? I act as a conduit I look after procurement, Simworx RoboCoaster between our clients and our design, which includes supplier selection, has a growing portfolio of patents fabrication and installation teams. carrying out tenders, reducing costs and trademarks. I implement global and mitigating risk wherever possible. strategies for both businesses. What has been your highlight? The best part is on opening day, seeing What has been the highlight of What are you working on ? guests come off a ride cheering. your time at Simworx so far? I’m filing four new patents for Simworx, The introduction of European standard two for RoboCoaster and furthering the What is challenging about your job? EN1090 in 2014, which covers territorial reach of existing applications. The role is multi-disciplined and there’s structural steelwork, created difficulties always something new to learn, but I get within our supply base. We had to either What do you enjoy about your job? support from my peers and directors. develop suppliers to meet the standard As an intangible asset rich company or find new ones that were accredited. we value new ideas and prioritise What do you like doing when We managed to do both, which has protecting valued concepts. It means you’re not at Simworx? improved the quality of our fabrications. my job is technologically diverse and I love spending time with my family and I’m lucky to watch a technology grow have recently rediscovered mountain What do you enjoy about your job? from concept to realisation. biking – which I enjoy despite my capa- Developing suppliers to meet the bilities lagging behind my imagination! required standards is always a What do you like doing when satisfying process. Negotiating and you’re not at Simworx? What’s your favourite ride? implementing mutually beneficial My single greatest interest lies in I’m a sucker for a good old ghost train. agreements with key suppliers also photography and sharing images on I’d love to shake that concept up a bit. provides a sense of satisfaction. social media such as Instagram.

78 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Matt Clarkson James Clarkson Creative Designer Project Manager

What do you do? What do you do I work at the start at Simworx? of our projects, creating conceptual Manage complex and unusual projects. designs for our clients. I also deal with Simworx’s marketing campaigns. What has been the highlight of your time at Simworx so far? What are you working on? Presenting detailed plans to the We are currently developing ride vehicle customers and receiving positive designs for brand new installation due feedback. 2016 with some very big IPs. What do you enjoy most What has been the highlight of about your job? your time at Simworx so far? I enjoy the challenge. Knowing my designs have helped Simworx win bids, and seeing those What is most exciting about the designs develop from concepts on a industry to you right now? screen to highly regarded attractions. Being on the forefront of leaps forward in technology, with the Robot RCX, the What do you enjoy about your job? AGV, our work with VR and so on. No two days are ever the same here. I get to work on many exciting and What’s your favourite ride? innovative projects in an industry Nemesis at Alton Towers – a classic Simworx’ Immersive which, from a designer’s perspective, is thrill ride that’s nothing particularly Tunnel bus tour at not hard to get enthusiastic about. clever or special, just good honest fun. Shrek’s Adventure

Peter Reece Richard Monkton Linda Day Project Manager Project Manager Financial Controller

What is challenging What do you do? What do you do? about your job? As project manager, I I manage the accounting Timescales to complete projects and ensure all QCs are applied to the build function at Simworx. the pace of change. and installation, budgets and deadline dates are met and the client is satisfied. What has been the highlight of What do you enjoy about your job? your time at Simworx so far? The variety within the job and new What has been the highlight of Seeing the growth of the company product development. It’s also quite your time at Simworx so far? since I’ve been here has been amazing. interesting when interviewing new It has to be the 326-seat Angry Birds On a personal level, my highlight has recruits for engineering roles that 4D theatre at Thorpe Park. I was project been Carl Johnson joining the team. the candidates are excited about the manager for this job, and it was our first He is a larger than life character and industry. Sometimes they can’t believe project for Merlin Entertainments. makes me laugh every day. an English company is involved in the full lifecycle of ride attractions. What do you enjoy about your job? What is challenging about your job? It’s great feeling when the public Keeping everybody happy. What do you like doing when experience the attraction for the first you’re not at Simworx? time. They always give a round of What do you enjoy about your job? Fishing. applause which even after 10 years I enjoy the variation of the work along makes the hairs on my neck stand up. with the colleagues I work with. What’s your favourite ride? It’s our Immersive Tunnels because of What do you like doing when What do you like doing when the way they have evolved since 2012, you’re not at Simworx? you’re not at Simworx? each one improving in every aspect I enjoy playing golf and spending I enjoy socialising and going to pop from themeing to the AV experience. quality time with the family. concerts to see my favourite bands.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 79 THEME PARKS

Waterparks and theme parks are just part of Lotte Co’s extensive business portfolio, which includes property, F&B and retail companies BEST OF THE LOTTE

With seven million visitors a year, Lotte World is one of the industry’s big hitters. Now the company has announced plans to build 20 ‘little Lotte’ theme parks in China and beyond. Kath Hudson ﬁnds out more

Kath Hudson, journalist, Attractions Management

he world’s largest indoor theme (64,583 sq ft) parks will have five rides: in Shenyang, China, which will open in park, Lotte World, pulls in more two family rides and three children’s October 2018,” says Lee. than 7.5 million visitors a year, rides as well as a live show and two play The 67,000sqm (721,182sq ft) mainly from South Korea, putting experiences. Using the Lotte World brand Shenyang park will have five different T it in the big league in terms of identity, they will target one to 10-year-old zones: Adventure, Stars, Dream, Giant Ride attendance, ahead of the likes children and 31 to 40-year-old parents. and Heritage. There will be 25 attractions, of Hong Kong Disneyland and Universal One of Lotte’s strengths is the fact nine F&B outlets and eight retail outlets. Studios Hollywood. it’s such a large company, with many “Of course, it will follow the brand Still going strong after 26 years, the complementary businesses so – going identity of Lotte World, such as service cartoonish theme park owes much of its forward – the new theme parks are likely to and operations protocol, characters and success to its great location in downtown become anchors of Lotte’s retail ventures. facilities, but it will also introduce some Seoul, with excellent transport links. new attractions,” says Lee. Additionally, being indoors, the attraction is not affected by South Korea’s hot, Lotte’s Success humid summers or cold winters. “Lotte is looking to the Back in Seoul, Lotte World has enjoyed The six-storey venue is owned and longevity, popularity and increasing operated by a huge conglomerate, Lotte future as it plans to open success over the years thanks to its Co Ltd. Founded in Japan and based in around 20 kids’ parks continual investment in new attractions. both Japan and South Korea, Lotte’s other The park now has more than 50 businesses include candy companies, and expand the business different attractions, including the adjacent fast food restaurants, cinemas, shopping beyond South Korea” outdoor park Magic Land, an aquarium malls and department stores. with shopping and retail areas. “Introducing new attractions is an Expansion Plans important way of bringing in new visitors Now, Lotte is looking to the future as it “Our new kids’ parks will be designed and keeping the site fresh for our loyal plans to open around 20 kids’ parks and following a strategy of making attractive repeat customers,” Lee says. expand the business beyond South Korea. anchor tenants for Lotte’s new complexes,” When it first opened in 1989, just “The kids’ park concept will be an says Lee. “We hope we can use our theme after the Seoul Olympics, Lotte World interesting challenge for us,” says Lotte park know-how to make different and more was mainly made up of zones depicting World designer Liz Lee. “It’s our first competitive shopping complexes.” different countries. While this theme has attempt at making a theme park for a “Our goal is to open 20 kids’ parks, provided the glue for the attraction over narrower target audience.” which will be like small versions of Lotte the years, Lotte World is now moving away The first is expected to open in World, in South Korea and to expand from this to depict more of South Korea’s December 2016 and the others are the business into China. In fact, we own fairy tales and to create new and still under review. The 6,000sqm are already developing a theme park unique fantastical experiences.

80 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Lorry (left) is one of Lotte World’s mascots The Let’s Dream night show (right), designed by the Goddard Group

ABOUT THE AQUARIUM

Lotte’s aquarium has 650 species and the country’s longest underwater tunnel. It provides various experiences, such as feeding koi carp, presentations on white whales, penguins and sea lions. Superﬂex G, the 21 screen cinema, has the world’s largest screen (34m x 14m) which was listed in the Guinness Book of Records last year. Last year, a $7m (£4.5m, €6m) multimedia parade was developed to celebrate Lotte World’s 25 years of operation. Let’s Dream involves drones, holograms and 25 ﬂying Lotte’s aquarium is divided lanterns throughout the indoor park. into 13 themed zones. Caricaturists at Lotte World (below) and a bird’s-eye view of the theme park

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 81 THEME PARKS

The Dragons Wild Shooting dark ride attraction , by Hettema Group and Alterface

The involvement of the Goddard Group, a is working. When we first started talking shopping. Lotte wanted to bring in a retail Hollywood, California-based masterplanner in 2006, Lotte World was achieving 5.5 area, but also wanted to keep the area and consultant, has helped steer this new million visitors a year. In 2014, they were themed, so the Goddard Group designed course. The Goddard Group came on board up to 7.6 million – that’s a huge gain.” a story about mischievous ogres living in 2006 as Lotte World looked to invest and One fairy tale which has been adapted below the park. The ceiling and columns modernise for its 20th anniversary in 2009. into a ride is Brother Moon and Sister Sun, are covered with dirt and tree roots, and a about a brother and sister who are chased sleeping ogre clutches a treasure chest. Dream Park into a tree by a tiger and climb into the sky “We made efficient use of the space “When we came on board, we wanted to to become the sun and the moon. to create Underland, and harmonised the create a dream park rather than a theme The Tall Tale Ride has one tower themed story with the existing themes,” says Lee. park,” says Goddard Group executive Taylor as the sun and one themed as the moon. Jeffs. “Creating a fantasy world has been a “Lotte had two un-themed Frog Hopper Kimhae Lotte Waterpark really successful way to bring Korean fairy rides and this story was a perfect fit,” says In May 2014, Lotte launched a $400m tales and mythology into the park.” Jeff. “The ride lifts you up and the tiger (£260m, €358m) brightly coloured, “We saw this as a huge opportunity swipes at you. It was a simple, low-cost Polynesian-themed waterpark. It was an because no one else is doing anything like way to bring in a Korean story.” immediate hit, receiving approximately this,” says Jeffs. “Judging by attendance Another new area is Underland, a themed 18,000 visitors in its first four months. and guest satisfaction levels, this approach zone under the park, with restaurants and The waterpark is not in the capital. Lotte chose the location of Kimhae in the south of the country, close to the LOTTE SUPER-SCRAPER its second-largest city, Busan, which has a population of 3.5 million and an international airport serving Japan, China Lotte World Tower, a The tower – designed and other Southeast Asian countries. 123-storey, 555-metre by super-scraper Phase one opened in May, followed by (1,821 foot) skyscraper specialist architects phase two in June 2015. Phase three of is currently under Kohn Pedersen Fox – will the waterpark – exclusively supplied by construction next door to contain an aquarium, WhiteWater West – is yet to be completed. Lotte World, and will be retail outlets, offices, The waterpark’s icon is Volcano, situated the tallest building on the residences, a luxury in the middle of the park. When the Korean peninsula – and hotel and an observation volcano erupts, a big wave is created fourth tallest in the world deck called SKY123. towards the main wave pool. – when it is completed at Also in development is “There hasn’t been a similar themed the end of 2016. a $109m (£71m, €98m), waterpark in Korea until now, so we thought The conceptual design 2,036-seater concert hall, the Polynesian style would work well and has a slender cone, with with a 5,000 pipe organ, offer a unique experience,” Lee says. convex, gently curved slated to open in 2016. “We have both an indoor and an outdoor lines. An exterior of pale- This will be supported waterpark, with 43 attractions. The outdoor coloured glass is inspired by a cultural foundation part is composed of a wave pool, torrent by traditional Korean which will invest $15m river zone and rapid river zone. We’re the ceramics and feature The Lotte World Tower, by (£10m, €13m) annually biggest waterpark in South Korea and we accents of metal filligree. Kohn Pedersen Fox in classical music. have the longest slide and the largest wave pool in the nation as well,” says Lee. O

82 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 ©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 83 PROFILE JULIANA DELANEY

The Continuum CEO is a cheerleader for attractions based on popular culture. She talks to Kath Hudson

uliana Delaney, CEO of UK visitor attraction management company Continuum, is an expert in the branding J game, tapping into the British love of popular culture and the demand for visceral experiences to build a new attractions subgenre. Continuum currently runs six attractions in the UK, with news of two more hot off the press. The company has just announced it will be collaborating with The Royal Mint on the 1,000-year-old institution’s ﬁrst ever visitor centre, and it also revealed its involvement in the upcoming Sherwood Forest Country Park in Nottingham, in partnership with Royal Society for the Protection of Birds (RSPB). Other attractions are coming to an end, such as the temporary Coronation Street The Tour in Manchester, which closes this year. The pop-up attraction took Coronation Street – an established ITV series – and reinterpreted it as a cultural attraction, meeting with an enthusiastic response from fans. One of Delaney’s ﬁrst Continuum will partner with successes was helping to ITV a second time to create reinvent museums at the Emmerdale The Tour, another Jorvik Viking Centre in York, UK attraction based on a popular, long-running UK TV drama.

84 attractionsmanagement.com The Rovers Return Inn has been central to the Coronation Street visitor experience

You recently announced Coronation Street The Tour is closing in CORONATION STREET THE TOUR December. Why is this, and what has been the secret of its success? The Coronation Street TV drama is embedded in This December we’ll be saying farewell THE CORRIE FILES British culture, with a loyal fan base around the world. to something extraordinarily special. Coronation Street: The Tour enables viewers to step, NAME Coronation Street The Tour opened on Narnia-like, through the wardrobe door into a behind-the- Coronation Street 5 April 2014, initially for six-months, but scenes world. An expert guide brings to life off-air stories due to public demand, extended planning NICKNAME and facts, while visitors take a walk on the famous permission was granted by Manchester City Corrie cobbles and take a selfi e in the Rovers Rºeturn pub. Council. In 2016, the site will be returned “Because there was such a loyal brand following CLAIM TO FAME to owners Allied London for redevelopment. it needed to be dealt with sensitively,” says Delaney. World’s longest- The attraction has welcomed half a mil- “We had to work closely with the script and production running soap opera lion visitors to the site where TV drama teams, but we delivered exactly what they wanted.” DATE OF BIRTH Coronation Street was fi lmed before its Opened in 2014 as a temporary attraction, planning move to MediaCityUK. Guest feedback has 9 December 1960 permission was extended into 2015. In its fi rst two been phenomenal – people have loved step- DESCRIPTION months, the attraction welcomed 100,000 visitors. ping into TV history. Our tour guides have Popular soap opera revolving done a brilliant job bringing the sets to life. around the lives of the We’re thrilled to be continuing our residents of Coronation relationship with ITV for the launch of Street, in the fi ctional town of Weatherfi eld, Emmerdale The Tour, based on the TV saga. northwest England PHOTO: CORONATION STREET TM & (C) ITV STUDIOS LTD 2015 STUDIOS & (C) TM ITV STREET CORONATION PHOTO: Tell us about Emmerdale CREATOR We’re coordinating with ITV to test the Tony Warren, operational viability of an Emmerdale Granada Television visitor experience. From 9 August to 25 CHARACTERS October, we worked with coach operators Ken Barlow, Jack across the UK to deliver tours to the Duckworth, Hilda Ogden working sets. The experience differed from MOST VIEWED SHOW Coronation Street The Tour, because it was Christmas Day 1987, a live set which is used fi ve or six days a 28.5 million viewers week by ITV’s Emmerdale crew. We agreed BIGGEST RIVAL IN THE UK that trial period to make sure the tour element works for the cast and crew of Guests enjoy a photo opportunity on the tour EastEnders Emmerdale, as well as for our guests.

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 85 PROFILE

Visitors enjoy the view from Emirates Spinnaker Tower in Portsmouth, UK

CONTINUUM’S THIRD WAY

The 170-metre (158-foot) Continuum owns the drain,” says Delaney. “If Emirates Spinnaker Tower is business under a long Portsmouth City Council an example of the Third Way lease arrangement hadn’t taken this decision, in action. Continuum has with Portsmouth City this attraction might operated this lottery-funded Council. The lease was have cost them money.” project since 2005, when renewed in 2014. The tower became Portsmouth City Council “Our model works Emirates Spinnaker needed a partner to secure successfully at Emirates Tower following a £3.5m the future of the tower, to Spinnaker Tower, making ($5.5m, €5m) sponsorship run it commercially and the attraction an income agreement between Emirates share the proﬁ t with the city. generator rather than a and Portsmouth City Council. Emirates Spinnaker Tower cost £35m

What will the Emmerdale visitor experience be like? Visitors will enjoy a guided tour through the “Increasingly, we’re seeing the audience popular exterior sets where the Yorkshire drama has been ﬁ lmed since 1998. It’s a doing the marketing for attractions” unique opportunity to see the Woolpack pub and more, with selﬁ e opportunities aplenty.

What’s the formula for translating be engaged when reading a book and How do you apply this formula a popular culture brand into emotional when watching TV, but we want to leverage a brand? a visitor attraction? to experience brands at attractions in a It’s important to be authentic and stay There are three components. First, it much more powerful, real way, sharing that true to the brand. We worked closely with needs to be a subject which has an emotional experience on social media. the Coronation Street production team to established audience, whether that be Increasingly, we’re seeing the audience deliver what they “live”. Storytelling is also Vikings, Romans, or Coronation Street. doing the marketing for attractions. a very important aspect. Second, there has to be interest. Projects Emotional engagement goes up another We’re on third-generation attractions fail when no one’s interested in the subject level with a tangible experience. People now. The ﬁ rst generation was glass cases: – all the marketing in the world won’t work. don’t tweet pictures of themselves watching don’t touch. The second was out of the Third, the audience wants to experience Coronation Street, but thousands do from case: touch and smell. The new way is the subject in a visceral way. We can the Rover’s Return Inn at the attraction. doing it while sharing it with others.

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©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 87 PROFILE

3 The Real Mary CONTINUUM’S King’s Close Beneath Edinburgh’s CULTURAL Royal Mile, hidden streets & HERITAGE date back to the 17th century. A unique tour ATTRACTIONS teaches guests the story of those who lived there

1 The Canterbury Tales 4 York’s Chocolate Story A regional attraction inspired At Chocolate Story, visitors 1 by the literary text, the embark on a sensory journey sights, sounds and smells through York’s chocolate of Medieval England are and confectionery heritage accompanied by Geoffrey and discover its trading Chaucer’s characters and manufacturing roots

2 Oxford Castle Unlocked 5 Sherwood Forest Visitors discover Oxford’s Continuum is teaming up hidden history through with the Royal Society for the a tour of the castle and Protection of Birds (RSPB) Victorian prison, led by to build and run a visitor costumed guides centre in Sherwood Forest

3 4 PH O T O : CO LIN WILKINS O N, RSPB 2 5

“Our commercial team can turn a struggling visitor attraction into a sustainable business by breathing fresh life into it”

When we’re developing attractions Our commercial team can turn a theme parks, but I’m not sure we need we’re already thinking about the photo struggling visitor attraction into a more museums – whether free or paid for opportunities. I was impressed at Madame sustainable business by breathing fresh – or any more theme parks in the UK. Tussaud’s as the fi gures are not behind life into it, centralising services and having However, I believe there’s space in the barriers – you can take selfi es with them. cost-effective teams on-site. middle for cultural visitor attractions and Allowing people to touch, share and engage We fi nd the story and we fi nd a way attractions based on popular culture. can revitalise a brand for new generations. to support it with better marketing and commercial activity. We can also create What’s next for Continuum? What is Continuum’s Third Way model? other income generators – for example, Within the next fi ve years we’re looking It’s a model to help local authorities [UK corporate events or weddings. to double the number of attractions we local government] running attractions and operate in the UK and Northern Europe. museums, which have high operating costs What shape do you think the attractions We currently operate several sites across and lack the funds to innovate. industry is in at the moment and the UK and we’re adding at least two more We’re having interesting discussions with where is there room for expansion? locations to the portfolio in 2016. local authorities who otherwise face the It’s survived the recession very well We’re also planning to continue to invest choice of closing an attraction or continuing because of the trend towards days out in our own attractions, so we wholly own to run it at a loss, because we can turn instead of an extra holiday. I’m a great them and also to partner with other strong attractions from a loss into a surplus. advocate of good museums and love brands for operating contracts. O

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An innovative design combines waterpark and theme park to become one of the UAE’s most exciting new developments

mixed-concept theme-water park and children’s rides. Crystal Lagoon will prime locations that offer all modern boasting a mixture of 40 wet and also have a rollercoaster that combines facilities and we can proudly say Sharjah dry attractions is coming to the the action of a water ride with the Waterfront City will be able to match the emirate of Sharjah in the UAE. interactive nature of a video game. demands and provide the desired quality A Jack Rouse Associates Crystal Lagoon will feature a night water of living,” says El Masri. (JRA) has unveiled the master show made up of a series of coloured The attraction will operate year-round, plan and the preliminary designs for fountains as a “relaxation” event for with a “well known waterpark operator” Crystal Lagoon water-theme park, part visitors to chill out after spending a day in handling day-to-day operations at the park. of the $5.4bn (£3.5bn, €4.8bn) Sharjah the water/theme park hybrid. According to a feasibility study by Waterfront City development. “We have launched Sharjah Waterfront Colliers International, more than 1 million Crystal Lagoon will be sited on one of City in line with Sharjah’s development people are expected to visit the attraction a series of 10 islands interconnected by plans to attract 10 million visitors to its on an annual basis once fully operational. man-made canals – part of the upcoming emirate by 2021,” says Hayssam El Masri, All ﬁgures suggest that Crystal Lagoon Waterfront City, a luxury residential, president of developer Sharjah Oasis Real is aiming high; the most-visited waterpark commercial and tourism destination Estate. The emirate currently receives 2 in the UAE, Aquaventure in Dubai, attracted across on 36km (22.3 miles) of coastline. million tourists per year. 1.4 million guests in 2014. Estimates Attractions will include a combination “These robust plans will increase from Crystal Lagoon Entertainment, who of waterslides, family rides, thrill rides, 4D demand for residential and commercial will own the park, forecast it will generate dark rides, a state-of-the-art planetarium units as well as hotels, especially in an ROI of between 19 and 24 per cent. O

“ ATTRACTIONS WILL INCLUDE A COMBINATION OF WATER SLIDES, FAMILY RIDES, THRILL RIDES, 4D DARK RIDES AND A STATE-OF-THE-ART PLANETARIUM ”

An aerial view shows Sharjah Waterfront City, a brand new luxury development in the UAE

90 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Plans by Jack Rouse Associates show what the waterpark-theme park hybrid could look like

AHEAD OF THE GAME

Is selling advance tickets online worth the upfront investment costs? Kath Hudson reports

Kath Hudson, journalist, Attractions Management

heatres and stadium events have long been selling tickets SIMON KNIVETON so the operator can design promotions in advance online, and now VENNERSYS to drive visits on less busy days. the attractions industry is Information systems director Our customers have found that T starting to embrace the when tickets have been purchased in technology. Marketing teams advance, people tend to forget about It means that visitors can buy their win massively with the money spent and are then more tickets on their mobile device, laptop or advance online inclined to spend more money on the desktop – and by driving customers to ticketing, as they day of visit, leading to increased levels the attraction’s website, operators can have access to the of secondary spend, or even trading up also benefi t from secondary spend in purchasers contact to an annual pass. the online shop or by upselling add-ons. data allowing them Advance ticketing also allows Offering this service can sometimes to analyse visitors and to measure the operators to sell tickets to limited require a large upfront investment, effectiveness of marketing campaigns. capacity or timed attractions and which is undoubtedly a barrier; They can also follow up with surveys events, as well as selling passport however, with an upcoming generation after the visit to measure customer tickets which can allow different levels used to doing things immediately and satisfaction, as well as communicate of attraction access. having technology at their fi ngertips, with those customers in the future to Payment card industry compliance attractions might start to fi nd that if advertise upcoming events. is probably the single largest barrier consumers can’t buy a ticket when Analysing the data generated through which visitor attractions will face over they want to, they might not visit at all. advance sales also gives a better the coming year, as achieving auditable So what are the business reasons understanding of customer behaviour, compliance is a time-consuming and for investing in the technology to offer highlighting popular and quieter periods, expensive task for any attraction. this service? We ask fi ve experts.

94 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Advance ticketing can be used in-queue to shorten lines. Gateway supplies ticketing for Point Deﬁ ance Zoo (top) and the Empire State Building (right)

DON EASH phones, they can skip the lines and have really involves testing what works for GATEWAY TICKETING a better experience and, better yet, not get your consumer base. For theme parks COO and executive vice president discouraged and leave. in general, most studies have found The design and feel of the online store that Mum makes the purchase decision. It used to be that is important. Empire State Building does a Mum is the one doing the research, an online store was great job with advance ticketing. Their looking at pricing and planning considered a bonus. website and online store tie together the vacation. So tailoring your Now it’s table stakes nicely and you get a really good feel website to appeal to her when to be in the game. To for them as an she’s doing her shopping be competitive in the organisation is important and makes a attractions market, you and what the difference in the conversion. have to sell online. What we see with our experience Appeal to her by highlighting customers is that when they launch their would be like the things available for kids online store, the sales ramp up, then level if you go there. and families, and that your off or steadily increase over time. Consequently, they have attraction is a safe place People have a much higher propensity robust online sales. to be, rather than the wild, to buy tickets in advance and the easier The better the online action thrill rides you have. you can make that process for them, presence an attraction Point Deﬁ ance Zoo, the the more they will buy. It’s important to has, the more appealing Warner Bros Studio Tour note that advance selling doesn’t mean the facility feels and – the Making of Harry necessarily buying tickets at home either. the more likely people Potter and KidZania You can use it as an effective strategy to will make a purchase. Tickets to Warner Bros Studio Tour London are examples shorten lines. If people are waiting in line Capitalising on can only be purchased in advance of our customers who and see that they can buy tickets on their advance ticketing offer advance ticketing.

TJ CHRISTENSEN ACCESSO Senior vice president, business development

Advance ticketing offers an exceptional opportunity for operators. Across our portfolio of clients we see attractions selling between 20 to 40 per cent of their total tickets through eCommerce. Within that percentage we’re seeing huge shifts in purchase behaviour. In 2012, mobile ticket sales were only 2 to 3 per cent of our total online sales volume. Three years later and we’re quickly approaching a “mobile majority” where anywhere from 20 to 30 per cent of online ticket sales come from mobile devices. This shift in purchase behaviour is If the online store is easy to use, guests buy overwhelming evidence that an attraction’s more than just tickets: they’ll buy parking and website needs to deliver the content appropriately on whatever device a guest is meals, helping to increase the spend per cap using, and provide an easy way to purchase when, where and how they want to buy. The more guests buy tickets online, the more other items guests buy online. If an attraction is fully leveraging its eCommerce and mCommerce sales channels, the number of overall guests who purchase tickets online in advance will increase dramatically. If the online store is easy to use, guests buy more than just their ticket: they’ll buy parking, meals and more, helping to increase the overall spend per cap. A recent example is Accesso’s deployment of the Passport ticketing suite at the One World Observatory, providing convenient access to advance ticket sales through desktop computers, tablets and mobile devices and offering ﬂ exible solutions that keep pace with ever- Accesso’s Passport solution is used at the One World Observatory in New York changing consumer buying behaviours.

PETER FERGUSON accurately predict staffi ng requirements, In the future, emailing directly to THE ACCESS GROUP which means the attraction can save wallet applications on smartphones Head of operations money on staffi ng costs by cutting and iWatches will become more popular, down on the number of admission further streamlining the transaction for Advance tickets sales desks they have to open. both the operator and customer. allow those who have However, in order to make the most of Cashfl ow can be improved by using purchased tickets in these advantages, it is important that advance ticketing, as some people buy advance to be fast- the visitor doesn’t need to go to the tickets up to six months in advance. It tracked at the point of admissions point on the day of the visit makes the visitor fi gures less vulnerable entry, which reduces to collect tickets. This can be achieved to bad weather, as if people have made queue times. The by emailing them the ticket to print out the purchase they tend to visit anyway, advance ticket data can be used to at home, or using self-service kiosks or and if they decide not to, the attraction forecast daily admission numbers and mobile handsets for ticket collection. has already secured the income.

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Syx Automations built a trader portal for the View from the Shard, helping partners by advance tickets

ROBERT VERMAZEN SYX AUTOMATIONS Operations manager

Advance ticketing enables attraction operators to create a dynamic and ﬂexible pricing structure, offering different rates depending on the day, time of day, or season. Offering customers discounts for buying tickets in advance, but charging full price on the day, can give people a further incentive to go ahead and make the booking. This can also be used to help boost attendance during quiet times. Advance ticketing also allows pricing structures to be set up through third parties. Many operators depend on partnerships with tour operators and By allowing partners to book online, trade partners to book tickets in advance group organisers to sell tickets on their operators get a better overview of bookings and only see events and tickets which behalf. Giving them the option to book throughout the year, and can immediately are relevant to them. We can restrict the through a customised portal which see volumes per partner. For London’s quantity of tickets they can sell by time slot changes the ticket price accordingly aids the View from the Shard attraction, we and day, giving the Shard complete control efﬁciency and improves customer service. created a dedicated trader portal enabling over which days and or periods they sell. O

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The Florida Aquarium and the National Aquarium of Cuba both work to protect coral, sea turtles and sharks

Florida and Cuba aquariums forge a partnership to protect and restore the Caribbean’s coral ecosystems, setting an example for other aquariums to follow

Alice Davis, managing editor, Attractions Management

n August, the Florida Aquarium Keys archipelago. In return, the Tampa what we’re most interested in – Cuba’s entered a bilateral agreement Bay aquarium will share with the National ecosystems are in much better shape, with Cuba’s National Aquarium in Aquarium of Cuba (NAC) what it has whereas we are trying to restore ours. Havana, forming a mutually beneﬁcial learned about restoring coral reefs and “Observing Cuba’s reefs and collecting I partnership aimed at working together growing coral in a controlled setting. data on the biodiversity present on these on marine issues. Efforts to protect The aquariums agreed the partnership in healthy reefs will help us recreate the reefs and preserve coral reefs were made a 2014, deciding to keep a simple focus on in the Florida Keys. It’s like rolling back time priority in the collaboration. education, research and conservation. – a snapshot of what our reefs likely looked With less than 250 miles (400km) “It’s an opportunity to work with an like,” says McKnight. separating the two attractions, the Florida aquarium that shares the exact same The Florida Aquarium works with the Aquarium believes studying Cuba’s environment,” says Margo McKnight, vice Coral Restoration Foundation (CRF), as underwater ecosystem – where the reefs president of biological operations at the well as other groups, planting fast-growing are in far better condition – will help with Florida Aquarium. “Cuba has done a really staghorn coral in the Keys. Monitoring the the coral restoration process in the Florida great job protecting its reefs and that’s species and ecosystem in Cuba – which

Volunteer divers with the Coral Restoration Foundation plant staghorn coral to help rebuild the reefs around Florida

100 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 The Florida Aquarium conducts a variety of educational and public awareness programmes

is famed for its Jardines de la Reina that get involved in planting corals. In other (Garden of the Queens) National Park in words, the more volunteers involved, the the southern waters off the provinces of more coral can be restored.” Camagüey and Ciego de Ávila – will help “Aquariums stand in The science of coral restoration has the Florida mission focus its efforts to a unique position to seen success in Florida, and by working in rebuild a productive and healthy reef. partnership the two aquariums will be able “The Florida Aquarium is taking an active empower their constituents to share more information and cover more and progressive position on protecting and to get involved in ground. With an influx of American tourists restoring coral reefs,” says Ken Nedimyer, on the horizon, McKnight is optimistic founder and president of the CRF. “They coral restoration as that Cuba will be able to learn from are involved in some progressive research citizen scientists” environmental mistakes made elsewhere aimed at finding actionable solutions to in the world, “rolling back time, but some of the key problems on coral reefs.” knowing what we know now. They can learn “Cuba has been exposed to the lessons that we are now having to fix.” same big problems and events that For Nedimyer, if attractions want to aid have degraded most of the rest of the directed at educating visitors about this – conservation efforts, it’s vital they select Caribbean – sea urchin loss, overfishing, and even encouraging them to play a part. the right issues to focus on. Often that coral diseases and bleaching, inadequate Fernando Bretos, director for Cuba will be something in the local area, and if sewage treatment, poor storm water marine research and conservation at efforts directly benefit the local community, management, agricultural run-off and the Patricia and Phillip Frost Museum of then fundraising will be easier. hurricanes – so I think the Florida Science in Miami, Florida, has been working “Most public aquariums have very active Aquarium can bring the right balance of with the NAC for over 10 years on coral reef conservation programmes and are making research, solutions and action to some and sea turtle conservation. a difference in the areas they have decided of the problems facing Cuba’s coral reef “Through exhibits and outreach to focus on,” says Nedimyer. “They can’t do ecosystems,” says Nedimyer. programs, aquariums can introduce the everything, so they must focus on an area With Cuba and the US making historic public to the benefits of coral restoration,” that is strategic for them, their clientele moves to normalise their relationship, more Bretos says. “They also stand in a unique and their donor base. The Florida Aquarium and more people are going to be visiting the position to empower their constituents to has chosen to focus on reefs and it makes island nation. Conservationists are pressing get involved in coral restoration as citizen sense based on their geographic location. for responsible tourism that won’t have a scientists. For all its value for restoring I think they’ll be a key player in developing negative impact on Cuba’s ecosystems. underwater ecosystems, coral restoration a public awareness programme in Cuba for Aquariums can provide programmes is limited by the number of volunteer divers coral reef protection and restoration.” O

Interactivity is central to the new Justice League: Battle for Metropolis rides THE RIDE MAKERS The future’s bright: we meet four more companies discussing the burgeoning dark rides sector and its latest and most advanced technologies

Jason Holland, journalist, Attractions Management

4D effects, video projection mapping, the ﬁrst interactive fog screen with targets ALTERFACE PROJECTS vehicles with new capabilities and many that guests ride through on Justice League. others are now blended together with traditional dark ride features like true-to-life What have been the biggest changes BENOIT CORNET scenery and animatronics. This mix of new for ride makers in recent times? technologies makes dark rides even more Attractions based on IPs have quickly CEO immersive. IPs are also a big deal these become a major trend, but their success days because the story is the heart of a can fade if the franchise doesn’t release What is your most dark ride attraction. Teaming up with the new content for a while. IPs are appealing recent dark ride? best storytellers makes a lot of sense. for obvious marketing reasons but, as ride Justice League: Battle makers, we need to ensure our attractions for Metropolis 4D, in Six Have you made any engineering, stay relevant and popular in the long term. Flags over Texas and design or manufacturing Six Flags St Louis. The breakthroughs or advancements? What’s on the horizon? interactive dark ride is As the one stop company for interactive We have a bunch of dark ride attractions based on the famous technologies in amusement parks and based on famous IPs in the pipeline. Warner Bros / DC Comics IP. It was designed attractions, we’re currently developing new IP owners need to be very careful that by Sally Corporation, with Alterface Projects’ ways for the guests to interact, beyond their brands and characters are in good interaction and gameplay system, custom the usual laser gun. Some of our latest hands, so we’re proud to be regarded by motion-based vehicles from Oceaneering advancements don’t require any interactive them as a reliable and faithful partner for and video animation by Pure Imagination. device to play – you can play with hand IP-based attractions; from our ﬁrst dark gestures alone. Besides creating new ride inspired by Lego toys in 2009 to the What are the current trends? gameplay, we’re also improving our existing hit cartoon Huntik and Marvel and DC We’re in an exciting era for dark rides. New system, for instance by getting rid of the Comics’ superheroes ... and more big technologies like interaction, 3D graphics, physical target boxes. We’ve also created names that we can’t reveal yet.

102 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 A rendering from Simuline shows details of a proposed ride installation

Can you describe the current What’s on the horizon for SIMULINE market climate? How do you stay you as a company? ahead of the competition? Our standalone products have been installed With the theme park market in general in hundreds of sites across the globe and in BYUNG HWAN CHOI – and especially the Asian market – recent years, we’ve had the good fortune to ﬂourishing, demand for high quality rides be involved in some major theme parks as CEO is at an all-time high. Our focus is on well. Drawing on these experiences, we’re continuing to build systems that are unique in the process of developing some very What is your most and maximise immersion in the story. interesting systems for future projects. recent product, and what makes What are you doing that other And for the wider ride-making industry? it stand out? dark ride makers aren’t? With continuing technological advances We most recently Simuline has the unique advantage of in ride-related systems such as AV and collaborated on an not just being a hardware company. We interactive technology, we’re excited about interactive, dynamic have the resources to produce Hollywood- the kinds of ride experiences that may motion dark ride calibre content as well – and together appear in the near future. vehicle that is very unique. It is one of the with our years of experience creating ﬁrst dark ride vehicles in the world to have motion rides and 4D theatres, we believe a strong heave motion. that bringing that know-how to dark rides Simuline’s ride Valkyrie features dual has put us in a position to create a truly screens and back-to-back seating Have you made any engineering, unique product. design or manufacturing breakthroughs or advancements? We’ve been able to take the core technology from our motion rides and add that to the dark ride experience in a highly cost effective way. We’ve also developed some very interesting environment effects that we hope to use in future projects.

What are the current main trends in creating a dark ride? We’re seeing a lot of dark ride attractions add motion and interactivity to the experience. We believe that passive rides are still the best way to tell a story, but interactivity is here to stay as well.

Triotech’s latest ride is Voyage to the Iron Reef at Knott’s Berry Farm, California

Have you made any engineering, TRIOTECH design or manufacturing We develop new breakthroughs or advancements? The number one advancement is technology for ERNEST YALE interactivity. Allowing guests to be an active participant in the ride greatly augments original attractions PRESIDENT & CEO the experience. Media-based rides allow almost endless possibilities when it comes What is your most to how and where interactivity occurs, recent dark ride? especially when compared to earlier laser- How do you stay ahead Our most recent dark based technology where the guest had to of the competition? ride project is Voyage aim at a specific marked target. This is It’s constant innovation, with technology but to the Iron Reef at important; targets can appear anywhere on also with know-how. Technology is important Knott’s Berry Farm an oversized screen. The place they appear and we invest a lot of money into it, but in California. It’s a can even be changed overnight. Compare the other thing Triotech excels at is know- media-based dark ride that to a specific laser “red-dot” target how. This core competency drives our ability that’s interactive. Guests are, therefore, which is always at the same place and it to integrate all the elements – technology, an intricate part of the experience as is clear that for guests it’s a lot more fun content, storytelling, gaming, competition, opposed to passive observers. This ride when they can interact “everywhere”. themeing, special effects, audio – into one stands out for the quality of the immersion, Content can be changed on media- compelling experience for guests. the intense interaction with hundreds of based rides. New content attracts guests digital creatures throughout the ride, the for repeat visits and this drives the park’s What’s on the horizon for integration of physical elements with the revenues up. A case in point is Canada’s you as a company? media, the competitive scoring which drives Wonderland in Toronto. Their interactive Seamless integration of the ride itself with repeat visits, and its wide age group appeal. dark ride, called Wonder Mountain’s pre- and post-ride elements. Whether it is It was important to the park that we Guardian, features a quest to recover the using social media or interactivity, guests designed a ride that everyone in a family king’s lost crown. However, in Halloween will benefit from an augmented experience. would want to ride again and again. The season, the ride is changed to a Zombie We’re launching brand new interactive objective was to have all guests – parents, adventure. The park has seen increased technology that will be triggered strictly kids, teenagers, even grandparents – want attendance compared to previous years, with hand gestures, with no need for guns to do the ride again because they enjoyed it. which has had a positive financial impact. or other interactive devices.

SIMWORX

TERRY MONKTON DIRECTOR

What is your most recent/current dark ride, and what makes it stand out? Simworx has a distinctive variety of dark rides and the 360° Flying Theatre is our latest attraction. As specialist suppliers DreamWorks 3D animation, together with of media-based dynamic simulation numerous multisensory effects. Riders have the sensation of fl ying attractions, our partnership with Mondial, with Simworx’s latest attraction offer one of the world’s leading amusement ride In terms of engineering, design or manufacturers, enables us to bring a new manufacturing, what have been range of technologies together to create the most exciting breakthroughs or known IPs. Many years ago, IPs were this cutting-edge attraction. advancements you’ve made lately? limited to Universal and Disney, but IP Using the latest 3D visual technology Following our recent acquisition of providers have found that expanding into projected onto dome screens, riders RoboCoaster, the company is now the mainstream theme park market has experience a real feeling of fl ying as they’re concentrating on the launch of a range of not only given them high-profi le marketing immersed into a highly entertaining movie, AGV and RCX dark rides. The AGV rides are opportunities, but also a new revenue enhanced with a range of optional special trackless and not hampered by any power stream through licensing. effects. The audience “soars” through the cables, and move at up to 0.5g. They’re fi lm – legs dangling – as they’re seated in available with a variety of different motion Can you describe the current three rows of 20 and transported sideways, systems, sizes and on-board 4D effects. market climate? How do you stay backwards, forwards, up and down, The latest AV solutions combine with the ahead of the competition? providing a fun and exhilarating experience ride to offer an enthralling experience. There’s a huge appetite for new dark that appeals to audiences of all ages. The RoboCoaster RCX range offers either rides and unique experiences from theme We’ve recently installed a new custom a fi xed or tracked solution, providing three parks around the world who want to set 3D/4D immersive simulation attraction at axis motion, high-quality media content and themselves apart from the competition. At Merlin’s London-based Shrek’s Adventure. AV solutions, plus optional 4D effects. Simworx, product development has always The fl ying bus ride, which is based around been at the forefront, together with the our Immersive Tunnel, transports riders What are the current main trends desire to offer clients a fi rst-class attraction through a fairytale world, with Donkey in creating a dark ride? along with excellent aftersales support. at the helm. The ride uses advanced Media-based attractions continue to grow technology, 360° 3D projection and unique in popularity, thanks to a range of well What have been the biggest changes for ride makers in recent times? Having a varied portfolio of products to There’s a huge appetite for new dark rides meet the demands of an ever-increasing, wide-ranging market has meant that we from theme parks around the world are continually launching new products and technology. However, this has been a very exciting challenge that we have been pleased to adopt into our company strategy.

What’s on the horizon for Simworx? Following the successful installation of the world’s fi rst Immersive Tunnel at Movie Park in Germany, Simworx has secured a further fi ve orders for Immersive Tunnel rides around the world. Our 4D cinemas are still extremely popular, along with other dynamic RoboCoaster RCX simulation attractions in our portfolio. With can be used as a the launch of our AGV and RoboCoaster fi xed track ride or an attractions, we’ll continue to develop new advanced dark ride technology in the areas of VR, interactivity and advanced projection. O

IAAPA ATTRACTIONS EXPO ORLANDO BOOTH #1881

JUSTICE LEAGUE: Battle for Metropolis 4D

Alterface Projects is proud to provide the interaction and gameplay system on SixFlags’ new state-of-the-art dark rides designed by Sally Corporation, featuring stunning 3D, special effects and motion-based vehicles. Now open in SixFlags St Louis & SixFlags Over Texas.

Experience the newest technologies from our R&D lab that will make the most advanced interactive attractions of tomorrow. See you at the IAAPA Attractions Expo on our booth #1881!

INTERACTIVE ATTRACTIONS UNLIMITED POSSIBILITIES Alterface Projects HQ - Europe Alterface Projects - USA Alterface Projects - Asia [email protected] [email protected] [email protected] + 32 485 620 390 + 1 417 973 0301 + 86-10-64391088 www.alterface-projects.com 3M PROMOTIONAL FEATURE

REINVENT THE VISITOR EXPERIENCE WITH MULTI-TOUCH AV

Paolo Pedrazzoli of 3M – which provides multi-touch displays and systems to venue designers, AV specialists and end users – tells readers how this technology is transforming the visitor experience, while generating new revenue opportunities

ne of the biggest challenges used as part of a particular exhibition, the facing galleries, museums and technology – with its visual “wow” factor – other entertainment venues is increasingly finding permanent uses and today is how to make the visitor providing far more than just wayfinding. O experience as compelling For example, windows on the screen as possible, particularly can provide deeper insights into parts of when competing with other forms of the venue. You can include fun, interactive entertainment. Today’s younger generation, elements, such as modifying well-known in particular, have very high expectations, paintings (imagine drawing a moustache thanks to their everyday use of video – just temporarily! – on the Mona Lisa) or games and other media. Plus, there is exploring the remains of Pompeii (and build Multi-touch technology creates exciting, the additional challenge of finite physical your own Roman villa at the same time). interactive visitor information points space, meaning that what venues can Several viewers can compete to identify display is inherently limited. star constellations across the Galaxy, or This is why an increasing number of information while allowing several people create their own football teams who can the world’s attractions venues are turning to engage with the screen at any one time, then compete against each other. They can to multi-user, multi-touch AV technology. the technology takes the AV experience home in on the Statue of Liberty, flipping With its ability to show such a rich array of to a whole new level. While it might be the screen to see it from another angle or enjoying a bird’s eye view from the very top of her crown. They can take interactive Five steps to create a great QRobust and self-service – Look for tours of hidden treasures in the museum’s multi-user touch experience: “fit and forget” design. The system should vaults, watch 3D interviews with celebrity be intuitive to use with no training, and sportspeople, play interactive video games should not require regular rebooting. themed to the venue – the potential is only QLocation matters – table-table designs limited by designers’ imaginations. are imposing and create a powerful QIntegrate it with the bigger impact, while upright kiosk or wall- picture – link multi-touch systems into Generate more visitor revenue mounted systems are great space-savers. the rest of the sales and marketing Adding an extra layer to the whole visitor Think about the furniture it is housed in, strategies, for instance to send data experience in this way also creates make a statement and link to branding. back to CRM systems and databases. opportunities to generate additional revenue. For example, consumers can take QTouch quality is essential – an QThe right support and expertise an interactive tour of the museum shop unresponsive screen is very frustrating – work with a system designer and catalogue and view far more merchandise for users. Look for zero-lag, no matter hardware provider that has a track- than is possible in a physical space. They how much information is being displayed. record in multi-touch and so knows can purchase discounted tickets for future Bezel-free design ensures that the screen what pitfalls to avoid. Make sure events, or even pay a nominal amount is touch-sensitive right to the very edges. there is strong ongoing support. to enter an online competition or play a game, with guaranteed low-cost prizes.

108 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 3M’s multi-touch technology can help create new revenue- generating opportunities

Viewers can compete to identify star constellations across the Galaxy, create their own football teams, enjoy a bird’s eye view from the Statue of Liberty or tour the hidden treasures in the museum’s vaults

Multi-touch AV systems can also be Ranging from 21.5 to 55 inches we’ve carried out with some of the world’s integrated with other systems, such as (55cm to 140cm), multi-user, multi-touch leading designers, installers and users of customer relationship management (CRM), displays make an immediate impact, our multi-touch displays and systems. databases and marketing systems to gather often housed in beautifully designed The right multi-touch system, complete data about visitor interest. For instance, table-tops, although systems can also be with content that captures visitors’ interest, the multi-touch screens might register wall-mounted. Once users start to interact can create a compelling, interactive significant interest in a particular type of with them – simply using their fingertips, experience, while at the same time exhibit, providing the kind of information with over 60 simultaneous touch points – generating new revenue opportunities that helps when planning future events. they can explore a wealth of information. and helping venues to compete in an In essence, a multi-user, multi-touch AV increasingly multimedia world. O What is multi-user, multi-touch? system is a smart screen, linked to a One major benefit of touch technology computer underneath or behind it and is that we are already familiar with it in turn able to connect to the Internet READER OFFER: through using our own smartphones and and other systems. The technology has other devices. We know that pinching our evolved considerably in the past couple 3M has created a multi-touch best fingers or swiping the screen will change of years, with screens now able to display practice guide specifically for the the content that we can see. Multi-touch a fast and consistently high-quality attractions management market. technology takes this highly intuitive response, even in high footfall areas. To download a copy – as PDF or as approach a step further, creating an Of course, any technology is only as good an app – please go to interactive multi-user experience that can as its execution. Our five tips (see “Five www.multi-touchlibrary.com be applied to all kinds of environments. Steps” box, left) are based on the work

More than 1,000 exhibitors will be at IAAPA Attractions Show at the Orange County Convention Center in Orlando. Here’s a sneak preview

Maestro to debut on Legoland Ninjago ride Triotech Triotech is unveiling its revolutionary new hand gesture technology at IAAPA. Holovis’ showcase features the latest game from the Dome Rider series, Crimson Wing Maestro allow guests to interact with the story without holding any device in their Holovis Taking place in a full 10-metre dome, 12 hands. The technology can be integrated people will be able to experience the in digital interactive dark rides and other Holovis is presenting the world’s ﬁ rst real- attraction simultaneously through the attractions. This family-friendly technology time interactive game solution in a 3D Holovis MotionSeat platform. The dome features inherently optimized ergonomics dome, combining immersive visuals and a itself is a portable solution from Holovis, since each guest uses his/her own hands highly compelling storyline with perfectly designed for rapid deployment for events and is very intuitive and adaptive to the synched motion and interaction for a and product launches. Q Booth #4086 guest’s playing style. Q Booth #1053 next-generation dark ride-style experience. attractions-kit.net keyword: Holovis attractions-kit.net keyword: Triotech

FlowRider’s WaveOz Forrec is developing a Top Gear concept DNP’s DS620A printer FlowRider Forrec DNP WaveOz was born from a simple stream Forrec is presenting two projects from DNP is introducing its fl agship DS620A of water hitting a mound, and was 2015. The fi rst is the theme park for the dye-sublimation professional photo printer. extrapolated into a powerhouse of new Wanda Xishuangbanna Resort, in As the latest addition to DNP’s award- fl owboarding functionality. WaveOz is set Yunnan province, China. The theme park winning line of DS Series printers, the to be the competition wave of the future, includes a jungle-themed attraction park, DS620A is the world’s most compact as the enormous ride surface allows for a waterpark and adventure park. Forrec is professional-grade photo printer and can multitude of tricks to be performed on the also working with BBC Worldwide to help produce up to 400 prints per hour. The liquid canvas. With the ability to create develop a range of high-level attraction printer works with ride photo systems a wave “in the round” a 360º canvas concepts that extend popular brands such and is a profi table solution for venues to paint fl owboarding exploits on could as Top Gear and CBeebies into prototypes that want to provide instant custom photo become a possibility. Q Booth #2243 for the Asia market. Q Booth #2049 souvenirs. Q Booth #4659 attractions-kit.net keyword: FlowRider attractions-kit.net keyword: Forrec attractions-kit.net keyword: DNP

110 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 Location: Orange County Convention Center, Orlando, Florida Dates: 17-20 November 2015 Who’s there: 1,000 exhibitors and more than 28,000 attendees What’s on: 100 educational opportunities For full company and contact details On-site tickets: $199 for members and $385 for non-members please visit attractions-kit.net

A superfl ume by Interlink Kew Gardens employs Gateway Galaxy Picsolve solutions support the London Eye Interlink Gateway Ticketing Systems, Inc Picsolve Interlink will be announcing details of Gateway Ticketing Systems is highlighting With guest demand and revenue from two new products: a dark ride attraction its Galaxy Product Suite’s ability to accept digital photography at an all-time high, and a themed water coaster. The former contactless payments such as Apple Picsolve is highlighting large-scale digital will be a themed, water-based ride Pay and Google Wallet. One of Gateway’s technology solutions such as its new “All featuring 10, eight-seater boats travelling clients, the Royal Botanic Gardens at Kew, You Can Eat” consumer offering, including in a 180m circuit. The latter will have is using the technology to improve the insight into guest app usage in 2015. CEO a 300m-long, Mad Mouse style track customer experience by reducing queue Jeff Kelisky is discussing redefi ning the running through trees and culminating in a times. Accepting contactless payments “connected guest” experience, with a look simulated water fl ume splash. It will can also increase revenue as guests don’t at new partners including Warner Bros utilise eight, four-seater boats with a suffer the “pain of paying” when using a Studio Tour Hollywood and the Hunger hovercraft theme. Q Booth #3051 phone versus cash. Q Booth #4831 Games exhibition. Q Booth #3012 attractions-kit.net keyword: Interlink attractions-kit.net keyword: Gateway attractions-kit.net keyword: Picsolve

A new look for Coral Reef Waterworld Sally’s popular Justice League dark ride Huss’s VR test at Djurs Sommerland Van Egdom Sally Huss Coral Reef Waterworld in the UK is about Sally is showcasing its custom dark Huss is demonstrating a high-performance to undergo a year-long transformation. ride attractions and animatronics and VR system which is set to add optional Van Egdom is installing ﬁ ve exciting new displaying its new line of interactive ride experiences to its attractions. It’s ﬂ umes (in total more than 500 metres mixed-media dark rides. These new also presenting Enterprise, a classic ride long), including two iconic thrill rides: rides feature interactivity, multi-DOF ride that’s been brought back into the portfolio the Crazy Cones and the Super Crater. vehicles, media-based scenes, highly after getting a makeover. Enterprise will This complex project requires a new immersive theming with realistic sets, be available as Enterprise 2G, Enterprise tower to be built into the existing facility. scenery and animation and 4D special 2GH (2nd Generation Hybrid – with The project will also see a new roof over effects. Sally can work with a client’s suspended seats and gondolas) and the main pool and fcaility improvements. unique brand, a particular IP or create a Enterprise 2GH-Plus (2nd Generation The waterpark will reopen in 2017. custom attraction. Q Booth #2253 Hybrid with a tilt action). Q Booth #2604 attractions-kit.net keyword: Van Egdom attractions-kit.net keyword: Sally attractions-kit.net keyword: Huss

©CYBERTREK 2015 AM 4 2015 attractionsmanagement.com 111 SHOW PREVIEW: IAAPA ATTRACTIONS EXPO For full company and contact details please visit attractions-kit.net

Niceberg presents Little Dolphin

Niceberg

Niceberg Studios presents its new 3D/4D attraction film, Little Dolphin, a marine adventure targeted at theme parks, aquariums, zoos and other venues. Niceberg is also launching the reloaded version of Great Wall of China 360° – the IdeAttack’s Yulin waterpark is inspired by gemstone mining in Guangxi province Flying Experience! This prime licensed film addresses the growing market of specific IDEATTACK pavilion, various entertainment facilities, high-end media based attractions such a commercial complex, prime shopping as multi-degree tilted dome simulators, Designer of mixed-use tourism and leisure areas, diverse F&B offerings, numerous flying theatres, VR coasters and more. The projects IdeAttack is presenting Yulin leisure facilities on land and lake, a flexibility in formats is achieved with the Tourism Development, a major project unique themed waterpark, botanical proprietary multi-format output generator in Yulin City, Guangxi province, China. garden and wetlands, and a secluded specially developed by Niceberg’s R&D Envisioned as a regional mixed-use luxury club for VIP guests. Q Booth #2861 department. Q Booth #2071 tourism destination, it features an expo attractions-kit.net keyword: IdeAttack attractions-kit.net keyword: Niceberg

Gale Force, by S&S Worldwide nWave’s new film is an island adventure COST: in the industry since 1957 S&S Worldwide nWave COST of Winsconsin New for 2015, S&S introduces the LSM As an accident-prone Robinson Crusoe COST of Wisconsin is an industry leader Triple Launch Coaster. The design of the tries to adapt to his new life as a in theme and specialty construction three launches provides an amazing high- castaway, the island’s animals are equally services, specialising in exhibit fabrication, powered ride within a very small footprint. astonished to find this strange creature theme facades, faux finishes, water S&S has packed the ride design with a washed up on their shores. Crusoe meets features, aquariums, simulated trees and number of exciting elements, including a an optimistic parrot named Tuesday; sculptural elements. COST fabricators, 125-foot crest, the rush of a 100-degree Carmelo, the coolly sophisticated artisans, construction personnel and downdrop at a pulse-racing 59mph, a chameleon; and Scrubby the lazy goat. project managers work closely with 180-degree twisting climb, an off-camber When unwelcome visitors appear, the architects and owners to ensure the finest dive drop, a corked roll, a top hat twist, unlikely new friends scramble to defend in theme construction is delivered to and a raven dive. Q Booth #2217 their island paradise. Q Booth #4873 every project. Q Booth #4125 attractions-kit.net keyword: S&S attractions-kit.net keyword: nWave attractions-kit.net keyword: COST

112 attractionsmanagement.com AM 4 2015 ©CYBERTREK 2015 bertazzon@bertazzon.com SHOW PREVIEW: IAAPA ATTRACTIONS EXPO For full company and contact details please visit attractions-kit.net

The new RMF System Controller Neptune Benson Neptune Benson is presenting its new hi-tech controller for its water ﬁ ltration system. The Defender Regenerative Media Filter (RMF) can be operated via the RMF Guests ride Singha at Siam Park. The slide is a ﬁ rst-ever combination for ProSlide System Controller, a graphic interface which allows owners to programme ProSlide design. Singha uses ProSlide’s water and manage everything from bump and coaster and turbine technology to propel precoat cycles and recirculation pumps to ProSlide is presenting its newest slide, rafts up the hills higher and faster. Four data logging and maintenance reminders. Singha at Siam Park in Tenerife, Spain. The huge saucer-shaped bowls punctuate the The controller can be used remotely via a ride incorporates ProSlide’s FlyingSAUCER ride, which are steeply angled for a drop- smart device or laptop. Q Booth #4069 features into its RocketBLAST water and-dive sensation. Q Booth #5139 attractions-kit.net keyword: Neptune coaster, with patented water jet and boat attractions-kit.net keyword: Proslide

APX at Aquatopia, Camelback LodgeAdventure thrills with No Boundaries The rotating fl ying theatre by Simworx WhiteWater WestWhiteWater Attractions Simworx WhiteWater is introducing a new era WhiteWater Attractions is presenting a Simworx is presenting its latest media- of interactive waterplay inspired by the customisable adventure park installation based, dynamic simulation attraction, way kids play. APX creates an engaging that combines different elements of developed in partnership with Mondial. experience full of interactive elements the adventure genre – zip lines, rope The 360° Flying Theatre, a full turnkey that entice, challenge and reward guests. courses, vertical climbs, slides – into a solution, draws on the expertise of On an exciting adventure through fi ve single family-oriented attraction called both companies to deliver a cutting- zones, waterpark guests will slide, spray No Boundaries. Its high-thrill and high- edge experience. Passengers take their and splash their way through APX. APX challenge activities suit guests of all ages seats, legs dangling freely, to experience has been crafted from the perspective of and skill levels. No Boundaries aims to a realistic sense of fl ying as they are a child in order to encourage interaction provide adventures and thrills in a safe immersed in a movie shown on a huge and maximize the fun. Q Booth #2239 environment. Q Booth #2234 domed screen. Q Booth #2869 attractions-kit.net keyword: Whitewater attractions-kit.net keyword: Whitewater attractions-kit.net keyword: Simworx

www.technicalpark.com

ACCESS GAMMA EAG INTERNATIONAL 2016 Modular integrated management The de¿ nitive show for the information systems for visitor attractions, European Amusement and 12-14 January 2016 museums, heritage sites and theme parks Coin-Op industries ExCel London Exhibition Centre

T 0845 835 0192 E [email protected] T +44(0)1582 767254 E [email protected] www.theaccessgroup.com/gamma www.eagexpo.com

ANTONIO ZAMPERLA SPA EAS Liseberg Sweden The Amusement Euro Attractions Show 2015. 6-8 Oct. 2015 Rides Company R Register now for Europe’s premier event for the attractions industry

T +39 0444 998400 E [email protected] T: +32 2609 54 45 www.zamperla.com www.iaapa.org/eas

BERTAZZON EMPEX WATERTOYS Manufacturers of unique An innovator of unique merry-go-rounds, high quality interactive aquatic bumper-cars and go-karts playgrounds and spray parks

T +39 0438 966291 E [email protected] T +1 866 833 8580 www.bertazzon.com www.watertoys.com

CUMMINS-ALLISON EUREKA! THE NATIONAL CHILDREN’S MUSEUM Industry-proven coin Eureka! is the UK’s handling, currency note handling and of¿ ce national children’s equipment to a variety of business sectors museum

T +44 (0)2476 339810 E [email protected] T 44 (0)1422 330 069 www.cumminsallison.co.uk www.eureka.org.uk

DAN PEARLMAN ARCHITECTURE EVANS & SUTHERLAND Storybuilding: we turn Creators of Digistar an experience into a brand + 5 fulldome digital a brand into an experience. planetarium system and distributors of fulldome shows T +49 30 53 601 860 T +1 801 588 7972 www.danpearlman.com www.es.com

D J WILLRICH LTD To book your space in the Web An audio visual multimedia integrated system company Gallery contact Julie Badrick

Tel +44 (0)1462 471919 T +44 (0)1590 612 603 Email [email protected] www.djwillrich.com WEB GALLERY

FORREC NATIONAL MARINE AQUARIUM Specialists in the creation of Full consultancy and project entertainment and leisure delivery service ranging from short term advice to environments worldwide complete management of third party facilities

T +1 416 696 8686 T 0844 893 7938 E [email protected] www.forrec.com www.national-aquarium.co.uk/consultancy

HIPPO LEISURE N WAVE Specialists in À ume slides and Fully integrated digital studio interactive water play. handling all aspects of 3D cinema production and distribution

T +44 (0) 1752 771740 E [email protected] T +322 347 6319 E [email protected] www.hippoleisure.com www.nwave.com

HUSS PARK ATTRACTIONS OMNITICKET NETWORK Development, manufacture Specialists in providing and sale of amusement rides ticketing distribution for amusement parks

T +49 421 4990 00 T +44 (0)1782 714 300 www.hussrides.com www.omniticket.com

INTERNATIONAL PLAY COMPANY POLIN WATERPARKS Design, manufacture and install Global leader in design, engineering, play structures, interactive events manufacturing and installation and custom theming for all ages of waterslides and waterparks

T +1 604 607 1111 T +90 262 656 64 67 www.IPLAYCO.com www.polin.com.tr

JORA VISION QUIRK Design and Production of Full service digital breathtaking experiences and marketing agency environments in the leisure industry

T +31 (0)714 026747 E [email protected] t +44 (0)20 70998849 www.joravision.com www.quirklondon.com

KRAFTWERK LIVING TECHNOLOGIES To book your space in the Web One of the leading specialists in high-end audio-visual Gallery contact Julie Badrick system integration Tel +44 (0)1462 471919 T +43 7242 692690 Email [email protected] www.kraftwerk.at WEB GALLERY

SIMWORX VEKOMA 3D & 4D effects Design and manufacture of family theatres, motion theatres, simulation attractions coasters, thrill and mega coasters and the provision of 2D & 3D ¿ lm content and family attractions

T +44 (0)1384 295733 E [email protected] T +31 475 409 222 www.simworx.co.uk www.vekoma.com

SKY SKAN VISITOR ATTRACTION EXPO Design and installation of A complete show for fulldome planetariums and the leisure, parks and visualization theaters attractions sectors

T: +1 603-880-8500 T +44(0)1582 767254 E [email protected] www.skyskan.com www.attractionsexpo.co.uk

TAPE MY DAY WATER TECHNOLOGY INC (WTI) The fully automatic visitor WTI maintains the widest video-generating system for range of planning, design sports, rides and attractions and engineering quali¿ cations in the waterpark industry T +31 20 471 4640 T +1 920 887 7375 www.tapemyday.com www.wtiworld.com

TRIO TECH WHITEWATER WEST INDUSTRIES LTD A leading manufacturer of The global leader in multi-sensory interactive waterpark design, attractions for the entertainment industry engineering, manufacturing and installation

T +1 514 354 8999 E [email protected] T +1 604 273 1068 E [email protected] www.trio-tech.com www.whitewaterwest.com

UNLIMITED SNOW WHITEWATER ATTRACTIONS Unlimited snow services Designer and manufacturer for all snow and ice of harnessed attractions, interactive leisure experiences play structures and water rides

T +31 20 471 4640 T +1 604 273 1068 E [email protected] www.unlimited-snow.nl www.whitewaterattractions.com

To book your space in the Web Gallery contact Julie Badrick Tel +44 (0)1462 471919 Email [email protected]

Attractions Management is published four times a year by the Leisure Media Co Ltd, Portmill House, Portmill Lane, Hitchin, Herts SG5 1DJ, UK. The views expressed in this publication are those of the author and do not necessarily represent those of the publisher the Leisure Media Co Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the copyright holder, Cybertrek Ltd. Printed by the Manson Group Limited. Distributed by Royal Mail Group Ltd and Whistl Ltd in the UK and Total Mail Ltd globally. ©Cybertrek Ltd 2015. ISSN 1479/9154. To subscribe to Attractions Management log on to www.leisuresubs.com or email: [email protected] or call +44 1462 471930. Annual subscription rates are UK £37, Europe £50, rest of world £72, students (UK) £19.

FOR YEARS, POLIN HAS BEEN CHANGING THE WATERPARKS INDUSTRY. IN 2006, WITH OUR INTRODUCTION OF L-RTM TECHNOLOGY, WE CHANGED THE WAY PEOPLE PERCEIVE. IN 2007, WITH OUR TRANSLUCENT RTM TECHNOLOGY, WE CHANGED THE WAY PEOPLE SEE. IN 2008, WITH OUR PATENTED NATURAL LIGHTS, SPECIAL PATTERNS, WE CHANGED THE WAY PEOPLE FEEL. IN 2010, WITH OUR KING COBRA’S BUILT-IN THEMING, WE CHANGED THE WAY PEOPLE TELL STORIES. IN 2012, WITH OUR MAGIC SPHERE, SPHERES, SPACE SHUTTLE, WE CHANGED THE WAY PEOPLE THRILL. IN 2013, WITH OUR NEW GENERATION WATER-PLAY STRUCTURES, WE CHANGED THE WAY PEOPLE HAVE FUN. IN 2014, WITH OUR NATURAL SOUND EFFECTS TECHNOLOGY, WE CHANGED THE WAY PEOPLE HEAR. IN 2015, WITH THE NEW ART OF WATERSLIDE DESIGN, WE WILL CHANGE THE FUTURE OF WATERPARKS.

JOIN POLIN AT IAAPA 2015 IN ORLANDO AND DISCOVER THE NEXT GENERATION OF WATERSLIDES AND MORE VERSATILE WATERSLIDE COMPONENTS.

SLIDEłN ROLL ō GRAFFITI ō 0OSAIC ō TRIANGULATED ō WOODłN SLIDE ō REFLECTION ō HONEY CO0%

EXPERIENCE THE FUTURE OF WATERPARKS TODAY! SOUTH EXHIBIT HALL B - BOOTH 4239