August 21, 2014
The South Carolina State Museum’s new planetarium, observatory and 4D theater is now open to the public. The State Museum hopes that this major transformation will help propel its mission to entertain, inspire imagination and creativity, and enrich the lives of visitors.
The renovated and expanded State Museum will be the first museum of its kind to house, under one roof, an onsite and online observatory and classroom, a 55-foot digital planetarium dome and a 4D multisensory theater. The museum also features an outdoor viewing terrace for its vintage 1926 Alvan Clark 12-3/8” refracting telescope, as well as new gallery exhibit space for the Robert B. Ariail Collection of Historical Astronomy telescopes and optics, considered the largest collection of historic American refracting telescopes in the world.
The State Museum is one of the largest examples of an astronomy/STEM (Science, Technology, Engineering and Mathematics) educational facility connected to an interdisciplinary museum, and it will be the first organization in the nation to allow students and teachers to remotely control a digitized vintage telescope for distance education purposes.
JRA was retained by the State Museum as a thematic design consultant. JRA’s scope of work included planning and conceptual design, interior and exterior environmental graphics, concept and schematic design for the new retail store, materials and finishes selection, and design input for much of the common areas, which included enhanced guest services and meeting capabilities within the museum. The JRA-designed Main Lobby showcases iconic South Carolina artifacts representing the museum’s four disciplines: art, cultural history, natural history and science and technology and will also feature permanent exhibits occupied by the Columbia Metropolitan Convention & Visitors Bureau, South Carolina Educational Television and the South Carolina Parks, Recreation and Tourism Department. The Cotton Mill Exchange museum store, one of the cornerstones of the expansion project, embodies the essence of the old mill in which the museum is housed, and features newly uncovered brick walls and windows dating back to 1894.
The new State Museum will have a significant economic impact on the City of Columbia and the State of South Carolina. The museum expects an additional 75,000 visitors in the first year and a growth in annual earned income from $1.5 million to $3 million. Longer visitor dwell times will result in increased spending both at the museum and at surrounding restaurants, retail outlets and hotels, and the expansion’s aggregate economic benefit will boost tax revenues for the city, county, region and state.
“JRA helped fulfill our vision and did a remarkable job creating a thematic design that celebrates South Carolina and our historic mill building,” said Willie Calloway, executive director, S.C. State Museum. “We are glad we hired the best-of-the best in the entertainment design industry to create a unique facility and experience for our guests.”
The South Carolina State Museum is located at 301 Gervais Street, Columbia, S.C., 29201. For additional information and ticket prices, please visit scmuseum.org.
August 14, 2014
Joshua Borenstein, Managing Director, Long Wharf Theatre
Blogger-in-Chief Clara here. Welcome to our brand new blog series, Learning Through Side Doors, where we explore other industries that, while on the surface may seem unrelated to themed entertainment or experiential design, really aren't that different after all.
At JRA, we say that "the attraction is the stage, the master plan the script and story, and the guests the audience." Many of our team members, including yours truly, came to themed entertainment from the theatre. Through my role as NextGen Chair of the Themed Entertainment Association, I have enjoyed speaking to theatre students about how their skills (collaboration, designing with a limited budget, creating a guest experience) are easily transferable to a themed entertainment career.
To test my theory that theatre and themed entertainment are two parts of an experiential design whole, I interviewed my good friend and former grad school classmate, Josh Borenstein, who is currently the Managing Director of Long Wharf Theatre in New Haven, Connecticut.
In our industry, the process often begins with a feasibility study - determining if a park or museum is in the right place for the right audience. How do you determine that a play is "right" for your theatre?
First, full disclosure – I don’t pick the plays! My artistic partner, Gordon Edelstein, makes the decisions on which plays to produce, although we certainly talk about it together. In thinking about whether a play is “right” for us, Gordon contemplates what it means to be alive at this particular moment in time. He reflects on what is happening in the world, in New Haven – you know, that sort of thing. He then develops a list of about 15 – 20 plays which we might produce, and we talk about it together. In offering my feedback to Gordon, I try to look at each play through the following lenses: whether our production will have some kind of national impact on the field (for example, a world premiere of a play), whether the play can be leveraged for community engagement or educational impact, and whether the play can make money (we have to sell tickets, after all, to stay in business). If a particular play can meet two of these three criteria, then I feel it is worth producing.
Museum exhibits often deal with controversial themes. If you know that you are producing a play that is going to ruffle some feathers, how do you prepare your audience for that?
Communication is key, of course. When we think that one of our plays will be controversial, we often reach out to our subscribers. Usually, this outreach takes the form of a letter from Gordon talking about the play, why we chose it, and why we hope the audience will be excited about it. This letter provides the context about the potentially controversial production, so audience members become more receptive to seeing it. The few people who feel that they be offended have the opportunity to exchange their tickets.
We also facilitate post-show discussions after nearly every performance of each play, and we find that these conversations help our audience process controversial material.
In themed entertainment, we say that the guest experience starts the moment they enter the doors, or in this century, the moment they go online to purchase a ticket. What are some of the ways that your theaters create a quality guest experience before guests even enter the theater, and what are some ways you incentivize them to return?
We do a few small things, but we think that they have important impact. Each Monday, we send out an email reminder to all of our subscribers that they are supposed to attend an upcoming performance this week. This message has two benefits. First, subscribers see it as nice customer service gesture. Second, and maybe more importantly, it reminds subscribers to exchange their tickets if they can’t attend. Our “no-show” rate has dropped by 50% since we started these emails.
We send out surveys to all ticket buyers (subscribers and single ticket buyers) asking them what they thought of the show. They appreciate this solicitation of their opinions. We also use this information so that, if we see that a show was particularly successful, we can send them future emails which suggest similar offerings (e.g., “If you liked Guys and Dolls, then you’ll love Carousel!”).
Josh, you recently completed a large capital project. What were some of the experiential components your team considered during the renovation?
A few things – one of which you might find hilarious. First, we added different kinds of projections to the lobby. My favorite is the simplest: quotes related to the current play projected on to a carpeted wall. The video just adds a cool, modern look to the space and provides some good background information about the plays.
One the major changes is that we added more leg room to the seating in the theatre. Our seating was so cramped that some people stopped coming because it was too uncomfortable.
Finally, and perhaps the most positively commented on, was the expansion of the women’s restrooms. Theatres have notoriously long lines for the bathroom, and Long Wharf was no exception. It is a particularly big problem when 70% of our ticket buyers are female. We doubled the size of our women’s restroom, and patrons still thank me. It is easy to forget that these kinds of facilities are important experiential components to many people.
Obviously, budgets are a huge issue.
- Can you talk a little bit about your budgeting process and the steps you take to ensure that it doesn't impact the quality of the product onstage?
This is one of the great issues which we struggle with. More and more, we have partnerships in order to create work of a demanding scale. For example, we co-produce about once a year with other theatre companies so that we can share rehearsal and building costs. We also have more partnerships with commercial producers to develop new plays, especially new plays of a large scale. We try to get as many of these partnerships in place as early as possible so that they inform our budgeting process.
- Many museums nowadays are coming up with innovative ways of monetizing some of their ancillary activities to raise revenue or sharing resources to reduce expenses. Have either of your theaters attempted to generate revenue or reduce expenses through unconventional means?
We have been able to raise revenues and reduce expenses, but not through anything revolutionary. On the revenue side of the equation, we have been booking in additional programming during the summer, when we are not producing. We have also been gradually building our endowment, which now generates about 10% of our total operating revenue. On the expense side, we have been sharing costs whenever we can, especially through co-productions, as I mentioned earlier.
Technology is rapidly changing the game for museums and theme parks, and we find we often need to strike a balance between flashy, cutting edge effects and good storytelling. To what extent has technology enhanced or changed what you put on the stage? How do you ensure that the technology doesn't overpower the storytelling? How do you see theatre's storytelling role evolving over time, particularly in this increasingly digitized world?
You know, the funny thing about Long Wharf is that we do not use a ton of technology in our productions. We have occasional automation and projections on stage, but ultimately we have stayed true to the theatre’s original form. And I think that’s one of the reasons why people come to our theatre – to experience a story without technology. If they want to go see something with lots of special effects, they are much better off going to the movies.
My sense is that people will continue to want to see live performances, despite the increased use of technology. Or maybe because of it. I see a trend where people are starting to set parameters for screens. For example, some of my fellow parents ban phones and screens from the dinner table or from the bedrooms. Some people enact a “technology Sabbath” where they don’t check email for 24 hours. I happen do this. Theatre may become a place where people can take a break from the constant hum of technology. We’ll see!
A focus on guest experience. Tight budgets. Sensitive audiences. Tough artistic choices. Sound familiar?
I hope you enjoyed Learning Through Side Doors, and we look forward to more discoverines in the months to come! If you have an idea for a future segment, please let me know in the comments, and thanks for reading!
Tags: Blog N Learn
August 08, 2014
As we reported in June, Angry Birds Universe, developed by Imagine Exhbitions in partnership with Rovio and JRA, is taking its initial flight at the Dubai World Trade Centre this summer as part of the Dubai Summer Surprises festival. Thousands of Dubai residents and visitors are enjoying this life-size version of the popular game, but if you can't be there in person, consider these photos your admission ticket:
Animation Station - Create your own version of this global gaming phenomenon!
Guests can Be the Bird, flying through the air just like the Angry Birds!
Kids young and old can build their very own version of an Angry Bird in the Build-A-Bird area.
Meet the Birds!
Shoot Birds at obstacles just like in the game with The Slingshot. It's a "ph"un way to learn about physics!
From digital games to physical interactives, Angry Birds Universe offers a one-of-kind immersive experience, and a great way to beat the Dubai heat!
Next week, we add another project opening to our 2014 slate of announcements. Stay tuned!
July 31, 2014
2014 has been a great year for JRA thus far. We witnessed openings of our museum and theme park projects from Sochi to Singapore, and we celebrated the Thea Award for The Mind Museum. We also enjoyed attending one of the biggest and best IAAPA Asian Attractions Expos ever.
We invite you to read about all this and more in our latest "JRA Studio View". Inside, you can learn about our projects, meet some of our team, and read Keith James' thoughts on the future of the burgeoning China leisure market (many thanks to our friends at Blooloop for publishing this piece on their Bemusement blog this week!).
Just click on the image below to access the newsletter. We'd like to think these announcements are just a taste of great things to come this year, so we hope you'll continue to follow us right here on the blog, on our Facebook, LinkedIn, and Google+ pages and at @JRAtweets. Coming soon on JRA + blog, photos from the Dubai launch of Angry Birds Universe and a look at how theatre and themed entertainment really aren't that different. Thanks for reading!
July 24, 2014
As we wrote last week, The Grand Hall Experience at St. Louis’ Union Station incorporates projection mapping to transform an historic venue. So, we at JRA + blog thought it fitting to step back in time to chronicle the history and mechanics of this increasingly used technology.
First of all, we need to define what projection mapping (previously known as “video mapping” and “spatial augmented reality”) actually is and how it works. Simply put, the technology creates projection surfaces from three-dimensional objects. First, the artist creates a exact virtual replica of the projected surface (be it a building, a car, a bridge, or even just a shoe). Once the images and video for the projection are chosen, the model is “masked” with the chosen media to map out exactly where and in what sequence the images will be projected onto the surface. The correct distance between the projector and the object is determined, and the projector orientation, position and lenses are specified. Finally, it’s showtime!
According to PhD candidate and Projection Mapping Central curator, Brett Jones, the history of projection mapping dates back to 1969. As with so many breakthroughs in our industry, the new technology sprang from Disney, as the “Grimm Grinning Ghosts” and the disembodied Madame Leota sent chills down the spines of guests to Disneyland’s Haunted Mansion. To accomplish the effect, singers were filmed with 16 mm film, and then the images were projected onto busts of their faces, coordinated with the ghosts’ singing.
Flash forward to 1980, and the film installation "Displacements", by Michael Niemark. As you can tell by the video, Niemark makes it appear as though people are actually walking through the living room and interacting with the objects. Eleven years later, Disney raises the bar again, securing the first patent for projection mapping, which described the technology as projecting an image onto “a contoured, three-dimensional object.” General Electric would follow in 1994 with a patent of its own.
Projection mapping received “academic legitimacy” in 1998, when University of North Carolina – Chapel Hill professors Ramesh Raskar, Greg Welch et al published a paper entitled The Office of the Future. The document foretold the ubiquity of projection technology, rendering anyone capable of experiencing “spatial augmented reality” right from their desks. According to Jones, the UNC paper predicted that “we could Skype with life-size versions of our office mates, [via] life-size virtual 3D models.” Throughout the next decade, a variety of scientists would all make their mark in honing the technology, from specialized bulbs and lamps to moveable projectors. As the technology developed, companies like Nokia, Samsung and BMW adopted projection mapping to advertise their products, and DJs created mapped, synced visuals to accompany their beats.
In the last five years, urban environments around the world have incorporated projection mapping to breathe new life into (and onto) their buildings, though mostly through temporary installations. Since 2010, the Fete des Lumieres in Lyon, France has offered exquisite installations, blanketing its Theatre des Celestins with fanciful masks, twinkling nightscapes and colorful animated characters. In 2012, this blogger had the great pleasure of witnessing a projection mapping show on the façade of the famed Sagrada Familia during Barcelona’s annual La Merce festival. The show, produced by Canadian multimedia company Moment Factory, exploded Gaudi’s iconic building in a kaleidoscope of color, carefully choreographing the projections to a recorded soundtrack.
One of the most successful urban projection mapping (and community building) experiments in recent years occurred just a few blocks from JRA’s home offices. Last year, the Cincinnati Symphony Orchestra (CSO), Cincinnati Ballet and Cincinnati May Festival Chorus worked with local firm Landor to design a one-of-a-kind, 40-minute projection mapping experience against the front façade of Cincinnati Music Hall, a National Historic Landmark and local treasure. The event, Lumenocity, came together in just six months as a way of welcoming incoming CSO conductor, Louis Langree, and was funded entirely by local corporations and foundations. While roughly 20,000 guests were expected to attend the two free nights of performances, over 35,000 people flocked to Washington Park to witness the multi-sensory event, jamming the park and surrounding streets with awestruck revelers. This year, to better control capacity, the CSO offered reserved (but still free) tickets via Ticketmaster. Within 12 minutes of release, tickets were already completely sold out, and scalpers were (illegally) offering tickets for hundreds of dollars on eBay. The overwhelming demand forced the CSO to offer tickets to its dress rehearsal and satellite locations where the spectacle could be broadcast via closed circuit TV. Here’s a look at the last year’s blockbuster “Bolero” finale:
The Grand Hall Experience at Union Station is one of the few permanent projection mapping installations in the world (and the first of its kind in the US). But with leaps and bounds in technology, along with a commitment to compelling storytelling, this history of projection mapping is only just beginning.
Tags: Blog N Learn