Hogwarts Express: Inside the new Harry Potter Warner Bros experience

Harry Potter fans can now see the steam train from the films. Alice Vincent climbs aboard.
For all the flying Ford Anglias, broomsticks and Floo Powder, the mode of transport which plays the biggest role in Harry Potter is the rather prosaic train.
It was on a train, from Manchester to London in the summer of 1990, that JK Rowling first thought of The Boy Who Lived. Now, seven books, eight films, millions of pounds and 25 years later, Potter’s devoted fans can walk through the Hogwarts Express: the gleaming locomotive that transported Hogwarts students between their school and King’s Cross Station.
The 78-year-old steam train that operated throughout the film franchise has been installed at a new extension of the Harry Potter tour at Warner Bros Studios in Leavesden – although those wishing to ride will be disappointed. Known, off-set, as Olton Hall, the 4-6-0 locomotive was in service between 1937 and 1963.
It was rescued from a scrapyard in 1997 and was lovingly – and controversially – repainted from Great Western Railway Brunswick Green to the crimson red of Rowling’s imagination.
When filming began on Harry Potter and the Philosopher’s Stone in 2000, the newly rebranded Hogwarts Express puffed into Kings Cross, to the wonderment of Daniel Radcliffe, Rupert Grint and the rest of the cast. A decade later, its white steam filled the final scene as Harry, Ron and Hermione, now adults, sent their children off to Hogwarts for the first time on Platform 9 ¾.
Mark Williams, who played Ron’s father, Arthur Weasley, remembers filming such scenes fondly – even though, as an on-screen parent, his first time on the train arrived with its installation at Warner Bros: “It was completely functional. It used to steam in and out with a driver and a fireman and everything.”
“We would film on Sundays in Kings Cross, and the rest of the station just used to carry on around us.”
As those familiar with Harry Potter will know, the only way to get on to Platform ¾ is to push a luggage trolley between platforms 9 and 10 – or 3 and 4, the architecture of which suited the film better. Tourists have been able to visit half a trolley attached to the brickwork in Kings Cross station since 1999 – some even getting engaged at the spot – but there are three dedicated trolleys for photo opportunities at the new studio installation.
Despite filming in a real location, Warner Bros have recreated a King’s Cross platform to give the Hogwarts Express context. Each brick, made from plaster of paris sheeting, has been meticulously painted to resemble that of the station, and a glass roof has been created overhead.
As if to honour the magical steam that emerges from the Express in Rowling’s books, white clouds billow from the train with convincing sound effects. It elevates the prop from being a transport museum extra. “They’ve done a brilliant job with the puffing,” Williams admires, “they’ve captured the rhythm of a real locomotive.”
The wooden-panelled corridors of Olton Hall are too narrow to capture some of the film scenes which took place there – such as Harry, Ron and Hermione’s first meeting and the dementor attack. While visitors can snoop around and spot props belonging to Hogwarts characters, the first opportunity to sit in a carriage comes at the back of the train. Here lies an adapted carriage, which faces a large space for a camera and lighting crew to capture the action taking place.
Williams delights in the attention to detail: there are old-fashioned signs, dainty light fittings and aluminium luggage racks. Radcliffe and other members of the cast sat on old British Rail model carriage seats.
Across the exhibition space, several more open carriages are awaiting visitors. Their windows open up onto a green screen, where mountainous landscapes, flying cars and more sinister things roll by.
For now, the Hogwarts Express is still under wraps: technicians tinker with the tracks and the laden sweet trolley looks gleaming and new. But in a few weeks visitors will be able to take in the train as part of their visit to the studios.
The story goes that magicians chose to use a Muggle-built train to transport their children to school to avoid being found out by the non-magical world. Now Warner Bros are attempting to do the reverse: making the ordinary the stuff of witchcraft. It’s not quite magic, but this smoke-and-mirrors concoction is still worth a visit.
Read the source article here.

Lionsgate and Imagine Exhibitions to Debut THE HUNGER GAMES: THE EXHIBITION World Premiere Set for July 1 at Discovery Times Square

New York, NY, and Santa Monica, CA — (February 6, 2015) — Lionsgate (NYSE: LGF), a premier next generation global content leader, in association with Imagine Exhibitions, Inc. today announced the world premiere of The Hunger Games: The Exhibition, the highly anticipated new traveling exhibition based on the blockbuster movie franchise. Premiering July 1, 2015 at Discovery Times Square in New York City, the immersive exhibit designed by Thinkwell Group is scheduled to run through January 3, 2016.
“The Hunger Games: The Exhibition offers visitors an unparalleled experience and brings them closer to the world of Panem,” said Jenefer Brown, Lionsgate Senior Vice President of Location Based Entertainment. “Through a dynamic series of interactives, never before seen content, and immersive environments, guests will connect to The Hunger Games in a one-of-kind experience. The application of the film’s science, technology, and real world problem solving also translate to a valuable educational experience that will resonate with school groups and visitors alike. We are thrilled to be launching this first ever interactive experience that will serve our global fan base and attract a new audience to the powerful Hunger Games franchise.”
The Hunger Games: The Exhibition invites visitors to step inside and explore the world of Panem as created by the films. Hundreds of authentic costumes and props, high-tech and hands-on interactives and detailed set recreations reveal the amazing artistry and technology that brought these incredible books to life. Visitors will follow Katniss Everdeen’s inspirational journey, from her humble beginnings in District 12 to her emergence as the Mockingjay, sparking curiosity and excitement. The exhibit will feature seven galleries including District 12, Tribute Train, The Capitol, Making the Games, District 13, Fan Gallery and Katniss’s Journey.
Highlights include iconic costumes from the films such as the Girl on Fire dress, the Mockingjay dress and the Mockingjay armor; key artifacts including the Mockingjay pin, Cinna’s sketchbook and Katniss’s bow; and interactives including an explorable map of Panem, gamemaker’s control table and a stunt choreography interactive.
“As a producer and the exhibition tour operator, we are thrilled with the opportunity to represent such a meaningful exhibition and share it with the world. As global developers of travelling exhibition content, we are always prospecting opportunities that provide a truly immersive, engaging and rewarding experience for the audience. Much like the ongoing success of the film franchise and the ever increasing global fan base, The Hunger Games: The Exhibition promises to deliver a pioneering fan and audience experience,” said Tom Zaller, President of Imagine Exhibitions.
“We are thrilled to be the premiere venue for this exciting exhibition,” said James Sanna, President of Discovery Times Square. “The Hunger Games: The Exhibition will provide fans with the rare opportunity to experience firsthand the world of Katniss Everdeen and is a continuation of Discovery Times Square’s mission to connect people to the entertainment properties they love.”
The exhibition will run at Discovery Times Square through January 3, 2016 and will then embark on a global tour. Individual tickets will go on sale April 21st with prices starting at $22.50. In advance of the ticket on sale date and to service the anticipated demand for individual tickets, a ticket pre-registration window will begin on Feb 24th. In addition to receiving an opportunity to buy tickets before the general public, ticket pre-registrants will also receive exclusive exhibition content and updates and be automatically entered into a sweepstakes to attend the exhibition premier at Discovery Times Square. For information on purchasing group tickets for ten or more, for the New York engagement, please call 855-266-5387 or visit discoverytsx.com.
For more information on the exhibition, visit www.thehungergamesexhibition.com or future hosting/booking opportunities visit www.imagineexhibitions.com.
ABOUT LIONSGATE
Lionsgate is a premier next generation global content leader with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, digital distribution, new channel platforms and international distribution and sales. Lionsgate currently has more than 30 television shows on over 20 different networks spanning its primetime production, distribution and syndication businesses, including such critically-acclaimed hits as the multiple Emmy Award-winning Mad Men and Nurse Jackie, the comedy Anger Management, the broadcast network series Nashville, the syndication success The Wendy Williams Show and the critically-acclaimed hit series Orange is the New Black.
Its feature film business has been fueled by such recent successes as the blockbuster first three installments of The Hunger Games franchise, the first installment of the Divergent franchise, John Wick, Now You See Me, Roadside Attractions’ A Most Wanted Man, Lionsgate/Codeblack Films’ Addicted and Pantelion Films’ Instructions Not Included, the highest-grossing Spanish-language film ever released in the U.S.
Lionsgate’s home entertainment business is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rates. Lionsgate handles a prestigious and prolific library of approximately 16,000 motion picture and television titles that is an important source of recurring revenue and serves as the foundation for the growth of the Company’s core businesses. The Lionsgate and Summit brands remain synonymous with original, daring, quality entertainment in markets around the world. www.lionsgate.com
ABOUT IMAGINE EXHIBITIONS, INC.
Imagine Exhibitions, Inc. is the global resource for all aspects of exhibitions and attractions. From design to creation, placement to presentation, marketing and operations, Imagine has the experience and inspiration to bring the best possible experience to any venue. Imagine is currently producing and touring over 25 exhibitions in museums, science centers, aquariums, integrated resort properties and non-traditional venues throughout the world. For more information, visit www.imagineexhibitions.com or visit the Facebook page.
ABOUT THINKWELL GROUP
Founded in 2001, Thinkwell is a worldwide experience design and production agency specializing in the creation and master planning of theme parks, destination resorts, major branded and intellectual property attractions, events & spectaculars, museums & exhibits, expos and live shows around the world. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, studios, museums, theme parks and destination resorts. For more information visit: www.thinkwell.staging.work
ABOUT DISCOVERY TIMES SQUARE
Discovery Times Square is New York City’s first large-scale exhibition center presenting visitors with limited-run, educational and immersive exhibition experiences while exploring the world’s defining cultures, art, history and events. More than a museum, Discovery Times Square is the destination for discovery through unique and immersive exhibitions in New York. At Discovery Times Square, events epic and rare come to life by connecting you to the greatest human stories ever told. Intelligent, exciting, and moving – it’s the experience that counts. For more information visit www.discoverytsx.com.
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For more information please contact:
Discovery Times Square
Contact: Teresa Brady
646-619-8614
[email protected]
Lionsgate
Contact: Julie Fontaine
310-255-4970
[email protected]
Imagine Exhibitions, Inc.
Contact: Debbie Donohue
404-808-7578
[email protected]
Download a PDF of the press release here.

Thinkwell Group Appoints Former Franco Dragone Executive François Girard To SVP Global Business Development

Growth in Asia, Middle East and U.S. Results in Largest Growth of Company History
BURBANK, CALIF. (Jan. 5, 2015) — Thinkwell Group, a worldwide experience design and production agency specializing in the creation of theme parks, major attractions, events, museums, exhibits, expos and brand experiences around the world, announced today the appointment of François Girard to senior vice president of global business development. Girard joins Thinkwell after serving as senior vice president of development and strategy for Belgium-based Dragone founded by renowned theatre creator/director Franco Dragone. Prior to Dragone, Girard worked as a professional consultant to Fortune 500 companies in the corporate strategy practice of Deloitte Consulting in Canada.
“As part of the overall growth strategy for the company, François Girard brings immeasurable expertise in location-based experience and entertainment projects worldwide,” said Joe Zenas, Chief Executive Officer of Thinkwell.
At Dragone, François served on the company’s executive committee and led the development and negotiation of more than €250 million in show productions value in the Americas, Asia, Middle East and Europe. Selected projects include: Le Rève at Wynn Las Vegas, House of Dancing Water and Taboo at City of Dreams in Macau, Lido in Paris, Han Show in Wuhan, Story of a Fort at Qasr Al Hosn in Abu Dhabi and the 2014 FIFA World Cup Opening and Closing Ceremonies in Brazil.
François Girard will bring his business acumen to the development of major new projects for Thinkwell Group, working with the company’s offices in the Middle East and China.
“I am truly excited and honored to join Thinkwell, an established leader in experience design with an impressive spectrum of capabilities, a dynamic creative energy and a positive culture of collaboration. I have the chance to join a company built on strong foundations with a long list of prestigious clients and projects all around the globe,” said François Girard on his appointment.
Thinkwell also announced today the hiring of the company’s 200th employee, a significant achievement for the independent experience design and production company. “We’re fortunate to have experienced such substantial growth and stability with new projects in the museum, zoo, theme park, and corporate branding center sectors,” said François Bergeron, Thinkwell Chief Operating Officer. “With the opening of our business entity and office in Beijing, the promotion of Kelly Ryner to president of Thinkwell Asia, and our operations in the United Arab Emirates, we are expanding and investing in Thinkwell’s future in a major way.”
About Thinkwell Group
Founded in 2001, Thinkwell is a worldwide experience design and production agency specializing in the creation and master planning of theme parks, destination resorts, major branded and intellectual property attractions, events & spectaculars, museums & exhibits, expos and live shows around the world. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, studios, museums, theme parks and destination resorts. For more information visit: www.thinkwell.staging.work
Media Contacts:
Ariana Jarvis
[email protected]
Bess Benhamou
[email protected]
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Download a PDF of the press release here.

Writing Rollercoasters: Stories, Spectacle & Games in Physical Places

Hear one of the world’s leading experience designers Dave Cobb talk about the future of physical space, how we’ll interact with each other, and the role of gamification in creating engagement. From retail to amusement parks, and from public spaces to universities, the gamification of the physical world promises to unlock new and exciting ways to socialize, interact and explore. Get inspired and find out.

Writing Rollercoasters: Stories, Spectacle & Games in Physical Places

Hear one of the world’s leading experience designers Dave Cobb talk about the future of physical space, how we’ll interact with each other, and the role of gamification in creating engagement. From retail to amusement parks, and from public spaces to universities, the gamification of the physical world promises to unlock new and exciting ways to socialize, interact and explore. Get inspired and find out.

Minecraft Creator “Notch” Building Theme Park In New York State

Thinkwell is honored to have been “selected” to create the Minecraft theme park as reported in the popular parody website National Report.
Minecraft creator Markus “Notch” Persson made headlines recently for his purchase of an outlandish $70 million palatial mansion in Beverly Hills, but it turns out the most expensive residential property sale in Los Angeles history isn’t actually the most eccentric thing the Swedish game developer is doing with his recent $2.5 billion windfall. That honor belongs to the $290 million Minecraft-inspired theme park Notch is trying to build in upstate New York.
According to numerous realtors in and around Binghamton, New York, Notch has been buying up commercial and industrial properties in the city of Binghamton itself, as well as approximately 9 square miles of land a few miles north of Binghamton, not far from Interstate 81. His goal for this property is to build a massive theme park inspired by the hit indie game “Minecraft” for which Notch is famous, where players of all ages explore an Earth-sized planet fighting zombies and building cabins and castles out of 1-meter cubes of dirt, stone, wood, and other resources.
Notch will be putting up $150 million of his own money to build the park, with $140 million coming from other investors, who have not yet been identified. He’s already hired Thinkwell Group, a theme park design company, to oversee the project, and a slew of construction companies in the Binghamton area have been put on notice to allegedly break ground on the park as soon as August of 2015, which Notch reportedly wants to see open by 2018.
Thinkwell staffers claim Notch’s vision is to build a park where “visitors get to live out a Minecraft experience in real life.” It will feature three distinct zones, the biggest of which will be the “Overworld.” This will make up the bulk of the park, where visitors will take in countless rides, live shows, and other attractions, and can even build things with specially-built life-sized blocks. At night, the park will fill up with performers acting out the roles of zombies, skeletons, and even exploding “creeper” monsters, prompting guests to return to their hotel rooms when the park begins to close.
The park will also feature a zone called “The Nether,” where visitors can explore “a subterranean zone filled with lava,” and several more rides. Guests can also explore a third zone, called “The End,” where they’ll team up to battle it out with a life-sized holographic Ender Dragon. But these zones will “only be available to those guests who manage to find `portals’ hidden throughout the park.”
Famous Minecraft Youtuber Direwolf20 will be contributing by designing “The Direwolf Inn,” an on-property 5-star hotel where everything in the building, and the building itself, is built out of 1-meter blocks inspired by the game. Freddie Wong, another famous Youtuber best known for creating the popular “Video Game High School” online TV series, will be designing a ride for the park, though details regarding that ride are unknown.
Thinkwell employees say Notch chose to build the park near Binghamton because the city “has the infrastructure to support something of this magnitude, and it’s an easily-accessible location as well, with airports and highways converging in the area.” However, Notch still has needs approval from Binghamton’s City Council and from New York State itself for the project, though experts say the region’s economic struggles over the past decade and the promise of major tourism dollars will most likely prompt a swift positive vote.
Read the source article here.

Theme Park Master Planning

Master planning for a theme park involves many elements of the theme park master plan effort. Land use planning, infrastructure development, site development (grading, etc.), traffic and circulation are all traditional components of theme park master planning. Specific to theme parks, theme park master planning includes program development to determine a projection of how many people will visit the park per year, during the peak month and peak day, and how many people will be instantaneously in the park on that peak day. Those projections are done in conjunction with operational consultants, economic feasibility consultants, architects, park planners and the creative team. On top of all that, the theme park master plan includes a matrix of attractions that comprise the total ride, show and attraction mix for the park. There are expansion zones for future development. There is facility programming that informs how many restrooms, ticket windows, retail venues and food and beverage outlets will need
to be built in order to provide adequate services for all those visitors. These elements make up the traditional theme park master plan.
Thinkwell provides theme park master planning, integrated resort master planning, master planning for mixed-use projects and other types of projects that include location-based entertainment and/or education components. To be specific, Thinkwell goes beyond traditional theme park master planning and includes a new set of disciplines Thinkwell finds lacking elsewhere in the
development of theme park master plans. Thinkwell includes in our theme park master planning efforts what we call Content Master Planning and Guest Experience Master Planning.
Content Master Planning is a new way to look at traditional theme park planning. Content Master Planning look at not only the physical layout and programmatic aspects of a project, but also takes into consideration and pays particular attention to how that experience unfolds for a guest from the moment they pass through the project threshold until they complete their experience. Content Master Planning considers how the physical environment helps convey the story being told to the guests and how each element of the Experience Design – attractions, live shows, rides as well as food & beverage and retail – integrate
into that storytelling and how the experience and story unfolds for a guest as they move from place to place within a project.
Much more than the mere placement of buildings, uses and guest flow, Content Master Planning and Guest Experience Master Planning takes all elements of the guest’s experience into consideration and looks at how each of these elements symbiotically relate to one another for the purposes of storytelling. It’s part of Thinkwell’s Environmental Storytelling® approach. It becomes a richer, more textured and meaningful experience for the guest when projects are approached and developed in this manner.
Thinkwell works with traditional architectural firms on the details: land-use planning, infrastructure development, traffic and circulation, etc. And Thinkwell works with economic feasibility and operations firms & consultants as a team to formulate a program and operational and business philosophies. Thinkwell’s approach leads us to unique creative solutions and business
solutions as well. By considering how the guest’s experience unfolds as well as the strategic and business goals of our clients, we problem solve new ways to deal with traditional businesses, new ways of exploring guest experience that offers new possibilities, new ways to connect with audiences and new competitively advantageous project approaches.
The holistic nature of the theme park master plan – every aspect of the project can affect the next – is complex. These complexities are only exacerbated by the additional rigors of Environmental Storytelling, Guest Experience Master Planning and Content Master Planning. Layering each of those planning elements onto the theme park master planning process ensures additional effort, creative visioning, planning and thought go into each design. This is why Thinkwell’s theme park master plans are a dramatic improvement over many other’s theme park master plans. Very few projects in the world can boast they deliver Environmental Storytelling with Content Master Planning and the added richness and fullness of experience Guest Experience Master Planning brings to the project.
Here’s a simple example: A guest walks into a land of Park A. Ahead is a dark ride, themed as a haunted house. The exterior of the ride projects the theme outward with precariously hanging shutters, broken windows and chipped paint. It may be Victorian in setting. Adjacent to the haunted house the guest visiting Park A finds a hamburger stand, also Victorian in theming. Further
away, a retail outlet sells t-shirts emblazoned with Park A’s logo and the park’s mascot.
Park B, developed by Thinkwell utilizing their proprietary planning disciplines of Content Master Planning, Environmental Storytelling and Guest Experience Master Planning offers similar components but in an entirely unique context: As the guest walks into the land of Park B, each element presented before the guest reinforces the next. The architecture, interior design and propping actually work to subliminally tell the fictional backstory of the zone, supporting the theme and storytelling found within the haunted dark ride. The lands themselves speak volumes to the guest: each area offers visual clues about the background context for the environment, while character graphics, signage, audio and performers enhance the storytelling. From one linear meter into the land to the next, each element of what the guest sees, hears and feels tells them more about the story
unfolding in front of them. Yes, this takes more work. More planning. More design. More forethought in the development of the park. But these theme park master planning disciplines and techniques are what set apart the run-of-the-mill
from the world class.
Theme park master planning is part science, part art. When all the elements of the development, from the planning principals to the artistic are considered – while keeping of paramount importance every aspect of the development from the perspective of the guest – the project comes together in a harmonious, symbiotic way that is artful, meaningful and impactful.

Coney Island Astroland

If Stillwell Avenue is the heart of Coney Island, then Astroland is the adrenaline, filling the body of visitors with thrills, excitement, and long-term memories. Astroland is first and foremost, fun. It is a collection of unique amusements, selected and designed exclusively for this place. Like Stillwell, this won’t be a recreation of the old Astroland, Luna Park or Dreamland. This is a new park with an old soul. Everything will be new, shiny, and safe, but also slightly familiar like a good friend’s child who bears a striking resemblance to the old man, but burns with youthful energy and just can’t seem to keep still.
 

ExaMedia Photography / Shutterstock.com
ExaMedia Photography / Shutterstock.com

 
The collection of rides will appeal to a broad audience, from the thrills of a coaster, to the huddle-up chills of a dark ride, to the safe, make-believe flat rides for the little ones. Some of these rides will be totally unique to Coney Island, designed
exclusively for this location. Others will be the next generation of Coney Classics, using state-of-the-art technologies and safety features. What makes this Astroland special, is the sum of its parts and the rich environment in which they are set. The rides will be integrated into a single design vision. This won’t be a gaudy, rag-tag state fair midway comprised of generic, off-the-shelf rides. These rides will belong here and only here.
 
Chris Parypa Photography / Shutterstock.com
Chris Parypa Photography / Shutterstock.com

 
There are other aspirations to consider for Astroland. There are greenery and water features throughout the location (this is after all, a park). There will be a retractable cover over most of it to extend its operation throughout the year. The cover is in place during the winter and in inclement weather, but Astroland yearns to be outside, so the roof slides away whenever possible. A permanent circus just next door on Surf Avenue exudes its escapist personality throughout the park and provides a visual anchor on the north. The Boardwalk and the beckoning beach are accessible from the opposite side, where Astroland’s rocket shines anew. Hotels, retail, and residential spaces are a necessity that may intersect the area, but this is the amusement center first and foremost, but more importantly, it’s Coney Island’s amusement center, and it takes its responsibility seriously.

Museums & the Digital Revolution: Consumer Trends in Mobile and Interactive Technology Integration in Museums

As museums and the visitors they attract are evolving, is this a space looking for increased digital and mobile interactivity?
Last year, Thinkwell released the company’s first Guest Experience Trend Report revealing the growing trends among Theme Park guests and their use of technology when they visit Theme Parks. Surprisingly, the results revealed that younger guests were much less concerned with mobile integration and that families and older guests primarily have an appetite for consumer-oriented mobile integration in theme parks.
This report inevitably led Thinkwell to think about this topic in relation to the company’s other specialized fields. We asked ourselves if we thought these results would carry across the various market segments in which we practice. With such high focus on technology and mobility in our lives today, are guests looking to integrate technology into their visitor experiences? Museums and the visitors they attract are evolving, so Thinkwell asked, is this a space looking for increased digital and mobile interactivity? The 2014 Trend Report honed in specifically on the current museum guest experience and visitors’ expectations and desires for such digital and mobile integration.
Thinkwell began a nationwide survey analyzing behavioral patterns in relation to guest experiences in museums. The survey reached over 1,400 museumgoers and found that 69 percent of the respondents bring mobile devices (tablets and/or smartphones) with them while visiting a museum. Of that 69 percent, a total of 73 percent used their device during their visit, most notably to take photos. Similar results were found in last year’s report on theme park mobile integration.
Though museums are using indoor GPS systems in conjunction with apps to push location-appropriate content to visitors, tailored to the exhibit they are in, Thinkwell is only seeing about 32 percent interest in such a feature. This result explains why over half of museum app users have uninstalled or not installed an app due to concerns about personal information, and 19 percent turn off the location tracking feature on their cell phones. Results show that this consumer market is not extremely eager for location-aware app advancements to enhance their in-museum experiences.
WHAT MUSEUM GUESTS LIKE
When asked to rank what they find to be the most beneficial features of museums, respondents chose as their top three: educational for me and/or my family, the ability to see real art and artifacts, and the content of the exhibits. Guests are visiting a variety of museums, from art to history to zoos and aquariums to get the personal satisfaction of bettering themselves and their families through education and learning.
The desire to see real art and artifacts contradicts a report from last year that suggested guests would be satisfied with highly accurate reproductions, as younger generations gravitate towards content and experiences, rather than originals. Our findings show that across all age demographics, guests highly value access to the authentic artifacts and art pieces available at museums, citing it as the second most important aspect of museums.
In regard to features that could improve a visitor’s experience, 42 percent would like to see more interactivity incorporated, and 40 percent of respondents feel that the use of audio related to a topic or object would be beneficial. Interestingly, a small minority of respondents would like to see an increase of adult-only extended hours and events. The interactivity guests seek is not limited to those found in digital devices. Visitors are interested in social and personal interactions that break beyond the four walls of the museums, with activities such as: after-hours events, classes and presentations from artists and subject-matter experts for children and adults, and kids crafts. They are more interested in increased human interactivity than in digital integration such as mobile apps or 3D printed, touchable objects.
On average, visitors spend a total of three hours at museums per visit. Not only do respondents ages 18-44 spend more time per visit than those ages 45 and up, they are also more likely to visit museums more often. Forty-four percent of respondents ages 18-44 visited museums 5 times or more during the past two years, while only 32 percent of those ages 45 and up did so.
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WHAT MUSEUM GUESTS DO NOT LIKE
While Thinkwell had many findings in the annual Guest Experience Trend Report pointing to the positive qualities of museums, we also found that over 57 percent of visitors are highly concerned with cost of entry for museums today.
Other negative factors affecting museum visits included overcrowding and outdated content. Respondents felt strongly about having newer exhibits and special events as encouraging factors of repeat visits. Overwhelmingly however, 88 percent of respondents ranked their last museum visit as quite enjoyable or better.
Some believe that digital integration in the museum space is necessary to expand the experience both virtually and in terms of new types of physical space to engage those accustomed to interacting with a screen. However, Thinkwell’s findings reveal that the museum space is one used to escape screens and the digital world. Guests are focusing more and more on the authenticity of the art and artifacts.
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MOVING FORWARD
In an increasingly interconnected and digital world that gives easy access to infinite amounts of data and information, the value and role of museums has come into question. While it’s clear that museums need to adapt to shifts in technology, guests still look to them for authority and authenticity. Digital technologies can be helpful to museums in order to supplement their content, but visitors still crave social interactions, personal enrichment and access to original, authentic objects. Custom experiences can be tailored to the individual, but guests still want those experiences to take place in a physical space with real live experts there to teach them and answer questions.
“We believe the best way to engage visitors in an experience is to have them participate in stories they can relate to and that are authentic and compelling,” said Craig Hanna, Chief Creative Officer of Thinkwell Group. “Museums are competing not only for time but also attention. Consumers can get content from their mobile devices. Museums need to do what they do best—present authentic content in a meaningful way that connects with their core constituencies—while also incorporating digital technologies to keep those experiences fresh and up to date with consumer expectations.”
“The results of the survey are fascinating and, for museums, heartening. Real stuff, real stories, real human experiences: it’s what museums do best, and it’s what visitors crave,” said Cynthia Sharpe, Senior Director of Cultural Attractions and Research for Thinkwell Group. “In conjunction with the fantastic research done by Jay Greene’s group at the University of Arkansas at the Crystal Bridges Museum of American Art regarding the value of field trips and the importance of facilitation, it bolsters the approach of using personal digital technology as a tool in the storytelling and educational arsenal. The educational and emotional impact of seeing real artifacts and experiencing great interpretation is paramount.”
Survey Respondent Demographics
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Qualifying participants were United States residents over the age of 18 who had visited a museum/exhibit in the past 24 months. Of the 1,407 respondents, 42 percent were male and 58 percent were female. Nineteen percent were between the ages of 18-29; 26 percent between the ages of 30-44; 28 percent between the ages of 45-60; and 27 percent are 60 and above. Household incomes ranged between $25,000 and over $150,000. Less than 1 percent held less that a high school degree, 6 percent held only a high school degree, 29 percent had some college or an Associate degree, 40 percent had a Bachelor’s degree, and 27 percent had a Graduate degree. The survey found very little correlation, if any, between gender or location and current mobile behavior or interest in increased mobile integration for museums experiences.
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View the White Paper accompanying this infographic here.