Digital circuitry provides certain control logic, security logic and internal microprocessor logic required to operate the processor Advantageously, the UPIN stored on each tag may be used to wirelessly identify and track individual play participants within the water play attraction Optionally, each tag may also include a UGIN that may be used to match one or more play participants to a particular group or team.
If desired, the tag may be covered with an adhesive paper label not shown for surface adhesion to a quest object, clothes, or any other tag bearing surface.
Optionally, the sheet substrate, transponder or other support structure may take on any other fanciful shape, as desired. In certain embodiments, the electronically identifiable objects used by the play participants in the water play attraction may include one or more devices that are carried by a play participant.
For example, in certain embodiments, an electronically identifiable object may comprise a toy wand that the participant uses to communicate with one or more game consoles The toy wand may be configured to store, such as in a memory or an RFID tag, identification information associated with the respective play participant In certain embodiments, the toy wand may wirelessly communicate with one or more game consoles through RF, infrared, or like communications.
For instance, the toy wand may include an RFID tag for example, passive RFID tag , such as is described in more detail above, that stores identification information and that communicates with an RFID reader of one or more game consoles In certain embodiments, the toy wand further comprises activation circuitry capable of wirelessly communicating one or more command signals to one or more game consoles during the course of an interactive game.
Such a design advantageously prevents internal circuitry associated with the electronically identifiable object from being adversely affected by water from the surrounding water play attraction For instance, the toy wand may be constructed of a plastic, rubber or like material.
In other embodiments, the toy wand may be substantially surrounded by a waterproof or water resistant covering or skin. In certain embodiments, the readers are able to read the information stored on each tag when the associated participant or object is brought into suitable proximity of the reader for example, 1 to centimeters.
Advantageously, because radio waves can easily penetrate solid objects, such as plastic and the like, the tag may be mounted internally within a cavity of the quest object, thereby providing an internal communication and information storage means for each quest object.
Additional information for example, unique personality traits, special powers, skill levels, or the like may also be easily stored on each tag, thus providing further character development and interactive gaming possibilities.
In certain embodiments, the tag is initially activated by an RF signal broadcast by an antenna of an adjacent reader or activation device The signal impresses a voltage upon the antenna by inductive coupling, which voltage is then used to power the chip see, for example, FIG.
This signal is then received and processed by the associated reader , as described above, and communicated to a host computer As indicated above, in certain embodiments, communication of data between a tag and a reader is advantageously by wireless communication.
As a result, transmitting such data is possibly subject to the vagaries and influences of the media or channels through which the data has to pass, including the air interface.
Noise, interference and distortion are potential sources of data corruption that may arise. Thus, those skilled in the art will appreciate that a certain degree of care should be taken in the placement and orientation of the various readers so as to reduce the probability of such data transmission errors.
In certain embodiments, the readers are preferably placed at least 30 to 60 centimeters away from metal objects, power lines or other potential interference sources.
Typical RFID data communication is asynchronous or unsynchronized in nature and, thus, particular attention should be given in considering the form in which the data is to be communicated.
In certain embodiments, structuring the bit stream of the wireless communications, such as via a channel encoding scheme, is preferred in order to provide reliable system performance.
Various suitable channel encoding schemes, such as amplitude shift keying ASK , frequency shift keying FSK , phase shift keying PSK and spread spectrum modulation SSM , are also well known to those skilled in the art and will not be further discussed herein.
The choice of carrier wave frequency is also important in determining data transfer rates. Generally speaking, the higher the frequency the higher the data transfer or throughput rates that can be achieved.
This is intimately linked to bandwidth or range available within the frequency spectrum for the communication process.
Preferably, the channel bandwidth is selected to be at least twice the bit rate required for the particular application.
The water-based quest game in accordance with the above-described example provides a challenging, computer-orchestrated interactive gaming experience within a physical play space using electronically-identifiable physical objects as an interactive play medium.
In yet other embodiments, wireless communications other than, or in addition to, RF communications may be used in the water-based quest game.
The game provides participants with the intellectual challenge and excitement of a computer adventure game, but with tangible interactives, physical challenges, and social interaction.
Additionally, certain embodiments of the water-based games described herein may further comprise a retail phase in which a play participant may purchase, rent, or acquire one or more objects for use in the water-based quest game.
For instance, a play participant may purchase one of the electronically identifiable objects for example, a toy wand before, during or after participating in the water-based game.
Further details of systems and methods for integrating interactive game play with a retail environment are disclosed in U. Thus, it is intended that the scope of the present invention herein disclosed should not be limited by the particular disclosed embodiments described above, but should be determined only by a fair reading of the claims that follow.
An interactive play device for a water play attraction for entertaining one or more play participants, the interactive play device comprising: The interactive play device of claim 1 , wherein the memory comprises a radio frequency identification RFID tag.
The interactive play device of claim 1 , further comprising activation circuitry configured to generate the game data in response to at least one of a plurality of particular motions of the interactive play device.
The interactive play device of claim 1 , wherein said wireless communication comprises at least one of radio frequency RF communication and infrared communication.
The interactive play device of claim 1 , wherein the memory is further configured to store at least one of a group affiliation of the one of the plurality of play participants, a progress of the one of the plurality of play participants in the interactive water game, and a number of tasks completed by the one of the plurality of play participants in the interactive water game.
The interactive play device of claim 6 , wherein the transceiver is further configured to receive from the plurality of game consoles information indicative of the progress or the number of tasks completed.
The interactive play device of claim 1 , wherein the waterproof covering is in the form of a bracelet. The interactive play device of claim 1 , wherein the interactive water game comprises a plurality of interactive water challenges to be completed by the one of the plurality of play participants.
The interactive play device of claim 1 , wherein the waterproof covering comprises a plastic substrate. The interactive play device of claim 1 , wherein at least the memory and the transceiver are embedded in the waterproof covering.
The interactive play device of claim 1 , wherein the covering is configured to adhere to the one of the plurality of play participants.
The interactive play device of claim 13 , further comprising activation circuitry configured to trigger the transceiver to transmit the player identification data and the progress data.
The interactive play device of claim 14 , wherein said triggering is in response to a particular movement of the interactive play device with respect to at least one of the plurality of game consoles.
The interactive play device of claim 14 , wherein said triggering is in response to a request from at least one of the plurality of game consoles.
The interactive play device of claim 13 , wherein the progress information is indicative of a number of challenges completed by the play participant in the interactive water game.
The interactive play device of claim 13 , wherein the progress information is indicative of a gaming level of the play participant.
The interactive play device of claim 19 , wherein said waterproof means is configured to be inserted over the hand of the one of the plurality of play participants.
US USB2 en Methods and systems for thermal control systems for self-contained floating marine parks. Method and system for the implementation of identification data devices in theme parks.
System for automatic collection and distribution of player statistics for electronic dart games. Amusement apparatus for a shooting game with successive potential scoring emissions.
System and method for using radio frequency identification in retail operations. Photo kiosk for electronically creating, storing and distributing images, audio, and textual messages.
Portable wireless game device and method for influencing an application executable from a fixed-location platform. Video game device, new practice creating method and readable storage medium storing new practice creating program.
Method and apparatus for displaying information regarding stored data in a gaming system. System and method for automatically editing captured images for inclusion into 3D video game play.
Aerial projectile game comprising a target having means responsive to not being hit. Acceleration error compensated attitude sensing and control apparatus and method.
Assembly having an electrodynamic acceleration sensor, and an evaluation circuit. Method and apparatus for automatically measuring alignment errors and improving guidance only when shooting and directing ballistic weapons against moving targets.
Simulated shooting game with continuous transmission of target identification signals. System for bilateral communication of a command station with remotely located sensors and actuators.
Integrated, redundant reference system for the flight control and the generation of attitude and heading information. Work station for process control personnel - has display fields with windows accessed by mouse selection.
Gaming chip with implanted programmable identifier means and process for fabricating same. Vehicle yaw momentum detecting device, method, and vehicle motion control device using them.
Electronic system and method for monitoring abusers for compliance with a protective order. Remote control device for controlling apparatuses carried on the body, in particular hearing aids.
Pointing device having improved automatic gain control and information reporting. Camera having a display unit including multiple display areas and a connector mounted parallel to said multiple display areas.
Multi server, interactive, video-on-demand television system utilizing a direct-access-on-demand workgroup.
Method and apparatus for controlling force feedback interface systems utilizing a host computer. Method and apparatus for controlling human-computer interface systems providing force feedback.
Optical system for determining the roll orientation of a remote unit relative to a base unit. Method and apparatus for determining position and orientation of a moveable object using accelerometers.
Apparatus and method for providing different input device orientations of a computer system. Inertial orientation tracker apparatus having automatic drift compensation for tracking human head and other similarly sized body.
Gun game machine having a sliding gun barrel cover for simulating the impact of a fired gun. Position tracking and imaging system for use in medical applications using a reference unit secured to a patients head.
Interactive personal interpretive device and system for retrieving information about a plurality of objects. Data utilizing game system, data preparing device to be used for the same, game device and data card.
Motion sensitive light and battery assembly switched on and off by the oscillation of a helical spring. Function expansion device and operating device using the function expansion device.
Ergonomic man-machine interface incorporating adaptive pattern recognition based control system. Self identifying remote control device having a television receiver for use in a computer.
Video pinball machine controller having an optical accelerometer for detecting slide and tilt. Image processing method using the three-dimensional image processing apparatus and it.
Video game system with state of next world dependent upon manner of entry from previous world via a portal.
Video game system and method with enhanced three-dimensional character and background control. Radio frequency identification card and hot lamination process for the manufacture of radio frequency identification cards.
Video game system with coprocessor providing high speed efficient 3D graphics and digital audio signal processing.
Shooting simulating process and training device using a virtual reality display screen. Radio frequency transponder method for identifying geographical locations such as survey traverse points.
Direct view interactive photo kiosk and composite image forming process for same. Pen-shaped handwriting input apparatus using accelerometers and gyroscopes and an associated operational device for determining pen movement.
Method for processing video and audio signal synchronously with motion of body and video display device. Motion-measuring device and electronic game device with motion-measuring device.
Apparatus for remotely controlling auxiliary doorbell chime from doorbell push button. Apparatus for audio dictation and navigation of electronic images and documents.
Television graphical user interface employing remote random access pointing device. Graphical user interface for establishing installation location for satellite based television system.
Method and system for simultaneous operation of multiple handheld control devices in a data processing system. Method for resolving signal collisions between multiple RFID transponders in a field.
Data compression device comprising input connector for connecting to game player system, output connector for connecting to memory card, and virtual memory page switch.
Game system capable of playing between different kinds of game machines through use of backup data. Training and safety device, system and method to aid in proper movement during physical activity.
Information display control method for a portable information terminal apparatus and the portable information terminal device.
Method and apparatus for tracking a hand-held writing instrument with multiple sensors that are calibrated by placing the writing instrument in predetermined positions with respect to the writing surface.
Method and apparatus for remotely changing signal characteristics of a signal generator. Display control apparatus and display control system for switching control of two position indication marks.
Method and system for vehicle directional control by commanding lateral acceleration. Photosensitive input peripheral device in a personal computer-based video gaming platform.
Communications system and method, fleet management system and method, and method of impeding theft of fuel. Image display and remote control system capable of displaying two distinct images.
Control method for displacement or angle setting device in automobile e. Device for inputting a signal of a remote controller in an image displaying apparatus.
Operation indication outputting device for giving operation indication according to type of user's action. Method and apparatus for accessing a remote location by scanning an optical code.
Electronic amusement device and method for propagating a performance adjustment signal. Thematic response to a computer user's context, such as by a wearable personal computer.
Apparatus and method for detecting electrical resistance change in connectors to a remote mounted sensor. Video game device, character training control method for video game and readable recording medium with recorded training program.
Video game system having a control unit with an accelerometer for controlling a video game. Recording medium readable by computer, display control method of game, and game device.
System for remote communication with an addressable target using a generalized pointing device. Battery module transceiver for extending the range of an infrared remote controller.
Portable game apparatus with acceleration sensor and information storage medium storing a game progam. Laser transmitter assembly configured for placement within a firing chamber and method of simulating firearm operation.
Firearm laser training system and method employing modified blank cartridges for simulating operation of a firearm.
Attitude estimation in tiltable body using modified quaternion data representation. Methods and apparatus for integration of interactive toys with interactive television and cellular communication systems.
Microcontroller system control method for use in e. However, those plans were shelved in , in the wake of the Egyptian revolution.
The plans will be similar to the original plan,. There will also be submarine tours with glass observation windows to further explore the museum.
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 between the tools we have to prevent or preserve, and the destruction these in-danger heritage sites face from the likes of ISIS.
Off-peak tourists visiting between November and. Explaining its reason for the suit, SeaWorld argued that animal welfare is governed by federal and state laws that do not fall within the jurisdiction of the CCC and that the decision to make the ruling in relation to ultimate approval of its Blue World Project at SeaWorld San Diego was unjustified.
By imposing broad new jurisdiction. Set to house two nile hippos, the paddock — designed by architects Cornette-Violetta — will include an underwater viewing area for visitors, employing a multi-million dollar bespoke filtration system designed to manage the large amount of waste produced by the hippos on a daily basis.
The new exhibit is being developed to lEED standards, something the zoo holds in high regard as it has been dubbed the. Saving Animals From Extinction is an initiative that is deepening the substantial science and conservation work that is being done by AZA-accredited facilities and combining the power of zoo and aquarium visitors with the resources and collective expertise of zoos and aquariums and partners to save animals from extinction.
Held in Johannesburg, South Africa in August , the meeting brought together representatives from conservation organisations and government agencies.
The group also worked to update the range usage maps for both species to determine which areas have resident populations, which are corridors supporting animal movement through these areas, and what areas are prime locations for supporting these species.
Despite the challenges ahead, the meeting was a success as it help build the collaboration of all involved in cheetah and wild dog conservation.
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.
So there might be a missing column for example,. According to Trimble, the HoloLens. Interactive Lego ride uses hand gestures Legoland California and Legoland Billund will introduce a revolutionary new dark ride in with the debut of Ninjago - The Ride, which for the first time will offer interactivity through nothing but hand gestures.
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 you view specially-designed images through an app, the character you draw comes to life in an augmented 3D virtual space.
The technology can recognise boundaries in a similar way to a QR code reader but can also recognise the drawing itself and the colours applied to it, even if the image moves.
An app-enabled device will be able to move degrees around the character, which is created by mapping each pixel on the 2D drawing to each surface pixel on the 3D animation.
The research team is now taking the revolutionary new technology beyond drawings and looking at how it can apply it to musical and educational experiences.
Ubisoft is partnering with developer, designer and operator R-Segari Group RSG on the 15,sqm ,sq ft theme park, which will be in Kuala Lumpur, Malaysia, and feature cutting-edge Ubisoftthemed rides, attractions and shows.
The more time they spend with us, the more it means they love the brand and the happier we are because it means they will keep coming back to us.
Finding the right time to do it was really a question of having enough brands and enough equity within those brands, as well as the will and determination to realise such a project.
And, most importantly, you need to make sure you find the right partners to work with on these developments. It was about a year ago was when it became clear to us that Ubisoft as a brand has the strength to do a park based on its own IPs as opposed to rides at other visitor attractions, as we have done with projects such as the Raving Rabbids Time Machine 5D ride at Futuroscope in France.
Next for Ubisoft is finding the right partners to develop more visitor 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.
Electronic Arts is also looking to get in on the action, unveiling a pair of theme park collaborations based around Mass Effect and Plants vs Zombies.
Six Flags has recently seen the appeal of video games too, temporarily incorporating Street Fighter V and Monster Hunter into its parks.
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 idea is to continue the story in a new medium. The first was spirit. The people we are working with are completely in tune with what we have in mind.
What can we do to better accommodate older visitors? The plus market is growing and this age group tends to be internet savvy with plenty of spending power.
Is your attraction welcoming them? In developed countries especially, people are living longer and birth rates keep decreasing.
The market is shifting dramatically, and that means every industry needs to start actively responding to the ageing population.
In the EU alone, the number of elderly will almost double from 85 million in to million in The numbers are vast, but we must remember that each person will vary wildly from the next in personality, physical ability and financial situation.
From now until , the 15 to 64 age group in the UK will, on average, grow by just 29,, compared to a growth of , in the over 65s group.
In more economically developed nations, the proportion of overs will rise from 16 per cent to 26 per cent. The over 80s will rise from 4.
Overs are a less budgetconscious market. They fund trips, make decisions and are available during off-peak hours. There are many compelling arguments for the attractions industry to do more to appeal to the older customer.
This can be a less budget-conscious market and multi-generation days out and holidays are growing in popularity. Grandparents often fund these trips and make the important.
Furthermore, as the demographic is changing, culture and heritage has been identified by the EU as a way of stimulating mental health, which could potentially become another revenue stream for museums and galleries going forward.
They bring experience, maturity, knowledge, memories and enthusiasm which can be a tremendous asset in this industry, as we have seen in the heritage sector.
Is investment in attractions aimed specifically at them necessary, or will aiming for the family market suffice? Should older people be reflected in the marketing and should there be discounts and memberships tailored around this age group?
How about the design of parks and attractions? We ask the experts. Francesca Rosenberg MoMA, director of community, access and schools programmes At the Museum of Modern Art MoMA in New York, we have always offered programmes to older adults, but we wanted to do more to specifically appeal to them so we started an advisory board made up of people aged from 61 to We asked them to try out a selection of our programmes, courses and workshops, both at the museum and online, to establish what was missing and what more we could do to meet their needs.
Firstly, we found out that they liked the idea of being with people their own age,. They also liked having their peers and cohorts in charge.
They also wanted an invitation: We started a film programme as a consequence of the feedback, as lots of them wanted to delve more deeply into our film collection.
MoMA did a lot of training in communication techniques, with both front-of-house and back-of-house staff, to make sure that they all really understood this age group and would be able to provide a positive experience.
Opportunities were created for grandparents to come with their grandchildren, to look at art and create art, but also to come on their own, or with their own peers.
We ran a free day for the overs in May, offering extra programmes and workshops and a discount in the restaurant.
When promoting this we had to think carefully about the media channels that age group uses, and also to reflect that age group in the marketing itself.
We started an advisory board made up of people aged from 61 to We asked them to try out a selection of our programmes and workshops to establish what more we could do to meet their needs.
Our overall philosophy and strategy at Europa Park is to try to suit all ages. Three generations of the Mack family live at the park and they want to experience things together.
For example, the latest 4D movie, The Time Carousel, has been pitched not to be too fast. We have also strengthened the areas of the park which are of particular interest to older people.
In the Castle Park area we have paid great attention to the gardening and landscaping to create a calm and relaxing atmosphere for older guests to get away from the noise and action.
Europa Park turns 40 this year, so our original guests are now coming with their own grandchildren.
We aim to appeal to them with quiet spots, a variety of restaurants, family rides, entertaining shows and high-quality hotels, with golf and wellness offers.
In order to attract this audience, we work hard to put together appealing special offers and then take these to trade shows and work with magazines read by this particular demographic.
We have found that this audience interacts with the park differently: They also like to stroll and appreciate the landscaping.
Going forwards we will continue to come up with attractions which appeal to the broadest audience possible.
Henrik Zipsane Jamtli Foundation, CEO To be sustainable in the future, the attractions industry needs to produce something for this market.
At the Jamtli Foundation, a museum and heritage organisation in Ostersund, Sweden, we started looking at this area about 10 years ago and we implemented three new strategies which have all been very successful.
Firstly, we recruited a number of older volunteer staff. They take evident pride in their work and produce a fantastic atmosphere.
It makes visitors feel more comfortable when they see staff from their age group. Another advantage of using older volunteers is that. They want to be part of the story.
For example, between the s and s there was a Swedish policy of moving older people out of the countryside and into purpose-built towns in order to be near their offspring.
We plan to create more environments which show how older adults live. Another successful initiative has been inviting groups of dementia sufferers into the museum.
We have a problem in Sweden with unders suffering from dementia. The state gives their carers eight hours a week of free time and part of this time.
We created the environment of a s house, which can be used to jog their memories of happy, younger years. This has had very good results and been engaging for them.
They are very calm and happy in this environment and it is a costeffective intervention for the municipality. Older people need something to engage them.
One supermarket chain started building supermarkets around the needs of older people, but they were reluctant to talk about it.
They then incorporated the design features — wider aisles, larger font on signage — into their general stores, which benefited everyone. This age group cannot be ignored.
Older consumers are spending more and will continue to do so. They make decisions on behalf of their children and grandchildren and they pay for the day out.
Implementing changes to make attractions more welcoming for older people will benefit all users. You can offer food at different price points. If theme parks want repeat visits from older people they also need something to engage them.
Larger attractions should consider providing mobility scooters to help older people to get around. We can look to places like Las Vegas and Benidorm, which are — unofficially — becoming age-friendly resorts, where older people are met at the airport, offered a range of mobility options and where all restaurants are wheelchair accessible.
Older people are comfortable there, so they stay longer and spend more. Gone, not ForGotten DismalanD: The reason was the anonymous urban artist, Banksy, and a satirical pop-up art attraction Alice Davis, managing editor, Attractions Management.
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.
Dismaland brought people out, together. It got people talking, it got them excited and — whether they were supposed to or not — they had fun.
We see plenty of crossover between sectors in the modern industry, with museums seeking to entertain and visitor attractions seeking to educate.
Banksy took this to the extreme with an art gallery in an amusement park — although he says he was not too pleased with the result.
I think the whole idea might have been a big mistake. The Dismaland website — which dripfed information to a clamouring public — is now defunct, and just a photo of a cardboard-cutout Dismaland remains.
But Dismaland left much in its wake. The Hoteliers Association said an additional 50, bed-nights were sold.
In the long queue to get in, the buzz of expectation came from an enthused arty crowd and a younger, more rebellious visitor.
There were very few children, and none of the usual theme park visitors here. Frayed and run down, but well put together with no signage needed.
The art is highly politicised. The world of Disney had to be parodied. Mickey Mouse was eaten by a snake. It tells the story of the role of design in keeping people in line.
A woman is attacked by seagulls and a killer whale performs in two sculptures by Banksy. In an indoor gallery, contemporary art is on display. Or because it was a parody of a theme park?
From a theme park perspective it shared the. I spent two hours, but I could have spent four. The setting in a slightly worn English seaside resort and an abandoned building was perfect.
The art complemented the setting, and it was challenging in terms of the subject matter. The staff were something else, and they really did looked bored.
You went in with interest but expecting little and you came out, well, enlightened! Funny, entertaining and frankly unique: Little Mermaid was distorted and disfigured.
In a traditional gallery, it might be too dark. I found the timeline explaining the history of CCTV enlightening — it made me think about how we blindly accept an increasing lack of privacy without questioning where it might be leading us.
Not all of the exhibits worked for me — some felt one-dimensional; as though they were trying to be clever without any genuine meaning behind them.
The oil caliphatethemed crazy golf course Mini Gulf fell into this category. Queues to get in, queues for the rides — but no queues for the toilets.
Is riding out your day on theme park rides the equivalent of riding to hell in a handcart? Fiddling while Western civilisation burns?
We never had an official title, but came to be known as Dismal Stewards or, more affectionately, the Dismals. How did you apply? I saw it advertised on reed.
It was also in the local paper, a tiny ad that barely anyone noticed. What did you know about the job? At the end of the third day we got more details about the job — only because a tabloid had leaked something.
What was the brief for your job? How hard was it to look so dejected? I found it quite easy being Dismal — but then I do want to be an actor. The hardest part was not smiling or laughing.
The improvisation training did help us each find our own unique Dismal approach. How did visitors react to Dismaland? Most people loved our Dismalness and the more miserable we were the better.
There were others who thought we were rude and bad at our jobs and got quite upset with the concept. What did you think of Dismaland? Was there a moment that stood out?
At the masked ball — the final gig night — we all wore bandanas so Banksy could roam around and not be spotted.
That, and the very last night when the staff had the park to themselves, a free bar and the giant supermoon eclipsed — that was a pretty special night.
A night view of Dismaland top and a view of the exterior, the entrance to the abandoned lido right. A mushroom cloud artwork by Dietrich Wegner bottom left and the Little Mermaid sculpture by Banksy below.
What is the project? The project, entitled Timeless China, is a cultural experience park which is inspired by the timeless values of the Chinese cultural heritage.
Timeless China is located 35km 22 miles from the centre of Beijing, on the way to the most-visited section of the Great Wall at Badaling.
The theme park is part of Beijing Outlets World, a large complex that also includes a shopping mall, a resort and a conference centre.
When does it open and how much is it costing? What is the aim of the attraction? Some of the attractions are inspired by the future. Founded in by Natasha Varnica and Dan Thomas, the Los Angeles-based company creates high quality, original and profitable attractions on a realistic budget.
The service includes all stages of project development, from masterplanning and concept design to brand design and construction supervision.
The idea was to connect the attractions with the limitless possibility of travel within China, without temporal or spatial limitations.
Some of the attractions are dedicated to Beijing as the capital city. Who is the target audience? Both local people and domestic and international tourists.
How big is the attraction? Can you describe your design? The architectural forms, colours, textures and shapes of the buildings are a combination of stylised old and new forms, forming a new and distinct, eternal architectural form.
Timeless China has two entrances: The theme park will be divided into two zones, one with indoor attractions with partially covered walkways and another completely outdoor area with outdoor attractions.
The layout of the theme park is designed to transform the relatively small area of 76,sqm into a very diverse and, from the point of view of the visitors, much larger area.
The configuration of pathways makes it look much bigger than it actually is, and there is additionally a second-level walking area in the central part of the park, connected by three bridges.
Every part of the project will have a green, individually designed landscape to fit the overall space-time vortex theme. As part of the wider concept, the environment is very important and in itself plays the role of an attraction.
Timeless China has a wide range of unique retail and. The Voyages of Discovery is a boat ride and special effects theatre attraction based on seven expeditions of the admiral Zheng He.
One of the areas of the park is specially dedicated to the concept of organic food and a healthy lifestyle and this concept is present throughout the park.
What was your inspiration? The inspiration was Chinese cultural heritage. The inspiration for the concept design is a vortex of time, a trans-dimensional spiral that connects different points in space and time.
What do you want to achieve? Our goal is to develop a world-class theme park in China and to create. What themes and motifs are you using?
Important historical events from Chinese history, Chinese myths and legends, modern technology and the simulation of future technology. What materials are being used?
Who are the suppliers? Most materials are sourced and supplied in China, with a couple of foreign suppliers. For us, every project is different.
How is this one-of-a-kind? Here, for the first time, we have a fusion of two of the latest concepts: The theme park is designed to introduce a human-scale environment into a huge city, and to create something unique by building an original IP for the park.
The interpretation of historical events and legends is also original. Timeless China is modern in terms of technology and ride systems used in the attraction and in its abstract interpretation of historical heritage.
Should we assume that guests want clear-cut and simple attractions, or ask if they want to be challenged? Scott A Lukas investigates. They use the most evocative sensory approaches and the most powerful ways of storytelling.
The themes, topics and contexts used in immersive storytelling in contemporary spaces vary, but they tend to follow memorable patterns and reflect common elements.
These common elements of themed and immersive spaces include branding, good versus evil, freedom, conflict, sexual appeal, positive history and nostalgia, optimism, myth, progress, the future, happiness and clean death.
In contrast, other patterns and elements tend to be considered either not at all in popular spaces or only in certain ones — notably, the museum and interpretive centre which, as we shall see, often ask the guest to deal with dark and depressing issues.
One reason we see certain topics predominant in themed and immersive spaces is their archetypal quality. Mythologist and scholar 50 attractionsmanagement.
Another reason for the predominance of certain themes is to do with the nature. Disaster spectacles — like Fighting the Flames at Dreamland, Coney Island — realistically recreated terrifying events.
Certain spaces rely on specific themes or contexts for their stories because of the main purpose of their venues.
Theme parks, as an example, commonly offer guests the idea that the theme park is an escape from their everyday reality and thus topics that might remind guests of their non-theme park lives should be avoided.
Mood refers to the emotional and subjective feelings of guests as they interact with a space. Yet, the question remains, should such topics, themes and contexts play a larger role in more spaces of popular amusement?
A Tradition of Dark Topics There was a time when controversial, dark and depressing topics were represented in popular amusements.
Udamus modio illantuscias assinctecus num sit, officiis assi voluptate si quam velestiur rerovit lignimi. During the period that followed and culminated with Disneyland and Six Flags Over Texas, popular amusements changed.
Many designers were influenced by Walt Disney and Angus Wynne Jr, who believed that popular amusements needed to be cleaned up, and thus a trend developed in which the previous displays of dark, unsavoury, controversial and grotesque topics would become much less common.
Some designers and operators felt that while one could present a topic like the Boer War, the dark nature of it could be off-putting to guests.
New trends on the horizon will, perhaps, impact the ways in which leisure designers approach the themes, topics and contexts of their spaces. Influences from Popular Culture Themed and immersive spaces do not exist in a vacuum.
The changes in the design, content and thematic aspects of these contemporary spaces can be linked to significant developments in the worlds of consumer and popular culture.
Anti-Heroes and Bad Characters: Popular TV dramas like The Wire, Breaking Bad, Luther and Dexter point to a trend in which audiences root for the bad guy or come to terms with the fact that the protagonist of the drama is flawed, often deeply.
In themed and immersive spaces, the anti-hero has the potential to disrupt the tendency in which rides and attractions feature stereotypical good guys who defeat the stereotypical bad guys.
In place of such storytelling is a potentially more potent and disturbing storyline in which audiences are presented with morally complex characters and dilemmas — all of which suggest a moral relativity that could impact the world of popular amusements.
The Blurring of Media: In recent years, popular storytelling has become more complex. Forms of media convergence and transmedia — in which fans of popular culture play a greater role in the stories and in which the stories themselves stretch across multiple media forms and platforms — have impacted the ways stories are told in themed and immersive spaces.
Mobile technology and approaches that extend the narratives of rides and attractions beyond the immediate attractionsmanagement. 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. 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.
Across the world, people participate in immersive and engaging dramas that span the historical, cultural and imaginative realms of society.
Historical reenactment in which participants recreate a time period like the Civil War and LARPs or live action role play are examples of evocative settings that allow those involved to more fully experience the sights, smells, sounds and experiences of another world, regardless of its specific origins.
Such forms of creativity have also drawn attention to the depth of consideration that may be applied to the creation of and participation in an immersive or themed world.
In the case of historical reenactment, deep and disturbing aspects of history may be relived in order to gain a new appreciation of troubling and tragic aspects of human history.
Such deep realism may be applied to the many contemporary. Conceptual spaces challenge the traditional understandings, uses and constructions of themed and immersive spaces.
As conceptual spaces they get us to think about themed and immersive spaces in the deepest senses possible. One could call it a museum, but this misses the point of the space, which is to challenge our perceptions of what a museum is.
An exhibit of a bat suspended mid-flight in a piece of solid lead — it is said to have got stuck while using its unique technique of.
An evocative use of sensory design suggests a much different approach to the staid museum. Controversial Spaces The many controversial themed and immersive spaces of the last few years vary greatly in the contexts, approaches and stories that are used to give meaning to their environs.
Themed restaurants may use a unique theme — like toilets or hospitals — as a way of distinguishing themselves from other competitors.
The effects of these trends will likely be felt in future embodiments of themed and immersive spaces. We may reflect on some examples of spaces that have, in various ways, pushed the limits of traditional themeing and immersive world design.
The park would have included historical reconstructions of a Native American-themed area, a Civil Warera theme land complete with a Coney Island like Monitor and Merrimac battle reconstruction and other themed lands.
The controversy stems from references to the Civil War. For such critics the form of the themed space. For many, the topic of the Civil War belongs in a museum or a historical reenactment, not in a theme park.
Unfortunately, such views are limited by their traditionalism. As more and more blurring occurs in the outdoor entertainment industries, we will likely see museums adopting principles of theme parks and theme parks appropriating the approaches of museums.
Industry conferences, like those of the Themed Entertainment Association TEA , reflect more and more dialogue between designers and operators of themed and immersive spaces that have in the past seemed worlds apart in terms of their contexts, themes, designs and approaches.
As well, education and entertainment need not be seen as being in competition with one attractionsmanagement. 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 the immersive potentials of entertainment and the pedagogical potentials of education may go hand in hand in a themed space.
Why the Limits May Be Pushed As design approaches and guest interests continue to evolve, themed and immersive spaces have unique opportunities to push the limits of the stories that are told in their spaces.
New spaces offer the ability to retell a story in new ways. We discover that many themed and immersive spaces follow the same design and narrative lines, resulting in ritualistic, stereotypical and traditional spaces that look very similar to all the other spaces.
Thus, designers may look to new topics and approach themeing by emphasising new perspectives. The unique telling of the story of the soil and its organisms illustrates how attraction design may push the limits through not only the topic being told but how it is told.
There are many important reasons why theme parks, interpretive centres, 54 attractionsmanagement. One reason is to be more inclusive and to speak to the diverse needs of guests in terms of their backgrounds and life interests.
Likewise, spaces may reflect the tendencies of social change that are found outside of their confines. As societies change, themed and immersive spaces have an opportunity — some would say a responsibility — to reflect such change.
The values of multiculturalism, for example, have begun to play a greater role in many contemporary leisure spaces.
Awareness of the guest does not end at his or her consumer needs. These and other spaces grant the guest their intelligence, as attractions designed for complexity and depth, to intellectually and conceptually.
Spaces may also place greater emphasis on the guest by stressing values of reflexivity and complicity. Team Earth on Celebrity cruise ships asks guests to examine their complicity in environmental issues.
The Museum of Tolerance and other Holocaust and genocide museums ask guests to confront their own prejudices. The industry should lead the way in incorporating these new approaches that challenge the limits of their spaces.
New topics that focus on dark cultural issues, controversial subjects and disturbing aspects of history should also be explored as they allow us to not only to entertain guests, but to teach them important social, cultural and historical lessons.
The risks of including such topics in future themed and immersive spaces are numerous. The guest could be alienated, turned off or outright offended, and the ultimate outcome could be lost revenues — making mute any conceptual gains that might be made with greater inclusion of dark and controversial contexts.
No doubt the future of themed and immersive spaces will reflect this tricky compromise. Scott A Lukas is an author and researcher who specialises in immersive worlds and cultural remaking.
He studies theme parks and themed spaces, film, video games, gender and crime. 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.
Using this system, the Museum of London saw a massive increase in visits last year; Royal Botanic Gardens at Kew is increasing its exhibitions engagement; the Tate Modern is maximising its audiences; and Historic Royal Palaces HRP is using the insights across every area of its work, from marketing to interpretation to retail.
The system is called Culture Segments and it takes a psychographic approach to classifying customers. Audiences are not homogenous. To be audience-focused, we need to understand and meet those needs and wants.
Segmentation is a good half-way house: Many segmentation systems are based on demographics such as age groups, life. There are other proprietary systems that are based on making assumptions about the attitudes and values people might have depending upon their postcode.
Most of these systems are concerned with finding audiences for mass-market products and so they take a broadbrush approach. Cultural activity is highly discretionary.
The motivations people have for engaging with culture and the benefits they seek are highly personal. In this respect, broad demographic groups are not homogenous in their attitudes towards culture.
Through years of research we have found that values and attitudes are the key factors that drive cultural behaviour. Some people are open to taking risks with what they see and do, others are more conservative and want the reassurance of popular events.
Some people want to have a great time with friends; others want deep and meaningful experiences, sometimes on their own.
Some people want to be challenged and provoked while others want the comfort of familiar things. Some people have their imaginations fired by the creative process, while others prefer to be wowed by the finished article.
Some people want to learn; others want to have fun. These and many other factors determine the type of cultural consumer an individual is.
Segments Morris Hargreaves McIntyre identifies eight distinct types of cultural consumer and multivariate 3D cluster analysis.
The system divides the majority of the adult population into eight distinct groups. It was important for me that the museum went beyond the broad classifications of audience.
I wanted to understand motivations as much as demographics. Culture Segments allowed us to identify core audiences and effectively target exhibitions at existing and new segments.
A Michael Caine exhibition and a Sherlock Holmes exhibition were aimed at attracting specific audiences. We chose to target them, because where they lead, other groups will follow.
A new tweed was developed by the Museum of London in partnership with Liberty from colours mentioned in the Sherlock Holmes books.
It was used to make items for the museum shop. We have found using YouTube videos to promote our exhibitions is not only effective, but quick, economical and sharable.
In , the exhibition was Sherlock Holmes: Everything from our advertising to our late nights to our Sleeping with Sherlock sleepovers, all our products tried to be more contemporary and to connect more with audiences.
We also did a Museum of London tweed. 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.
Culture Segments were used to understand visitor motvations. Reaching your audience Using these insights about their markets, organisations can begin to develop crossdepartmental strategies to respond to the needs, values and motivations of audiences.
This gives teams across departments a common language for talking and thinking about audiences. Culture Segments have worked effectively for the Museum of London, where they have increased their audiences from , to over 1 million in the past two years.
The museum used Culture Segments to identify its core, priority and developmental audiences, creating events programmes to attract new groups and effectively target exhibitions at very different segments, thereby attracting entirely new audiences.
Understanding your visitors At HRP, every department is familiar with Culture Segments and develops its strategies with its priority segments in mind.
Each palace has priority segments that inform programming and events planning. Developments, retail and catering offers are all increasingly being informed by research with key segments.
Applying the segmentation developed for the attraction — which is based on the attitudes, needs and motivations of visitor groups — enabled Kew to understand its festival visitors through a segment lens, and to.
This has allowed the attraction to actively focus on and address visitor engagement with their festivals. Culture Segments are universal. It works across the subsidised and commercial cultural sector from performing arts and exhibitions to plays and visitor attractions.
VAE certainly attracted a wide spectrum of exhibitors, each with a unique product offering for operators of leisure parks, piers, indoor attractions, zoos, adventure play and indoor play.
VAE showcased the latest products from. A number of specialised service providers also exhibited, offering leisure development consultancy, insurance, purchasing and procurement solutions, safety consultancy and staff training.
With visitors also enjoying free access to EAG International, the product offering was further extended to include: Networking opportunities at VAE were also excellent, with events held by individual trade associations and interest groups.
VAE is differentiated from other industry events by a number of factors: VAE is run by the industry for the industry In common with its sister show EAG International, VAE is not part of a large corporate portfolio, meaning it can focus exclusively on its participants.
VAE will be held in the same location and at the same time every year Many operators of smaller attractions in particular have indicated that they are unable or unwilling to travel overseas to trade shows.
VAE has a very interesting neighbour! As the distinction between out-of-home leisure markets becomes increasingly obscured, visitors to both EAG and VAE are likely to find business-transforming products at both shows.
The critical-mass achieved by joining the shows has had an. Some of the products on display can have a major effect on profitability.
RegisteR now at www. SATE The rules are changing. Conference attendees were welcomed to a showcase of student projects at the ETC, were active participants in demonstrations of projects in development at the Disney Research Labs, treated to drone flying demonstrations and gained insights into how the Pittsburgh Penguins NHL hockey team is integrating technology into its arena and fan experience.
Speakers explored the trend and identified examples, demonstrating that the nature of experience design is changing.
Marketers are creating brand activations that include destinations — built environments — as one pillar of a total campaign.
The in-person experience is In the world of themed entertainment and built environments, what is happening that parallels or echoes this marketing evolution?
How are themed entertainment experiences expanding their traditional boundaries? Are there categories of work that used to be the responsibility of the marketing department that are now falling to the experience designer?
What other industries offer examples that help us meet the expectations of audiences? In order to do this, he challenged experience creators to consider smaller attractions.
Attendees are assigned an identity a character and a costume and join a community when they purchase a ticket — before the event even starts. Secret Cinema creates further opportunities for attendees to interact at social events, where they must still wear their costumes.
It becomes a season-long community event that creates value with immersion. Adam Bezark is always a thought-provoking and popular speaker. He engaged the audience immediately by wondering if we are artists, if the experiences we create are ones that will stand the test of time, asking if people will study them in years?
He shared what he believes makes great art great: Of course the people who created these shows and designed and fabricated the structures are all artists, Bezark said.
Then he challenged delegates with this question: Given that many of us have training in some kind of visual art, design or theatre, we certainly were reminded of our roots and inspired to think about our work differently.
Bezark shared some advice on how we can return to those roots or find our inner artist. She challenged the group to become instigators, like that childhood friend who always dared you to do things.
Francl shared the trends she sees emerging, which include a new focus on spirituality and creating havens, contrasted by unexpected and provocative pop-ups that are immersive brand experiences.
She also suggested that community is more important than ever and that this extends to experiences that are customised to incorporate local connections.
She also said the trend towards collaborative consumption has led to a shift in consumer values — a shift in priorities from ownership to access, and from me-to-we through crowdpower and mobile collaboration.
Francl talked about how the world we are living in motivates us to redefine the nature of experience and of service — she suggests our work will no.
He reminded the group that, like all technologies, the development curve takes time, like the evolution of the TV, which has taken 45 years to get to where we are today.
New VR is different and will be successful because it brings a feeling of presence that is powerful, he said. The products already available or coming attractionsmanagement.
Wahl admitted there are capacity challenges, so the initial implementation will be rolled out to select groups such as season pass holders, hotel guests and those willing to pay a premium.
Wahl agreed VR is a great way to update a ride. He was pragmatic about the downsides — they are using the Samsung Gear but accept there are technology challenges with a new and quickly evolving product.
Our attention spans are shorter than ever and our tolerance for information, the speed we process it and our ability to focus have all changed, he says.
Our devices are poking the outside world in and the inside world out. They provide social, meaningful interactions — so what should we do? No, says Jeffery, because they have value in an experience.
They represent convenience on-demand because they separate the fun from the functional — use devices to allow you to focus on the fun by getting the practical details out of the way.
They offer personalisation — like Trunk Club and Netflix. Your device knows you and can provides concierge-level service and customise experiences for each guest.
And perhaps most importantly, devices offer opportunities for experience layering, including gamification: After the experience, it allows you to connect experiences to create your own story out of the experience you had.
Ultimately, Jeffery said, we can take advantage of that digital literacy to focus on the personalisation opportunities. Daniels has enjoyed a career spanning four decades, portraying the beloved C-3PO in the Star Wars films and having the privilege of broadening his involvement to many extensions of the franchise as the character and hosting various symphonic events, especially Star Wars in Concert in its US and European tours.
The upcoming release of Star Wars: 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 extending the experience. The conversation circled around the various ways the Star Wars franchise has been leveraged and expanded to invite people to step into the stories.
Among the highlights of the conversation was how the C-3PO costume has changed — evolving from a metal construction made from a full-body casting that required two hours to put on and was so heavy, Daniels considered not participating beyond the first film.
The current costume is 3D printed and easily worn and modified. Daniels also told the story of how George Lucas auditioned many actors to be the voice of C-3PO after filming was complete on the original Star Wars movie.
Eventually he decided nothing fitted the original like the original, and asked Daniels to record his own voice.
Avoiding specifics, he nevertheless built excitement among the attendees. He and his team have an unenviable challenge of determining how to bring the films to life in the theme parks for generations of fans whose level of knowledge is unparalleled.
The conversation was full of banter and dramatic action. Daniels had a hard time sitting still and often jumped up to act out a point.
Trowbridge took delight in playing. Themes of creating experiences that encouraged community, teamwork and shared human experiences were repeated by almost every speaker.
The presentations and conversations reminded us that we all create the art of the 21st century; perhaps we are defining the meaning of art for future generations.
Planetariums have a value proposition as centres of excellence for astronomy and space exploration, says Staffan Klashed, CEO at Sciss.
By understanding Staffan Klashed as the two most important where we stand today and features of a planetarium what the major tendencies from a survey of planetariums.
The are — tendencies that are bigger than any ability to encourage repeat visits and the single innovation, company or institution availability of new content were the two top — planetariums can shape a strategy to concerns.
All of these points are directly grow increasingly relevant. That means related to advanced software and content maintaining current, growing and recurring development, work that will be carried out audiences, and providing them with by some of those Fortunately, the planetarium industry is as important in a recent white paper increasingly successful in the competition entitled The Next 20 Years: A Vision for for talent.
As an industry, we are investing Planetariums in the 21st Century. The International the conventional planetarium technology.
Data Corporation IDC estimated in Public perception of that there were approximately 11 million astronomy and planetariums professional software developers in the People are just as interested in astronomy world, or The best ones will choose a the US General Social Survey from career in those industries that reward them says that approximately two-thirds of best financially, creatively and socially.
European numbers are online or in gaming, or in the VR headsets similar. Data from other parts of the world of the very near future — that everything attractionsmanagement.
To find out how the public feels about planetariums, we conducted our own survey by analysing reviews on the travel website TripAdvisor.
Visitor satisfaction appears to come from four primary factors: So how are we doing? According to the annual Dome Theatre Compendium survey from Loch Ness Productions, approximately million people visited a planetarium last year.
That sounds like an amazing number — I think we can be proud of our industry. In comparison, the documentary giant screen industry attracts a total of 36 million people per year, and that includes their flat screens.
Planetariums vs Giant Screen Cinemas: Planetariums have a value proposition as centres of excellence for astronomy and space exploration.
Formats vary — fulldome. We have the chance to cater to the twothirds of people who are actually interested in our topics and to give them meaningful experiences of science visualisation.
We need the public to regard planetariums as a primary place to follow events in astronomy and space exploration — that will help us. Giant screen cinemas show, for example, documentaries about butterflies, artificial intelligence, dinosaurs and aviation.
They have an amazing cinema format. In fact, the opposite appears to be true, as the public is quite invested in astronomy and space exploration.
This means planetariums are interesting places for talented individuals to work, which increases the quality of our programming and, in the long run, also our audiovisual systems — in turn attracting more visitors.
This virtuous circle has just begun, the next five years will accelerate it. The next 5 years: Big data and the virtuous circle The next five years will inevitably be about big data — the vastly increased amount of meaningful data accessible to the public.
Big data is relevant and interesting. The next 10 years: New platforms The data visualisation explosion will happen foremost on other platforms than the dome.
With this, the sense of identity in the industry will change. At the moment, most planetarians think of their planetarium as the building itself and everything under the dome, but increased visualisation capabilities online are already starting to change this.
Soon, virtual and augmented reality glasses will change the perception and value of immersion. Supported by multi-platform software solutions, planetarians will gradually start to roll out programmes and extend their relationships with their visitors.
This creates new business opportunities, thus injecting more resources and more talent into our industry. The planetarium becomes the magnet, the central point of gravity around which a vast number of satellite programmes are orbiting.
The next 20 years: Education redefined Two decades out, the very way we think about learning will be dramatically different.
In a report called Building the Future of Education: These are communities where learning is not bound by a time and a place, but happens everywhere, all the time.
This theme is everywhere already today, but. We are talking about redefining the purpose of education. Sugata Mitra, an educational researcher and TED Prize winner, has shown that in the absence of formal teaching, children can teach themselves and each other, if they are motivated by curiosity and peer interest.
As such, we have a given role in these vibrant learning grids. He has experience in the field of science visualisation and immersive digital spaces.
Over a decade ago, Staffan introduced the visualisation software Uniview to the fulldome industry and today Sciss is one of the main fulldome system vendors with over installations worldwide.