In 1999 Jo Pine established the term the Experience Economy – two words that have revolutionised our industry. One suggests excitement and subjectivity, the other pragmatism and objectivity – naturally we are drawn to the former – yet is it the latter that is more important? Projects within and outside the Visitor Attraction sector have adopted …. Experience …. to justify decision making – often with limited evidence of the likely economic performance that could be derived from any particular experience being staged. However, “Experiential Techniques” should simply interpret the intended “Economic Strategy”. So is it possible to strategically define, quantify and then deliver experience – in a more economically assured manner? And are there any emerging Business Models – that demonstrate the fundamentals of Experience Economy principles? Ray Hole’s invited panellists will highlight and discuss several attractions which have adopted very different economic and experiential models.
Tony Sefton will demonstrate a scientific link between great visitor experience and great economics – whether diagnosing an existing attraction or prescribing a new attraction’s strategic parameters – the ability to integrate the 5 essential models: Market, Business, Experience, Spatial and Cost – provides a methodology which can quantify and qualify the potential economic performance of the Visitor Experience.
Bob O’Connor explains how the Kent located, award winning, original wild animal park day ticket model has been transformed incrementally through strategic development and marketing of the attraction. The multi awarding winning day visit attraction is being transformed to become the major holiday resort in Kent. This is a case history on the development of the project from 10 safari style tents to over 40,000 overnight guests per annum. Glamping to 4 star hotel and to eco-lodges & contemporary treehouses. Bob O’Connor will address how to achieve the right mix of accommodation; what markets to look at; and what happens when your day visitor does not go home at 6 pm.
Eddie Kemsley will outline the unique market and business model that underpins the fastest-growing education & entertainment brand in the world. Kidzania, London is the flagship of the global brand which started by Xavier López Ancona in Mexico in September 1999. Eddie will highlight some of the key successes of the brand and talk through examples of challenges that the brand has overcome so far. KidZania’s CEO will also give an insight into how working with partners such as British Airways and Renault (amongst many others) has helped deliver authentic real-life experiences for children visiting the City. Additionally, Eddie will cover plans for the future and the key focus areas going into 2017.
British Airways i360 in Brighton opened in August 2016. It is the world’s tallest moving observation tower, world’s first vertical cable car and holds the Guinness World Record as the world’s most slender tower. As well as a visitor attraction, the venue includes conference and hospitality rooms, and a publicably accessible brasserie, café and shop. The BA i360 has been funded through a unique Public-Private Partnership with Brighton and Hove City Council and the Coast to Capital Local Enterprise Partnership. The Council has loaned the i360 £36 million, which it has borrowed from the government’s Public Works Loan Board. The Council will earn over £1 million per annum in profits on the loan. This funding mechanism can now be used by Councils for projects with a ‘commercial return’ that can afford to repay the loan.
Increasingly, a local museum (if it survives) may be the only outlet apart from a multiplex or a bowling alley for many people. Work on communities and regeneration has shown how museums can build capacity, provide training & development and also contribute to the government’s financial and social metrics of Return on Investment (ROI) and Social Return on Investment (SRI). New models are required that centre much more on events, activities, festivals, co-production & co-creation and community-run services. This also has an impact on the commercial world where visitors are treated as customers rather than co-creative partners.
From recreating a ‘lost’ museum which closed in the 1960s, but survived in local memory; to offering asylum seekers from some of the world’s toughest war zones a first access to creativity. From working with ex-servicemen and women to tell the story of what regiment and military means to families; to creating the ‘hub’ for 3 million planned visitors to the Great Exhibition of the North. Iain Watson will share a vision of MUSEUMS UK as locally co-created, regionally distinctive, nationally relevant and internationally recognised.
Proudly produced by the Museum of Science and Industry, Manchester Science Festival is a creative, playful and surprising science festival taking place across Greater Manchester. The greatest strength of the Festival is its unique alliance of partners. The Festival works with with 90 local, national and international partners to create the most bold, creative and ambitious science festival by delivering 125 unique experiences where people can explore, discover and create science. This presentation will review the Festival journey focusing on the opportunities, challenges and lessons learned about partnership working over the last ten years to become the largest science festival in England.
From encouraging Derby people to discover their place in the world to bringing manufacturing back to the world’s first factory, Tony Butler will describe the transformation of Derby Museums as places for the head, heart and hands. He will describe how Derby Museums view their visitors as citizens who participate in the creation, story-telling and making of their institutions. This is exemplified in the current £16.5m development of the World Heritage Site of Derby Silk Mill as a Museum of Making – celebrating the makers of the past and made by the makers of today. Tony believes that this is the blueprint for the democratic Civic Museum of the 21 Century.
Media production and presentation methods have gone through exponential development over the past two decades, greatly expanding the creative possibilities for museum and visitor experience media designers. With the rapid increase in recording and display resolutions, combined with tools such as desktop editing and visual effects, projection mapping, VR and AR, how have the top Creative Directors of experiential media exploited some of these things to realize their ideas, and how would they like to take it further? Speakers will be Professor Peter Higgins (RDI) of Land Design Studio, who has designed a wide range of major award winning experiences including; the UK Pavilion, Expo’05, Aichi, Japan, the Centre of the Cell, and The Famous Grouse Experience; Anthony Pearson of Clay Interactive who specializes in designing interactive media has created work for the Science Museum, Natural History Museum and the UAE Pavilion at Milan Expo 2015; David Bickerstaff of New Angle and Atomictv, who has directed a range of films for the cinema and for museums such as the V&A, Wellcome Collection, Historic Royal Palaces and the British Museum; and Damien Smith of ISO Design, whose diverse work spans TV, Online, Interactive and Video Installation for clients such as Channel 4, Film 4, BBC, St Pauls Cathedral and the British Music Experience.
As an exhibition/experience designer, it has taken me 15 years to produce a simple venn diagram that reflects our practice. The three components show the relationship between apparently different disciplines; architecture, narrative and communication media. I have shared many creative processes working with all four participants in this session and believe that in light of the diagram we can demonstrate the value of collaboration in the quest for the truly integrated solution. The potential of this mutual respect and creative chemistry is not always acknowledged, but I believe that ultimately it benefits our clients and most importantly the end user.
We now carry technology in our pocket that enhances our lives and provides us with new tools on an almost daily basis. Apps are constantly released and updated, bringing up new and compelling content and interaction, often for free. Within this landscape of ever-increasing interactive engagement, museums and visitor attractions can find it increasingly difficult to compete with the expectations of a technology saturated generation. With a focus on the physical/digital overlap, Anthony’s talk will explain his companies approach to creating compelling digital experiences, presenting recent projects by Clay and others which demonstrate that the idea is more important than the technology.
We often hear an experience described as ‘cinematic’, but what does this mean? Engaging with art, theatre, music, architecture, urban spaces and the natural world have all been described as being cinematic but they all have different constructs. What do they share that makes them feel cinematic? With new technologies at our fingertips, we are encouraged to be image-makers, broadcasters, storytellers, archivists, voyeurs and composers of the imagination. We are invited to distribute our efforts to an inter-connected world, sharing creative expression and personal observation with others. But how does this impact on the way we perceive content and understand experience? This talk will look at various ways both myself and other creative practitioners have explored the idea of the ‘cinematic’, what value it has in narrative spaces and how we can enhance its power to develop new ways of expanded engagement.
One of the traditional ways of conveying information in museums and visitor experiences has been the fixed graphic print or exhibit label but in a world where dynamic content, audience personalisation and 2-way interaction is the norm where does that leave the humble panel? Incorporating animation, typography, recorded, real-time or rendered media or automatically adapting in relation to its users, motion graphics within installations offer a powerful way of quickly establishing a dramatic context, developing narratives or releasing layers of information on demand. Damien will present a rapid fire overview of applications of motion graphics, media and data to present information and shape large scale digital experiences. We will also take a look at the emergent trends and opportunities in next generation technologies and what the ‘graphic panel’ of the future might be.
After a presentation by Philip Shepherd of PWC on the phenomenon of the Family Entertainment Centre (FEC) segment in the Middle East and North Africa region, there will be two presentations on different aspects of the experience economy – first a presentation on a new piece of research looking at the future of the experience economy then “How to create experiential content that cuts through”. The conference concludes with a short briefing by DIT on its activities in support of companies selling their products & services overseas.
With over $3bn of investment in theme parks alone in the last 6 month with many more in the pipeline, Dubai and in fact the Middle East as a whole is making big advances to becoming a leisure destination hub. The low oil price is focussing the countries on diversifying their revenue source and they are all competing to develop new attractions to drive tourism dollars. This has resulted is a hunger for new concepts and brands.
With both a growing population and tourist visitors, consumer demand still exceeds supply. This presentation looks at the current and proposed leisure developments in the Middle East, the gap between demand and planned supply and highlights the opportunity for businesses, with great brands and concepts, to succeed in these future developments.
Products and services are becoming increasingly interchangeable with ‘experiences’ emerging as consumer products. Presently difficult to measure, there are no explicit figures from the UK experience industries. Nevertheless, we can glance at the creative industries as they encompass many of the experience sectors. In January 2016, the British Government stated the ‘GVA of the Creative Industries was £84.1bn in 2014 and accounted for 5.2 per cent of the UK economy’. A substantial figure, yet the value within sales of meaningful experiences can additionally produce social value to the consumer, leading to novel commercial, economic and societal value considerations.
Adapting to these new ‘market’ conditions within the emerging experience economy is presently under researched. This study begins to answer the call for investigation into the organisation required when creating a successful world of experience. A critical literature review, and UK case studies on two iconic visitor attractions were conducted. The results are insights offering new knowledge for those practitioners operating within the experience sector.
There is a fundamental change happening in our society today. As we can see in the rise of the experience economy, there is a shift in values from materialism to “experientialism”. Instead of looking for happiness and status in things, people are finding them in experiences instead. This presents fantastic opportunities for each of us in the experience economy. But it also creates new problems and raises new questions — such as: now that people seek status through experiences, what does that mean for the content we create and are associated with? Futurist James Wallman will share his latest views, based on a presentation originally given in December 2016 to the company that invented the modern experience economy: Disney.
A short briefing by the UK’s Department for International Trade (DIT) Experience Economy Sector team on its activities in support of UK companies selling their products & services overseas.