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Out of the Archives, Heritage, tourism and digital technologies. Episode 3. Image: Photograph book with old photos

Heritage, tourism and digital technologies

By Place

How can digital technologies provide new forms of accessibility and interpretation, helping to tell seldom heard stories and histories? 

In this one hour session, guest experts from three different disciplines met to share their experiences and discuss the possibilities: 

  • Dr Amy Frost, Senior Curator at the Bath Preservation Trust
  • Amy Stewart, Producer at Zubr Curio
  • Kathryn Davis, Managing Director at Visit West. 

Thanks to all who could join us for this lunchtime exploration of heritage, visitor engagement and digital technologies.

This event was part of the Out of the Archives series, which explores the question of how organisations can use their heritage and cultural assets to create rich and engaging digital experiences for visitors and local communities.

 

Speaker biographies

 

Dr. Amy Frost
Bath Preservation Trust  & Museum of Bath Architecture,
Senior Curator / Architectural Curator and Collections Manager
Dr. Amy Frost is the Architectural Curator of the Bath Preservation Trust based at the Museum of Bath Architecture and specialises in British architecture of the eighteenth and early nineteenth century.  Alongside her work on the built heritage of Bath she is also an expert on the life and aesthetics of the British collector and writer William Beckford (1760-1844) and is the Curator of Beckford’s Tower & Museum in Bath.  She is a part-time Teaching Fellow at the University of Bath, School of Architecture.

Kathryn Davis
Managing Director, Visit West
Kathryn Davis was appointed Managing Director of Visit West in 2023, following 23 years working in Destination Management and Marketing in Bristol, Bath and the south west of England. Visit West deliver three Bristol Business Improvement Districts and are a nationally accredited Local Visitor Economy Partnership (LVEP).  She represents the destinations at national and international forums and promotes the value and importance of the visitor economy in the region. Kathryn is Vice-President of the Tourism Management Institute, a Board Member of UK Inbound and Gloucestershire County Cricket Club, and a member of the Tourism Industry Council.

Amy Stewart
Producer, Zubr Curio
Amy Stewart is a Producer at Zubr Curio, a specialist augmented and virtual reality studio catering specifically to the arts, heritage and culture sector by developing high-quality, accessible, audience-centred immersive content and educational experiences.

 

Additional resources

 

Dr. Amy Frost

Beckford’s Tower community advisory panel 

Beckford’s Tower

Calvium summary of Beckford’s Tower digital project

Amy Stewart

US Civil War AR experience: St James Church

Acropolis AR app

AR for Carrickfergus Castle

Window to the Past: Bristol Old Vic 250th birthday

Kathryn Davis

Visit West destination management plan, including focus on ‘Heritage Reinterpreted’

Wake the Tiger, experience in Bristol

Local Visitor Economy Partnership programme (LVEP), information from Visit England

Calvium

Enhancing place engagement with augmented reality

‘Creative app maps the way through Redcliffe’s art scene’, Bristol 24/7

The story of the Creative Journeys project, Art Acumen website 

Place Experience Platform

Free resources on digital placemaking

Out of the Archives: Episodes 1 and 2 

People in fancy colourful dress playing instruments on a street

Supporting engagement with events and festivals

By Place

The Rochester Sweeps festival is a highlight of Medway’s county calendar, where Morris troupes gather from around the country to celebrate May Day traditions, enjoy the present and strengthen connections for the future.

In May 2024, the festival was supported by the Visit Medway app, which provided a comprehensive digital guide to the festival, including information on performers, venues and timings to support visitors and festival-goers to make the most of the event and time in the area.

The festival guide was available over the bank holiday weekend of the event, as a special section of the app. 

Being able to easily add event guides to an existing app saves time and resources for the Visit Medway team. Annual event information can be saved, ready to be revised next year. For visitors, the app provides one port of call for specialist events, the region’s permanent attractions as well as other events through the year, increasing awareness of a wider range of activities in the area, and encouraging repeat visits.

Out of hte archives - Using heritage to support tourism. Episode 2.

Use heritage to support tourism and the local economy

By Place

This one hour video gathers experts from a Business Improvement District, Destination Marketing Organisation and District Council. They discussed how they present their unique local heritage to boost leisure and tourism – and the implications of digital technologies on their destinations. This ranges from place-specific issues, practical resource implications, the role of local communities and social media, as well as lessons learned for the benefit of other destination teams.

The Out of the Archives series explores how organisations can use their heritage and cultural assets to create digital experiences for visitors and local communities. This time we focussed on how this can support the visitor economy and economic regeneration.

These presentations primarily speak to those working in the public sector who have responsibility for tourism, economic development, heritage, culture, museums and archives, with a real focus on practical lessons.

Speaker biographies

 

Nick Lancaster, Economic Development Officer, East Cambridgeshire District Council
Nick is passionate about leveraging technology to enhance visitor experiences and drive sustainable growth. He spearheaded the implementation of a digital signage network in Ely, tackling longstanding wayfinding challenges and facilitating a more connected city. Nick believes in the power of digital signage to revolutionize visitor experiences and unlock a city’s full potential, and champions innovative solutions for economic prosperity.

Allison Herbert, Chief Executive, Bath BID
Allison joined Bath BID in June 2017 and became the Chief Executive in December of that year. She has extensive public and private sector experience in events, economic development and project management. Whilst at the BID, Allison has created several new projects including Welcome to Bath, the BID Welcome Ambassadors, the Bath Business Conference, the Town Traders, the Bath BID Safe and Secure Business Crime Reduction partnership, the ReBalance Bath Wellbeing Festival and the Bath Gift Card.

Matt Routledge, Sales and Events Officer, Visit Ely
Matt studied Heritage and Interpretation at Leicester University, and has worked in Heritage and Tourism for just short of a decade. As part of his work at Visit Ely, a Cambridgeshire DMO, Matt led the Visit Ely digital signage and wayfinding app project.
Additional resources

Additional resources

 

Interview with Visit Ely‘s Matt Routledge about their digital projects.

Visit Ely app – for Apple and Android

Bath Digital Festival – Cities Showcase

Watch in full or read key points from Episode 1 in this series. This talk features more information of the Wiltshire Heritage Trails, as mentioned in this event’s chat.

Heritage experts discuss pioneering digital experiences

By Place

In this one-hour online event, three award-winning council and university heritage experts discussed their pioneering use of mobile digital experiences. 

Professor Fabrizio Nevola from the University of Exeter, Terry Bracher from Wiltshire Council, and Pete Insole from Bristol City Council together have decades of experience in using heritage, culture, and unseen archive materials and collections to engage visitors and local communities.

They describe their work and the impact it has made to their organisations and their communities, referring to the History City suite of apps, Explore Wiltshire, Know Your Place and StoryMaps.

These presentations primarily speak to those working in the public sector who have responsibility for tourism, economic development, heritage, culture, museums and archives, with a real focus on practical lessons.

Speaker biographies

Prof Fabrizio Nevola is Professor and Chair of Art History and Visual Culture at the University of Exeter, where he is also Director of the Centre for Early Modern Studies. He specialises in the urban and architectural history of Early Modern Italy, and his most recent research looks at the street as a social space, the urban iconography that often binds main streets into a coherent whole and the relations between public and private self-representation. On these topics he has published and edited numerous articles and books.

Terry Bracher is Heritage Services Manager at Wiltshire and Swindon History Centre. He has been awarded a BEM for services to Heritage and Public Libraries in Wiltshire. Under his leadership, WSHC has been recognised as one of the top ten services in the country. He oversees the eight miles of archives and a wide range of outreach services, and has been influential in developing local studies work focussing on recognising and celebrating diversity.

Pete Insole is Urban Design Team Manager in Bristol City Council’s Planning Department, and has nearly 30 years’ experience of working in heritage and place practices. He managed creation of Know Your Place, an award winning online resource, and has used it to develop a story of place concept that provides a platform for multiple voices to collectively share and define Bristol’s heritage through historic photos, oral histories, postcards and other formal and informal archives.

Additional resources

Prof Fabrizio Nevola – History City

Terry Bracher – Explore Wiltshire

Pete Insole – Know Your Place and StoryMaps

Calvium resources

Row of shops, with chairs and tables outside a cafe. Planters with flowers in foreground

Seasonal storytelling with digital technologies

By Place

Our calendar years are defined by the four seasons, and within those fall many diverse occasions – from religious and traditional celebrations like Christmas, Easter, Diwali and Chinese New Year, to local festivals, carnivals and events that are unique to a particular place.

Every year, our high streets are transformed by the big seasonal events as retailers and placemakers vie to attract footfall and stand out amid the competition. It also marks a particularly testing time for parents like me, who have to drag bored children around shopping.

While we love a family day out in town, I wish there was more than Pokemon Go to keep them entertained. Something that engages everyone, no matter their age. Which got me thinking about the role of place-based, digital seasonal storytelling on our high streets – both as a form of entertainment, but also a way to attract visitors and support the local economy.

While it is true that the Christmas season is a vital period for our high streets – the UK spends more on seasonal gifts than any other European nation – seasonal storytelling is more than the Christmas and Easter scrum. Think of all the religious celebrations, national holidays and local Saints’ days; the sporting events, festivals, carnivals, markets; tribes coming to town such as Whitby goths or a football derby. The UK is full of cultural diversity and there are myriad seasonal events with stories to be told.

Reimagining high streets through storytelling

Our high streets are evolving to serve a different role in people’s lives and are being reevaluated to meet people’s expectations today. According to BBC analysis of ONS data, British high streets are becoming more than just shopping destinations; they are places people go for experiences.

As a nation of storytellers, our connection to places is embedded in stories about places and our relationship with them. This means storytelling has a central role to play in creating place-based experiences that increase dwell time, boost footfall and connect different high street communities – businesses, local authorities, residents and visitors.

The below examples highlight the wide-ranging ways digital storytelling can be used to revitalise British high streets.

Market town street with crowds and bunting

Photo: Ruby Doan

Easter trails and spring-time bloom

Easter egg hunts have long been a tradition in the ‘real’ world, so it is not surprising that a growing number of towns are incorporating digital Easter hunts into their place strategies. But as they become more common and less of a differentiating factor, the real potential lies in being clever with how those augmented reality (AR) eggs or bunnies can draw attention to specific places and shape a narrative. Incorporating additional elements, like quizzes or prizes, might be able to further enhance engagement with the story.

Spring is also a unique season for nature as flowers bloom and trees regain their greenery, so there will be lots of opportunities to showcase the scenic beauty of town areas. Consider, for example, where bluebells or daffodils can be seen and how a narrative of the town can be told along the way.

The Discover Stroud Trails app, for example, highlights the best locations to see snowdrops and bluebells in the district, ultimately encouraging people to explore and spend time in nearby towns.

An abundance of spring/Easter/May Bank Holidays around this time also brings long-weekend leisure jaunts and lots of tourist pounds. It is a prime time for places to be creative to support the local economy and increase the likelihood of people revisiting or recommending.

Summer holiday entertainment

With six weeks of school holidays to fill, this is a really key time for places to think about how to bring the summer holiday footfall to their towns.

A nice example of this is Get Suffolk Reading and Lowestoft Town Council’s storytrail for Kensington Park. Developed as part of Love Parks week for families during the summer holidays, the story can be followed by scanning QR codes around the park. A good example of enhancing engagement, an extra interactive element allows children to interact and share their own ideas too.

Character-themed trails like Wonky the Woodpecker trail in Winchester, meanwhile, are a great way to entertain youngsters while highlighting what is interesting about a place (the legend of Wonky dates back to King Alfred). A digital/AR element could easily be applied to offline trails like this to add a new layer of storytelling, making it quick and easy to create Wonky-themed trails for any seasonal event in and around the town.

High street ending in a park, with families enjoying space and sunshine

Photo: Illiya Vjestica

Ghosts and gunpowder plots

With autumn comes falling leaves, fireworks displays and an array of menacing and comedic-looking pumpkins in neighbourhood windows up and down the country. The widespread enthusiasm for Halloween makes it a great time for towns to have fun with digital storytelling. This could involve creating trails featuring spooky characters or recounting local ghost and horror stories, such as Dracula at Whitby Abbey or historical tales from Bodmin Jail in Cornwall.

Then Bonfire Night brings with it the story of Guy Fawkes and the Gunpowder Plot. It is yet another chance for places to think about how storytelling can complement the usual fireworks displays and bonfire gatherings, and in a way that is interesting and educational as well as entertaining.

This trail in York, which is centred around York in the time of Guy Fawkes, shows how the story could be made unique to a place. Adding an immersive element, like AR explosions or a historical character leading you around, could make it even more exciting.

Christmas and Valentine’s Day

Christmas is arguably the biggest global seasonal event, bringing with it vibrant markets, impressive lights displays and increasingly extravagant shop windows.

Festive trails featuring elves, reindeer and Santa are created to lead people on hunts around places in the search for hidden characters and clues. But beyond entertainment, these trails usually have a much greater purpose; to encourage people to explore town centres and support local businesses, such as Northampton’s Hi Santa Stops experience.

Similar to the shared experiences created through dressing up, trails like this can help to create a sense of community over the festive period, connecting people with each other, with places and with local businesses. The prize element adds a nice incentive at a time when people are already looking to spend.

Not forgetting the myriad rich stories and traditions to be told at this time; of the roots of St Nicholas and Santa Claus, the nativity and birth of Jesus. This digital nativity trail in Leeds, for example, invited local communities to follow the trail using QR codes and online videos, which could be found in local businesses along the way.

A couple walking down a Victorian shopping arcade with Christmas lights above

Photo: Dean Xavier

Valentine’s Day arrives with an abundance of hearts, roses, cards and more chocolate, often overshadowing the true meaning behind the occasion. With the origins of Valentine’s Day dating back to the 3rd century and the real truth still unknown, there are many possible stories to be told about the mysterious St Valentine.

Additionally, there is mythology surrounding other figures associated with the day, such as Cupid and Aphrodite. Wales also has its own celebration of the lesser-known Welsh patron saint of lovers, St Dwynwen, presenting a distinctive opportunity to celebrate its unique heritage at this time through digital storytelling.

Culture and celebration

From annual celebrations like Pride and Notting Hill Carnival, to once-in-a-lifetime events such as the King’s Coronation, there are opportunities to bring stories to our high streets throughout the year.

Think of all the carnivals and processions that take place in towns and villages. Somerset Carnivals, for example, is an ancient tradition that dates back to the 1600s. Now a popular showcase of fireworks, street processions, fairgrounds and street food, adding a digital layer of storytelling – perhaps QR codes to unlock stories about different locations along routes – would give people something new to do while ensuring its history lives on amid the annual hubbub.

Carnival float with Samba theme

Photo: Somerset Carnivals

Cam & Dursley’s AR storytrail for the Queen’s Platinum Jubilee Beacon, meanwhile, used magical characters to tell stories from the Queen’s 70-year reign. Not only an example of how high streets can harness the power of storytelling to mark nationally-celebrated events, this type of digital experience would also work well to tell the stories of famous locals, past and present.

Seasonal occurrences like Whitby Goth Weekend, Bristol International Balloon Fiesta and Edinburgh Fringe Festival also present key opportunities to create digital experiences that tell the story/history of unique place-based events and draw people to surrounding high streets. Finding ways to engage locals is just as important as attracting visitors.

Challenges and place-based solutions

Given a major issue for high streets and town centres is that the tourism offer is often at the expense of supporting local identity – i.e. tourists coming for an event and not engaging or spending in the town – place-based storytelling is well-positioned to address this challenge.

As demonstrated with the examples above, there are various ways digital storytelling can be used to encourage people to explore a place and support the local economy throughout the year. It is a core pillar of Calvium’s Place Experience Platform (PEP), which supports placemakers to do that easily and flexibly, enabling the creation of trails, hunts and quizzes for special days, weeks or seasons.

Screengrabs of Pumpkin Patch Hunt on Explore Wiltshire app

Warminster Town Council, for instance, used PEP to create a seasonal pumpkin hunt as part of the Explore Wiltshire app. It is a prime example of how time-targeted content can strengthen a place’s tourist offer while fostering connections between high street communities.

Community co-creation is key to the success of creating digital place-based storytelling experiences like this. This is not only in our experience, but something reinforced by the High Streets Task Force, which recognises the importance of considering the “unique history and lived experiences of local communities in forming place narratives, rather than employing a more detached top-down branding approach.”

Final thoughts

With digital technologies continually adding fresh opportunities for visitor engagement, our high streets must adopt the evolving opportunities fostered by digital storytelling.

For all its many benefits, storytelling has a crucial role to play in helping high streets to become the places of experience that people want them to be. Placemakers that can harness digital technologies imaginatively, therefore, will be better placed to meet and exceed expectations while hitting their KPIs and ensuring the long-term sustainability of high streets.

Aerial view of cathedral and city

How Visit Ely is harnessing digital technology to maximise visitor experience

By Place

In charge of a city bustling with history and culture, Visit Ely has been ramping up its digital offering to reach new audiences in a post-pandemic world. The tourist information experts have worked with Calvium to deliver an innovative digital placemaking experience on mobile apps and digital kiosks across the city.

On the cusp of completing the initial rollout, Visit Ely’s Sales and Events Officer, Matt Routledge, tells us how Visit Ely has adopted, adapted and evolved in recent years, and the importance of putting community at the heart of digital placemaking.

Can you give an overview of Ely and its local economy – where does tourism factor and what are the economic development strategies?

While it may not appear quite as sprawling as nearby neighbours Cambridge and Peterborough, Ely is a city. We have a sizable agricultural income and economy because of the nature of the fens. We are home to a number of production industries, including being the European home of international organisations such as Thorlabs. We also have a bustling town centre and tourism sector.

Tourism is a sizable element of the visitor economy throughout the summer and winter, and we have everything they need in one destination, such as accommodation providers, food and drink establishments, independent shops, markets, and unique visitor attractions, for example, Oliver Cromwell’s house. Residents and school visits certainly contribute, but it is tourism that provides a considerable cash injection to Ely’s overall economy.

As placemakers, a destination marketing organisation and visitor guides for the city, what are your key opportunities and challenges?

The biggest challenge is that we are in a very well-supplied market where there is a finite resource of time and money for people to enjoy leisure activities. They go hand-in-hand: if you have money, do you have time to spend it? If you have spare time, do you have money to spend? So to assert ourselves, we need to make our product appear top-of-list in front of people.

Fortunately, that isn’t enormously difficult when you have a resource, a product per se, such as Ely, which is filled to the brim with history and things to do. People travel all over the place for our markets, for instance, while our upcoming traditional apple and harvest fair attracts between 5,000-7,000 people in a single day.

Photo of street festival with large eel

Ely ‘Eel Day’ is a popular annual festival which includes a parade, led by a giant eel. The weekend event is an established attraction with music, games, stalls, Morris dancing and various other entertainments including competitions such as ‘eel’ throwing. Photo: Terry Harris.

Digital technologies are playing an increasing role in the lives of locals, visitors and potential visitors. How is this influencing the ways that these groups engage with Visit Ely and the city?

Digital technologies have created two almost defined streams of tourism. We have our traditional 50-65+-year-olds who engage with our print materials, want to see posters and still pop in to see us at the tourist information centre; then we have a newer, younger audience that are much better served and reached by digital platforms.

We’ve seen a need to move towards Facebook, X, Instagram, TikTok, and have had to adapt. We know that we are looking at a global audience and in the post-pandemic world, international travel is coming back with a renewed vigour. There is a desire to travel internally and internationally from markets that we may have not seen before. People are doing more virtual tours using a range of platforms, and then going to see places as a result of that. That’s also why Ely is on these platforms.

So, digital technology has had an enormous impact and will continue to have an enormous impact on how we drive business and in what basket we put our eggs.

What has been your strategy in providing local information through public access, as well as direct to personal devices?

This strategy – the development of a tourism app – dates back to the early days of the pandemic, where the economic development team at East Cambridgeshire District Council applied for funding from the combined authority. Because of the local roots the project needed to flourish, it made sense for it to sit under the Visit Ely banner.

That has influenced the initial campaign and structure of how we are going to engage, particularly in making sure the app isn’t just a boon for tourists. That was one half of it – giving tourists and potential visitors the opportunity to see all the things to explore in Ely via an app – but we also wanted local residents to benefit as much by letting them know what’s available, to defeat that kind of threshold anxiety that might exist. There is an ever present sense of “that isn’t for me” or “It’s of no use to me”, but once you get someone over that threshold, once they engage and see what is on offer they will hopefully become life-long users.

It has very much been something we’ve wanted the community to be at the heart of, so this has informed the content we show, like government buildings, the library or emergency dentist – things that your average visitor may not want or need.

Can you describe the Visit Ely app and its visitor experience?

We currently have around 326 local sites, services and places of cultural interest listed, ranging from dentists, museums and architects, to the cathedral, public transport and the ‘secret yarn bomber’ – a local resident who designs knitted tops for post boxes under a secret identity.

We have events, which we can geolocate so somebody gets a notification when walking past a specific place. Then there are the trails and quests, including wellbeing trails for Ely Country Park and the ‘Station to City’ trail, which seeks to bridge the gap between the city and train station, which can feel quite isolated.

We know people love gamification; if you can turn something into a challenge, adventure and experience, then you should. So our first quest is made up of 40 questions, leading people to look at and discover things they might otherwise miss.

More recently, we have started to roll out digital kiosks, which host a version of the app that is only available on the kiosks – which you don’t need a phone for. By the end of the project, we will have 17 kiosks in key prominent locations around the city, including the railway station, market, riverside and all car parks.

What value do you anticipate the app will bring to your city?

It will add value from a two-fold perspective. Economically, it will bring eyes that formerly would not have reached the city of Ely. Equally, it will support residents, local businesses and events that are taking place in this city to grow, develop and share themselves around the world and within our own little microcosm here.

We’ve had some incredibly positive reviews already, often saying it’s about time Ely was put on the map! I had an email from a lady who had lived in Ely for eight years, and because of the app she had gone on her first proper walk around the country park. She said it was revolutionary.

Visitors are enjoying it too because they are able to plan their visit and make the most out of it, rather than getting overwhelmed with choice anxiety.

What have you discovered/encountered working with digital technologies and information/content – has it changed the way you see future storytelling and visitor experiences?

We are on the cusp of something incredible developing from here and you cannot avoid it; you cannot outrun the future. So we are being faced with that redirection.

The app is the perfect example of that happening. We are taking that relevant information and transposing it to a new medium. We’re saying to people we are still here; the tourism office and printed visitor guide aren’t going anywhere but digital works harmoniously with it and they can be used to support each other. We have to be acutely aware of the change of tide of technology we adopt to adapt to evolve.

Are there any words of wisdom that you would pass on to other Councils or places seeking to create their own digital placemaking experiences?

Root it in your community and get that community buy-in from the beginning. Make it work for residents first, then it will grow and flourish because it is tended by those that know the soil, air and nutrients best. Let them plant the tree and grow with you.

We have made it a very open project and invited people to feed back and submit their own events. It’s about giving the community a sense of ownership; letting them know that their thoughts, wishes, feelings, desires, ideals and content is appreciated and not just paying lip service.

What are your plans for the future?

We are adding more content daily and would like to start doing more community-curated trails, letting those who know Ely best submit their own routes. They will be the lifeblood of this app.

It is still a very young idea but we’re so invested in it and there are so many branches that can spring from it… additional screens, new functionality on the app, itineraries. The wish list grows and grows, because if we are constantly improving the experience and keep giving people something to come back to, they will come back.

 

Thank you Matt for sharing your experience and insight!

Enhancing place engagement with augmented reality

By Place

Augmented reality is a familiar technology that has been creating new spatial experiences for many years now. To inform an AR project that I’ve been undertaking recently for Calvium’s Place Experience Platform, I decided to find out a bit more about augmented reality…

While early innovations in immersive reality were emerging just as The Beatles started rising to fame – the first VR mounted headset was developed in 1960 – it was undoubtedly Pokemon Go that took AR to the mainstream in 2016, carving out a lucrative space for AR as an entertainment experience.

AR has come a long way in the past decade alone, with increasingly sophisticated technology driving innovation to enable more immersive experiences and a greater connection to places. Whether for entertainment or education purposes, AR is being adopted by many to enhance storytelling – in journalism, theatre, museums, towns and cities. My particular interest lies in the ways that AR is being used to form new experiences for people in places, and a variety of examples follow.

Developer at office desk

The world’s first augmented reality city

Stirling in Scotland is currently undergoing a £200,000 transformation to become the first fully augmented reality city in the world. Part of the Scottish government’s Place Based Investment Programme, Stirling Council has teamed up with BT and global design agency Seymourpowell to bring the city’s history and heritage to life in a new AR environment.

The place-based app, dubbed Stirling XP, overlays key attractions with interactive information, graphics and 3D models, while interactive games will unlock rewards and incentives across the city. It is part of a wider ambition to raise Stirling’s profile on the international stage – particularly by tapping into the expectations of a younger generation looking for more immersive and digital experiences. Another key aim is to open up new opportunities for local businesses and boost the wider tourism economy.

We know that digital placemaking has become a key component of the visitor experience and has the potential to realise socio-economic benefits for a location. Neil Christison, VisitScotland’s regional director notes: “…tourism is a force for good with an impact that spreads far beyond the industry itself – it benefits our economy, our community and our wellbeing.” As a central pillar of place-based digital capabilities, investment in augmented reality can be an investment in the local economy.

Bringing history to life

AR is not only a powerful way to bring modern-day cities to life, it also has a great role to play in recreating places of the past. Zubr Curio’s Acropolis AR app, for example, allows visitors to the Acropolis of Athens to explore the ancient buildings as they would have appeared in the 5th Century, and walk the paths that connect them. The app is not only location specific, but also lets people enjoy the experience wherever they are in the world. By bringing a miniature 3D model of the Acropolis Hill to their living rooms, users can inspect the ruins as they appear today and reconstruct the monuments in AR, piece by piece.

Two computer generated images of the Acropollis, one in ruins and one complete

Images: Zubr Curio

The New York Times has used AR to recreate history in a slightly different way. As part of its experimentation with AR in storytelling and journalism, the publisher used photogrammetry – the process of taking overlapping photos of an object, structure or space and converting them into 3D digital models – to recreate a model of an historic Chinatown street in New York. Using over 4,000 images, users can explore archival photos of that space through the lens of AR – including a famous vintage dim sum parlour dating back to 1920.

Back in 2019, Calvium collaborated with Professor Fabrizio Nevola at the University of Exeter, Professor Donal Cooper at the University of Cambridge, the National Gallery and long-term partners Zubr to create Hidden Florence 3D: San Pier Maggiore. Using AR, the app places the user inside a reconstructed model of the Church at San Pier Maggiore in Florence that was destroyed in the 18th Century, and recreates the building around the altarpiece, which is currently situated in the National Gallery.

Adding a new dimension to fiction

Audio has been an incredibly popular extension of fiction for decades, with the first audiobooks dating back to the 1930s. So it makes sense that AR is being used to add another dimension to fiction and storytelling, creating immersive experiences that pique the imagination of both adults and children alike.

For example, Singapore’s Mint Museum of Toys’ series of AR story-colouring books for 4-12-year-olds encourages learning through interaction and creativity. Each book is based on collections from the museum, including one about a girl who grew up in 1920s Singapore, which tells a story of how this nation-state has progressed since then.

The University of York, meanwhile, has developed an immersive AR pop-up book to bring the story of Dracula to life. The 20-minute experience combines a ‘real world’ fine art pop-up book with immersive AR animations, with a tablet dressed as a ‘spirit detector’ inviting audience members to become part of Dracula’s reincarnation. The project hopes to eventually enable the development and testing of a location-based version that can be toured internationally.

Even closer to Calvium HQ in Bristol, Aardman Studios has created its first AR experience for Wallace and Gromit. The narrative-driven experience sees the world-famous duo take on a contract to ‘Fix Up’ Bristol and positions the player as a new employee of the company. They can interact in a variety of ways, including through AR gameplay and extended reality portals.

Fictioneers’ Richard Saggers, who worked on the project with Aardman, described it as groundbreaking work “which demonstrates the huge opportunity to evolve the way stories are told.” Saggers highlights the importance of having diverse, multidisciplinary teams, which is something Calvium certainly advocates for too!

Immersive theatre

The immersive nature of theatre means it is already very well-positioned to experiment with AR. The National Theatre spotted the opportunity early on and launched its own immersive storytelling studio back in 2016. The studio is designed to examine how emerging technologies such as AR can widen and enhance the company’s remit to be a “pioneer of dramatic storytelling and to enable an audience to stand in the shoes of another”.

One studio output includes a live AR performance of All Kinds of Limbo; people can buy a £6 ticket and watch it on their smartphone or tablet, wherever they are. This demonstrates the power of AR to make theatre more accessible too.

Professor Elizabeth Hunter’s theatre productions, meanwhile, use video games and AR headsets to place audience members in the perspective of a play’s characters. Bitter Wind: Greek Tragedy for Hololens, for example, puts users in the POV of the protagonist by overlaying their physical surroundings with digitally rendered versions of palace windows, torches and wall fragments.

Place Experience Platform evolution

Calvium’s Place Experience Platform (PEP), that I mentioned earlier on, is one tool that can give place managers the capability to put AR elements in a location, and then manage, update and expand on them. We are constantly looking to improve capabilities and expand our menu of experiences from which place managers can choose their feast!

We recognise the value of making AR scalable and accessible to everyone using our platform, which is why I am currently designing new elements that will be made available to all of the PEP customers.

Windmill Hill City Farm

To coincide with Halloween, we recently co-designed a new digital visitor experience for Windmill Hill City Farm. The 15-minute trail follows Dusty the ghost, who appears as an animated AR model and needs help finding their friends around the farm. We’ve created five fixed templates of different ghosts in the CMS, which can be customised to create individual trails and challenges around different sites.

Starting with an initial set of characters, each place can create their own site-specific experience from a ready-to-go toolbox. for personalising to their place. We see a huge opportunity to create more seasonal trails like this, including for Easter, Christmas and major peek holiday times. Moving forward, developments like this will be available to all clients as part of their subscription.

5 portrait phone-shaped images of a family members at a city farm with AR ghosts next to them

Calvium’s CEO Jo Reid tests the ghost hunt at Windmill Hill City Farm

Beckford’s Tower

A more complex, unique and bespoke project, our latest collaboration with Zubr is an example of a more complex, unique and bespoke project, which uses mixed media storytelling to enhance the historic site of Beckford’s Tower in Bath.

As this project was built using PEP, the curatorial team can continue to develop it once the project is over. There are so many stories to be told, which means place managers can produce and release new content over time; they can get user feedback, make changes, tie in releases with themed promotions and regional events. It’s a quick, cheap and easy way to update and keep visitor experiences fresh and relevant.

Final thoughts

As I’ve discovered, AR is no longer a novel and risky innovation; it is a must-have way to engage. In the context of place-based storytelling, AR can help draw out what is distinctive about your place. It can further enhance the craft, creativity and quality of storytelling, and deepen understanding of the unique local aspects of a place. AR as a technology is a common offer, but how you use it to lead people around your place and tune it into your particular context is what will make you stand out.

People expect a digital element to their place experience nowadays, and so a digital component, AR or otherwise, should be seen as a staple part of any placemaker’s toolkit. Not only do audiences enjoy digital experiences, it is a tried-and-tested way to boost engagement with a place, support a place’s brand and encourage repeat visits. A win-win for all!

Three cartoon pumpkin lanterns

Boost seasonal engagement with holiday hunts and trails

By Place

Warminster Town Council have boosted their October school holiday offer with a seasonal pumpkin hunt, as part of the Explore Wiltshire app. The Town Council have taken full advantage of the Place Experience Platform’s flexibility to make a fun, family friendly trail for their half-term week. This time-targeted content strengthens their tourist offer as well as connecting local communities with local business on the high street.

The interactive pumpkin hunt leads families around the town centre to ten decorated pumpkins in windows of local businesses. At each location the app asks a question. Prizes for a full set of correct answers can be collected at a special ‘Pumpkins in the Park’ event at the end of the week, featuring a competition, an evening light-up of carved pumpkins, and enjoyment of the Lake Pleasure Grounds and cafe.

The seamless integration between seasonal events, activities and local business community presents a coherent, attractive and engaging local identity, encouraging participation and repeat visits.

Screengrabs from the hunt

Through this hunt Warminster Town Council are:

  • promoting active and outdoor activities
  • supporting local high street businesses 
  • building community
  • cross-promoting seasonal activities and events.

Read more about the town’s event plans: https://warminster-tc.gov.uk/events/pumpkin-patch-hunt/

Download Explore Wiltshire for Android or Apple.

Book in a demo to discuss what the Place Experience Platform could do for your location. 

Poster advertising Pumpkins in the Park event

How Stroud District Council is embracing digital placemaking to support its economic development strategy

By Place

Amy Beckett is the Senior Economic Development Specialist for Stroud District Council and Amy Helliwell is Tourism Officer. Stroud District lies in South West England and comprises eight towns and many outlying villages. In this joint interview, Amy and Amy talk about some key opportunities and challenges for Stroud District, and describe the evolving role that digital technologies are playing in the district’s economic development strategy. They discuss their latest visitor experience, the Discover Stroud Trails app – powered by the Place Experience Platform, and share insights about the importance of engaging the Council, businesses, residents and visitors.

Can you give an overview of Stroud District and its local economy – where does tourism factor and what are the economic development strategies? 

Amy B – We’re really lucky that the district of Stroud is quite an extensive space and there are tourist information offices in all our market town locations, run by the parish councils and volunteers. We’re a district that sits within Gloucestershire; half of our district sits within Cotswolds Area of Outstanding Natural Beauty so we have a strong connection with Cotswold tourism; we’re closely located to Wye Valley and we have really good connections north and south, up to Birmingham and down to Bath/Bristol.

We’re positioned in a really touristy location and we’ve got a lot of opportunities. We predominantly see walkers and visitors that are a bit more focused on sustainability than other areas of tourism. Sustainability is a really strong ethos that a lot of our larger businesses and smaller tourism businesses share, so the businesses we support care about the impact they have. It’s really exciting to be able to work alongside them to develop and continue that offer into the future.

As placemakers for the Stroud District, what are your key opportunities and challenges?

Amy H – We’ve got a really enthusiastic town and parish connection who want to collaborate on many of our projects, such as developing different visitor trails on the district’s new Discover Stroud Trails app, because it affects them immediately. We have a positive partnership with them, which is a really good opportunity.

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Tourist signage in Painswick

A challenge is how we connect with and across our hinterlands. We’ve got our market towns such as Dursley, Wotton-under-Edge and Stroud Town, with whom we work very closely, but the question is how do we connect wider in the district – to get to those smaller niche locations? How can we encourage those parishes to join in with us and how can we encourage people to go to those areas?

Also, we’re a very sustainable district but there are a lot of challenges that come with that, especially when it comes to tourism and sustainability. With an increased tourism offer, is there going to be a negative impact on our sustainability and environment? The challenge here is making sure people are respecting those areas, like the locals do.

Digital technologies are playing an increasing role in the lives of Stroud District’s residents, visitors and potential visitors. How is this influencing the ways that these groups engage with Stroud District?

Amy H – Recently we have launched a brand new and exciting digital experience for Stroud District (Discover Stroud Trails app) and we created a social media campaign to promote it and engage with our audiences better. It’s great that we have this ability to use social media as a way to market the app and in particular to interact with new audiences.

Discover Stroud Trails is a mobile app that lets us highlight the town’s offer, via visual means. Having the visual aspect is why the app has worked so well, because you’re not just looking at a map that you follow around. Having a digital experience makes it more exciting for visitors as it engages them with the location in a deeper way and gets them to think about what they’re doing and interact with what they’re doing. Hopefully, we can evolve the offer and create more digitally-enabled visitor engagement with other areas of Stroud District.

Amy B – It’s been exciting to work on something that’s quite innovative for local authorities. Being able to use the placemaking app to support a broader age range of visitors that are accessing our space is inspiring. Predominantly, our visitors are a slightly older generation, so a goal of the Discover Stroud Trails app is to appeal to Gen Z and help them to find out about us using their preferred methods and devices. We’ve got to be really proactive with that approach and do so in a way that is user friendly – supporting older generations to utilise the app.

Screens from the app showing maps, trails, information on points of interest

Your Discover Stroud Trails app uses Calvium’s Place Experience Platform – can you give the background to your involvement with the platform and what value you anticipate it will bring to Stroud District?

Amy H – The app was originally funded by the government’s Welcome Back Fund to increase visitors numbers into towns after Covid-19, so we worked very closely with the towns of Berkeley, Dursley, Nailsworth, Nailsworth, Stonehouse, Stroud Town and Wotton-under-Edge to get the initial trails out there. The trails are designed to guide people around the town and reveal a range of interesting stories about the place.

“We’ve undertaken some preliminary research that shows a positive correlation between an increase in footfall in our towns and the promotion of the app on social media.”

Increasingly, the analytics indicate that when we promote the app through our social media accounts, there is a positive correlation on the increased numbers of users downloading those trails or just generally downloading the app. From what we’ve seen so far, there has been a nice value added already. Now it’s about the opportunity to increase that and see what we can add to the app to make the user experience even better, and how we can retain these visitors.

Amy B – Cost of living is impacting our businesses – and our businesses are our residents and communities – so we’re focusing all of our walks on the app on how we actively encourage footfall past our tourism destinations, whether that’s a museum or coffee shop. It’s a really holistic approach to supporting economic development and our businesses. I’m proud of the fact we can offer this solution, with an aim to improve the spend at our businesses while encouraging that inward spend from residents, especially at the moment.

Can you describe the Discover Stroud Trails app and its visitor experience?

Amy B – The mobile app provides walking routes that are town-focused, such as for Nailsworth and Stonehouse, as well as district-wide. So we have really localised walks and opportunities that take you through specific places, and also larger walks that go across the whole of the district. When you pick a walk, it will highlight where you’re going and some key focus points as you’re walking. In Stroud Town, for example, we’ve highlighted some of our historical monuments or buildings and the app gives you information about them.

In future we can also include different features that enable visitors to engage with the towns in alternative ways, historic maps and treasure hunts for example. We’ve got lots of historical societies and are keen to work in partnership with them to design new ideas and content for our placemaking app.

Para gliders over the common
Photo: Stroud District Council

Amy H – One of the things I love about this digital experience is that there are so many hidden bits and bobs in Stroud District that you wouldn’t know about – even if you live in the town – so it’s a great support to our visitors when exploring the area, and it is also really beneficial to our local residents.

Although a lot of trails don’t overtly highlight local businesses, it might be the case that a particular walk guides people past five businesses and so it is very strategically placed. The additional information then might say ‘there’s a great coffee shop here’ or ‘did you know this is the first vegan cafe in the UK?’, so it’s a great opportunity for us to be able to promote these areas in subtle ways.

How did you go about imagining and creating the experience and content?

Amy H – The first trails we had were town centre-focused given the funding, so when I joined it was six market towns that were going to work together to create this app. It was super having that expert knowledge from locals from the get-go.

We work very closely with our destination management organisations who are good at highlighting key dates and events, and so we cater certain walks around those. We aim to publish two trails every month, whether that’s a generic one we have pre-planned or if it’s themed to other activities. This might be around Christmas or Halloween, to highlight a local food or film festival, or where best to see bluebells and snowdrops in the Spring.

It also depends on what our customers have asked for on our social media. We ask them every now and then what trails they want to see and if they like certain content, which helps us to decide what’s going to come next and how we want to build the visitor experience.

Have you had any feedback to the Discover Stroud Trails app yet from your communities – e.g. businesses, visitors, residents?

Amy H – We had a really nice review from a local saying they had found out loads of things they never knew about! Our towns and parish councils are really supportive – especially with our initial trails because it was all trial and error. Because the trails are so quick and easy to upload, we get a lot of quick feedback from the usage of the app and how it works.

Talking to different people using the app – the council, visitors and businesses – it’s always people asking what they can do with it. On social media, people sometimes suggest little edits they’d like to see, which we can take to Calvium and ask if this is an upgrade we might be able to do in the future.

The feedback in general has been very positive and it has all been constructive criticism about how we can improve and have this amazing visitor experience for all people.

Amy B – Amy Helliwell has been speaking with the businesses, not only introducing her role but also the app. Many of our larger and smaller businesses are happy to have a QR code in their reception area or coffee shop to encourage users to download it, which is testament to the quality of the app. It’s a win-win situation: we highlight their destination and they in turn highlight the app, so it should have benefits for everyone.

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Stroud Farmers’ Market
What have you discovered/encountered working with digital technologies and information/content – has it changed the way you see future storytelling and visitor experiences?

Amy B – This is a really nice addition to what is already done. There is still a long way to go with some people, whether that’s residents or visitors, and the trust in the digital apps. Also the understanding of the wider support that it can offer in the economic development strategy and that focus on trying to increase footfall and spend in our areas. It’s just one prong on a lot of things we’re still responsible for that is really seeing an increase in a positive way.

So I don’t want to say we’re just going to do digital stuff, because that is not what our audience wants; some of our customers and businesses still want to see different approaches, and rightly so, and we have to be very mindful of the speed with which we do these things. But it’s an excellent way to start enhancing the offer that we have, and pulling some of that work and those opportunities into modern-day technology.

Amy H – We don’t want to go in all guns blazing and it either not work as well as we want it to, or have backlash to anything we do. It’s about easing people into it and showing the benefits that digital technology can have. For example, with the key threats of the future – the environment and sustainability, etc. – technology can help with that and there are ways we can use it as a means to educate the people on what they can do.

“The app allows us to highlight different aspects of a destination that might not be good for somebody with a particular disability, such as raised areas or cobbled streets.”

Technology also helps us to cater for everybody with regard to accessibility. Whereas the accessibility of certain places might not be obvious on paper resources, the app allows us to highlight different aspects of a destination that might not be good for somebody with a particular disability, such as raised areas or cobbled streets.

Are there any words of wisdom that you would pass on to other Councils or places seeking to create their own digital placemaking experiences?

Amy B – If you have the opportunity and there’s the appetite within your local area, just go for it. Calvium have been brilliant; the team has been so hands-on and are so passionate about the work they deliver, it’s hard to not be excited by all of the opportunities.

Amy H – Trust the process. It’s one of those things that is about trial and error, which sounds a bit scary. You have the option and freedom to try different things with Calvium, to go back and forth and make something that is intrinsically your town and works for what you want it to be. Make sure you’ve got a really good support network behind you as well – your parishes and councils – and make sure you lean on Calvium and their knowledge.

Painswick church with trees

Calvium are specialists in designing digital placemaking systems and are keen to develop innovative solutions for people, place and planet – are there any aspects of your environmental development strategies that could benefit further from digital innovation?

Amy B – Within the district and our local authority, we’re working really closely with a number of different departments in the council to look at how the app is of a benefit to a wider reach than just economic development and being a placemaking opportunity; from teams responsible for sustainability and net zero to those working on canal restoration, communities and wellbeing, and cultural strategy. We will look at the legacy with a really holistic approach to make sure it is fit for purpose and does reach multiple audiences and deliver multiple priorities for the district.

What was it like working with Calvium?

Amy B – It’s been excellence from beginning to end. It’s great to work with an organisation that’s passionate about what they’re delivering. You can trust what they’re saying and doing, and how they’re supporting you.

To deliver excellent visitor experiences for your town, contact Calvium now.

The team would like to thank all the contributors and the towns of Dursley, Wotton-under-Edge, Nailsworth, Stonehouse, Berkeley and Stroud Town in bringing this project to life.

Amy Beckett, Senior Economic Development Specialist
With 10 years’ experience in supporting local areas to grow their economic development offer, Amy joined Stroud District Council in September 2020 to establish and develop an economic strategy for the district. As part of her remit, tourism and placemaking was highlighted as one of the key opportunities for the district.

Amy Helliwell, Tourism Officer
Having always lived in Stroud District and previously running one of the top tourist destinations in the district, Amy joined Stroud District Council in 2022. Amy’s role is focused on enhancing Stroud District Council’s contribution to tourism, and thinking about how the Council can collaborate with other parishes and tourist destinations to promote tourism in the area.

Interview with David Rosenthal: the future of place-based digital storytelling

By Place

Calvium has collaborated with the University of Exeter on the thriving Hidden Cities project for over a decade. Dr. David Rosenthal is a historian at the University of Exeter and the co-founder and trail director of Hidden Cities.

In this interview David describes how place-based digital storytelling can transform streets into a stage, and transport audiences to a different era. He also shares his thoughts on how digital technologies have changed storytelling over time, how he sees this field developing, and offers his top recommendations to future locative storytellers.

Photos and job titles of David and Jo

You have been working at the intersection of history, storytelling and locative digital media for a number of years. What initially piqued your interest and what motivates you nowadays?

I’m an urban social historian of early modern Italy by training and one of things I’m interested in is what people do in public space and the interactions they have, the kinds of groups they form, the places they go to and how they behave and move around. Both in an everyday way and also at certain special or unusual occasions, such as a procession, or an uprising, or some other event.

Fabrizio Nevola, Professor of Art History and Visual Culture at the University of Exeter,  asked me to collaborate with him back in 2013. He had an idea: if you’re interested in space, movement, people and buildings, doing something with geolocated mobile media seems like a no-brainer. Very few other historians, and almost no other historians of the early modern world, were thinking about how to do history on your phone. That’s how we got Hidden Cities going, starting in Italy with the Hidden Florence mobile app.

What motivates me is the question of how, along with the specialists with whom I collaborate, do I present a fragment of a past world, hooked to place, in a compelling way? I want somebody opening the app on their phone to be intrigued, entranced even, so they keep going from site to site around the location. I think social historians do what they do partly because they enjoy telling stories in the first place, and for me this also comes out of my former life as a journalist.

Has using digital technologies changed the way you see storytelling and audience experiences?

Completely. Telling a story on a page is totally different to the way you tell it in physical space with audio and images. With Hidden Cities, there’s always a historic map georeferenced to a modern street map, and there’s usually a critically fictionalised historical character telling a story at a site we take the user to.  So the storytelling is designed to encourage the audience to experience a kind of time bending, a sense of dialogue between past and present, the past and present of the space they are in and the social and cultural worlds that give that space meaning.

HiddenCities app - historic and modern maps of same area

In the wider field of digital place-based storytelling, have you seen a change over time?

It’s hard to track clear linear change over time, apart from the affordances of the tech – from early GPS to downloadable phone apps. It’s an emergent field and there are several models out there. I wrote a chapter about public history and mobile media for a volume about Hidden Cities, which came out last year, and I realised how we’d used elements from several different kinds of apps. Models like first-person and third-person storytelling. Linear or non-linear narratives across a route, combining audio, images and text at each site.

But there were also some fascinating experiments in gamification from the early days of GPS – so clunky GPS gear in a backpack – that are still to be properly followed up. Back in 2005 HP Labs did Riot! 1831 in Bristol using a kind of sandbox game model. Another example is Ghosts in the Garden in Bath from 2012. To be honest, we’ve only scratched the surface of AR gaming, at least in the history arena.

Read more in Hidden Cities: Urban Space, Geolocated Apps and Public History in Early Modern Europe.

Calvium’s Dr Jo Morrison contributed chapter two, discussing the technical development of the project.

Which organisations do you feel are currently doing the most exciting and impactful work regarding locative media and digital storytelling? 

In the UK, I’d struggle to find an organisation more innovative than Calvium in this field. The Lost Palace for example was a great experiment using bespoke mobile media to tell stories, especially in bringing to life a vanished piece of urban fabric, in that instance in London. In mobile media art installations, I don’t think anybody should go past the kinds of things that Janet Cardiff and George Bures Miller have been doing for many years and continue to develop.

In history, probably one of the best and biggest is Cleveland Historical, which also developed a platform called Curatescape that’s used in about 30 cities around the world. Cleveland makes historical trails with pictures and text. But they also do interesting stuff with audio. They have one trail, for example, called African Americans in Cleveland, where users can go to a bar that was massive in the US jazz circuit in the mid 20th century and hear testimonies from people who attended and played there. I also like Soundtrails, an Australian app that looks to bring to the surface the experience of indigenous people. It  uses mainly oral testimony to piece together superb situated documentaries. Exciting in a different way is an app like Clio where people can add their own trails on a fairly basic platform.

There are of course plenty of app-ified versions of basic guidebooks, but a few of these are quite inventive – for example a recent UK app called Window Seater which tells you what’s passing by outside your window when you’re on the train.

Topographical map with dotted path leading through blue rectangles, with location pins
Soundtrails – map of the Coombadjha Walk, in Washpool National Park, New South Wales
What does best practice look like?

I’d say one element of best practice in AR is to not get too carried away with the idea of immersion. There is an immersive element to AR, and that can be interesting and fun to play with. But what’s equally interesting is how you bring to the surface, or work with, what is actually a liminal experience. It’s that difference between the sense of place as it’s experienced now, and the other worlds that were once there, the memories of place, the experiences of other people in other moments.

Sometimes this otherness is thrown at you when the built fabric has radically changed, but often change is more subtle, it’s more about the changing nature of the sidewalk ballet, to borrow a phrase from Jane Jacobs, than the fabric itself. One other element is to be clear about why I am asking someone to stand at a site on what might be a wet Tuesday afternoon. How am I clearly making that something you can’t get without leaving the house. And, a related point, what’s the public history agenda? Very often for Hidden Cities that’s got to do with stories and lives that are not in the foreground when you think of a city’s monumental heritage.

How do you see this field developing? What themes are emerging?

I can see two at least. The first is the development of more gamified storytelling. AR gaming in general is still quite an undeveloped area, despite the massive take up of a few games such as Pokemon Go. Gamification in its many forms is going to be something that makes locative storytelling a more compelling experience for more people.

The other thing is 3D AR. For example, going past a site in which the building no longer exists and being able to use your smartphone to recreate it. You can do this now of course, but it will become more commonplace and also more integrated with audio storytelling.

Woman holding up a tablet inside an exhibition gallery, a 3D church shows on the screen of the tablet.
Hidden Florence 3D – an altarpiece can be seen in situ on a tablet, giving a sense of how it would have looked in its original location.
Turning to the telling of stories – what are the top recommendations you have for future locative storytellers, who are seeking to bring heritage or more general tales to the public realm?

Never underestimate users: they’re media savvy and they want stories that are meaningful and complex.

Think of public space as a theatre. If someone has got a mobile phone in their hand and you’re telling them a story, you’re transforming that space for that person into a stage.

Think about the positioning of the user and how you want to make them feel and think about a place. Then work out how to best use the technology you have to do that.

What opportunities do you see for digital innovation in relationship building between specialists (e.g. academics like yourself), communities (and visitors) and places?

Digital mobile media really is a relationship builder. It’s a tool that can take specialist research and translate it into something public and accessible. So it’s a way to build relationships with museums, heritage and community groups that also have an interest in the places you want to go, the objects you want to associate with these places, and the stories you want to tell.  There’s a great deal of room to explore co-production.

What can we expect from the Hidden Cities apps this year?

We have four new cities coming out – Copenhagen, Tours, Landshut and Venice. At the same time we’re developing how we do narrative drama in the street. For Hidden Venice, one of the trails is a true crime story that unfolds in 1730, where the user accompanies a cop trying to solve a case of serial sexual harassment in the city’s churches.

We also have a new trail coming for Hidden Valencia on the Spanish Civil War, our first 20th century trail. In this story we aim to entangle the user in a kind of thriller set in 1937, a game of cat and mouse featuring two characters, on one side an undercover Francoist, on the other a republican cop.

Depending on how we’re placed to develop the tech, in future these kinds of urban history adventures might become more gamified, with narrative and directional branching, as well as other possibilities using more interactive mapping.