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People jogging outdoors along a tree-lined path, with one person in a bright green running shirt in the foreground.

Digital placemaking: enhancing physical activity for health and wellbeing

By Place

The UK population is ageing steadily, with over-65s projected to make up a quarter of the population by 2050. While life expectancy in the UK has broadly increased, healthy life expectancy has not kept pace. This means many people are living longer in poor health. Moreover, ageing is not uniform: inequalities in health outcomes and access to services by gender, ethnicity, geography, and socioeconomic status shape how people experience later life (UK Parliament Briefing, Sept 2025).

Promoting regular physical activity, alongside a healthy diet, is one of the obvious yet essential ways to achieve and maintain better health, helping to improve quality of life and reduce healthcare costs, as well as address health inequalities across all demographic groups.

The key question for this article is – how can we make exercise more enjoyable and something people want to do?

This is where digital technologies come into play; placemaking, in particular, can support public health through sport and movement by leveraging technology to create more engaging, accessible and inclusive environments. There are examples of place-based technologies that are doing this well already, as I will examine below.

A variety of people waiting to cross a busy road, some with access supports - a pram, walking stick, wheelchair.

Incentive-based placemaking

Incentive theory is a psychological theory based on the notion that human behaviour is motivated by a desire for external rewards; money, recognition and promotions are a few examples of positive incentives that may encourage people to work harder and perform better.

It makes sense that this would translate well to physical activity, which we can see in the success of apps like Sweatcoin. The free step counter and activity tracker converts steps into a virtual currency, which can then be spent on a variety of products and services in a dedicated marketplace. This includes fitness gear and classes, as well as the option to donate to charity.

Importantly, the app has proved to have sustainable benefits on physical activity. Research from the British Journal of Sports Medicine showed Sweatcoin users’ physical activity increased by 20% over a six-month period. The report underlines the benefits of the app in allowing people to look back and feel good about their achievements, rather than setting future goals, which if not achieved, can have negative effects on motivation.

This further highlights to me the need to change the rhetoric around exercise and movement. Rather than shaming people into exercise and making them feel bad for not doing so, the emphasis needs to be on the benefits of exercise and how it can improve quality of life. It is also about making exercise seem less of a daunting task and more accessible, which apps like Sweatcoin are doing by not only rewarding long runs but any kind of step-based movement. 

Collective movement

It is a common misconception that exercise has to be strenuous to be beneficial. This next project challenges that assumption, instead demonstrating how creativity can promote health and wellbeing in a fun and sociable way.

Compose is an interactive projection that allows people to take part in a collective performance exercise. It works by using a step-on-a-dot interface inviting the public to make music and dance together. There are 37 dots labelled with distinct graphics associated with different musical partitions; different dots are available to play at different times, encouraging different types of movement and exploration across the space.

Moreover, it is about bringing the community together, which is powerful in itself. Not only for community cohesion; research has shown that human behaviours spread socially, including how much people exercise, and that social relationships play an important role in encouraging healthier habits.

Photo of people jumping on rainbow coloured lights on the floor in a dark shopping mall.

Interactive shopping centre artwork, Laval, California. Photo: Daily Tous les Jours

Virtual challenges

Similar to rewards and incentives, challenges can make physical activity more fun and engaging, thus motivating people to move more.

The Conquerer app, for example, has a variety of digital fitness challenges within public spaces, which can be completed by running, walking or cycling in any time-frame, individually or in teams. Some of the virtual challenges on offer include the English Channel, Angkor Wat, Star Trek and Harry Potter, which are all of varying distances and appeal to different interests and goals.

The app is also geared towards organisations looking to boost health and wellness programmes. Companies can create team-building events and workplace competitions, as well as customised challenges with specific milestones and engagements. This harnesses the benefits associated with both incentive-based and collective movement, and is an effective way to promote healthier habits on a mass scale.

Screengrabs from the Conqueror app, along with badges for three quests, and other health tools that it can integrate with such as Adidas app and Apple watch

Geocaching

Billed as the world’s largest treasure hunt, geocaching is an outdoor recreational activity in which people use their smartphone GPS to find nearby geocaches. These caches are created and hidden by other users at specific locations, often disguised as everyday objects so that people engage with their surroundings and not just through their phones.

Participants can also include trackables with goals that can be followed as they move from location to location; users are encouraged to log and photograph geocaches so others can see where they end up. It’s a fun activity for individuals and groups alike, including children, and a great way to get people moving outdoors.Two people exercising - A small child running and an adult on a bike in an urban environment

AR eyewear for training

Many people like to know how they’re performing when they train, as evidenced by the staggering value of the global fitness-tracker market. which is projected to break the $62bn mark in 2024. Innovation is fast moving beyond the wrist, however, with AR eyewear increasingly making it easier for runners, cyclists and even swimmers to track performance.

Engo glasses, for example, can be connected to a watch or cycling computer so users can see their key performance measures in real-time, in their line of sight, and adjust their performance accordingly. 

Similarly, Finis smart goggles have an in-goggle display and activity tracker that provides swimmers with real-time feedback underwater. This can then be reviewed in the accompanying app and synced to other fitness apps such as Strava and Apple Health.

While these products have been designed for athletes and serious racers (with the price tag to match), like fitness watches they will no doubt become more accessible as demand increases and more products come to market. I wouldn’t be surprised if they are available to hire at gyms and swimming pools in future too.

App screengrabs with exercise statistics and a pair of swimming goggles

App-based communities

I have touched on the benefits of community when it comes to movement and exercise. Apps and forums are a fundamental component of this, enabling people with similar interests to form communities wherever they are in the world.

Strava is a prime example of this, which is a social network and community hub for athletes – increasingly for runners, which was the must-uploaded sport on the app in 2023

In addition to the many features to help track and share athletic journeys, the app is a place to connect with other athletes, find motivation and explore new places. Users can also participate in virtual competitions and leaderboards, learn from other experts and follow other runners, including Olympians.

Strava’s 2023 Global Report reveals some interesting insights about what motivates users to exercise. While over half say setting a new goal helps and four in 10 like to plan a workout with friends, community is a key motivator. 

Runners (83%) and cyclists (53%) are more likely to get a personal record in a group of two or more than they are going solo. 77% of Gen Z athletes, meanwhile, say they feel more connected to others when seeing their friends’ or family’s activities on Strava. 

Further reinforcing the power of digitally enabled community and connection, this demographic was also the leading contributor to the 11% increase in new Strava Clubs last year.

Inclusive design and accessible environments

Digital placemaking has another significant role to play in promoting physical activity; it can help to ensure that public spaces are designed to be accessible to all.

Wayfinding apps and digital kiosks, for example, can be designed to support people to navigate parks and recreational areas – indoor and outside. They can signpost the nearest toilets and amenities, accessible pathways and routes, thus helping people to feel less anxious while out and about, whether walking, wheeling or running.

Two images: Explore Ely screengrabs, and a photo of the app on a phone and a kiosk.

Visit Ely is using the Place Experience Platform to provide facility information, route guides and directions to both their accessible public on-street digital kiosks and to personal devices.

More broadly, digital technologies are critical to enhancing the perceived safety of places. Various research shows that people feel less safe when alone in outdoor settings after dark. This is particularly true for women and disabled people, as evidenced by ONS research.

Features like smart lighting, contextually sensitive surveillance systems and emergency alerts can help to improve people’s feelings of safety when engaging in outdoor activities. 

Report cover with photo of trees in a park behind. Report title 'Park lighting: Illuminating existing paths in Edinburgh's parks'

The City of Edinburgh Council commissioned Calvium to assess and recommend which of its 149 green spaces should receive sensitive lighting to encourage active travel here.

Final thoughts

The majority of us probably won’t ever reach the fitness levels of Olympic athletes, but if we aim to do at least 150 minutes of physical activity a week – as recommended by the UK chief medical officers – then it is important that we make it achievable, enjoyable and motivating.

The above examples demonstrate the power of digital placemaking to encourage people to move more, whether they are motivated by challenge, reward or connection. At the end of the day, if people feel good about what they are doing, they are more likely to do it. Here’s to more movement!

Person wearing earphones and a blazer looking at a smartphone outside a red phone booth, with a blurred red bus in the background.

Accessibility for apps: best practices, processes and perspectives

By Place

In the UK, at least 1 in 5 people in the UK have a long term illness, impairment or disability, ranging from visual, hearing and motor (affecting fine movement) to cognitive, which affects memory and thinking. Globally, it is estimated one in six people experience significant disability, according to the World Health Organisation.

Despite this, there is a significant digital divide when accessing the internet with a majority of websites having accessibility errors – WebAIM’s 2025 accessibility evaluation detected basic accessibility failures on 94.8% of the home pages for the top 1,000,000 web sites. This limits people’s ability to access and engage with a wide range of products, services and information.

But the concept of accessibility does not just apply to disabled people; according to the UK Government, it is about making sure services can be used by as many people as possible, considering different needs at different times and in different circumstances. Failing to do so may mean you are breaking the law.

Person showing a phone screen to someone with Down's Syndrome.

Photo: Nathan AndersonThe Government Digital Service’s head of accessibility, Alastair Duggin, says it is a lack of awareness that most commonly results in things being inaccessible, and that our understanding of accessibility may be too narrow.

“When I talk about accessibility, I’m using it to mean that people are not excluded from using something on the basis of experiencing a disability. Accessibility means that people can do what they need to do in a similar amount of time and effort as someone that does not have a disability. It means that people are empowered, can be independent, and will not be frustrated by something that is poorly designed or implemented.”

The Arts Council England’s new access scheme for creativity and culture in the UK, All In, is a shining example of Alastair’s definition of accessibility. The initiative seeks to increase access to culture for deaf, disabled and neurodivergent people via a digital membership scheme, which has been designed to make all aspects of the booking process more accessible.

At Calvium, we design with accessibility front of mind, and as a standard process every project undertaken has an accessibility audit to ensure we are meeting essential accessibility requirements – and that we are continually improving. With that in mind, this blog will discuss how we approach digital accessibility and highlight key considerations for good practice.

3 screengrabs of apps on a smartphone, and an events web page. they show a range of settings and preferences options, text, audio and images for information access in different formats, and different types of search filters.

These interface design examples show a range of accessibility features, from dark modes to alternative filtering options.

Common digital accessibility issues

The broad spectrum of disability means there are multiple factors to consider when approaching disability and producing websites and apps. For example, fonts and colour contrast can cause issues for people with visual impairments. So can unstructured headings, a lack of image alt text and inaccessible documents, as assistive technologies like screen readers rely on them.

Video content is often uploaded without transcripts or subtitles, which renders it inaccessible to people with hearing impairments and screen readers. While people with motor disabilities can find it difficult to use a mouse or keyboard in the same way, websites may be too busy or complex for people with neurological conditions such as autism. Flickering images and animated backgrounds can trigger seizures for people with photosensitive epilepsy.

Websites do have accessibility guidelines (WCAG 2), but there is not much specifically for apps. In lieu of established guidelines, Calvium uses an adapted version of WCAG 2.2 and aims to be at least AA compliant, which is the minimum needed to meet accessibility requirements.

Our process includes web and mobile accessibility audit templates with around 100 checks, which we use to test new app features and whole products at various stages of development. It has proved to be successful, indeed, the Government Digital Services (GDS) accessibility auditors recently took our recommendations for the Met Office app on board for future GDS mobile app audits.

What, then, is involved in the digital accessibility process?

People sat on an underground train, all looking at their phones.

Photo: Robin Worrall

Design system best practice

Local government and government entities, such as police and educational institutions, all require high accessibility standards – as set out in the Government’s Design System guidance. It is why we also choose to match work to the GDS guidance, which involves eight key considerations.

Think about accessibility from the start

This means thinking about all user needs at different times and in different circumstances, for example their location, health and what device they are using. Factors for design will depend on functionality, budget, target users and assessment criteria, so it is important to consider the purpose of the app upfront and build as appropriate.

For instance, remember not all apps can be fully accessible due to their purpose, resources or client restrictions, and some aspects may be of greater priority than others.

For an app like Place Experience Platform which has a broad church of users, inclusive design elements like text contrast functionality are built into the code. Additionally, as it is available through the GCloud procurement portal, it must meet high public sector accessibility standards. Developers are constantly adding new accessibility features as technology evolves and to ensure it is meeting those standards.

Accessibility is the whole team’s job

It is really important that every person in the team understands accessibility, so that everyone is working together to avoid accidentally making something inaccessible. 

The Calvium team are all involved in increasing accessibility across product development and making sure our apps work for as much of the population as possible. As mentioned, we have web and mobile audit templates and design documentation, which we refer to throughout the design and development process. But equally importantly, we listen to team members with personal experience of disability, who can provide valuable insights and positively impact the way we approach tasks.

We use tools such as Wave and Lighthouse to support checks, and we share accessibility tasks and improvements through Gitlab for everyone to review. We also have an accessibility Slack channel and peer learning talks to share best practice and new developments in the team.

A selection of guidelines and tools including posters with guidance for designing for screen readers, dyslexia and Deaf or hard of hearing from UK government, a screengrab of WebAIM's text contract checker, and an introduction to accessible design from Google's Material UI design platform.

There are many useful guidelines and tools to support best accessibility practice, e.g. from UK government, WebAIM and Material.io.

Researching with disabled users

Online tools and automated checks are an efficient method for testing accessibility, but they cannot cover all aspects and nothing compares to working with real-life users. Alongside our own team members, working with people with diverse lived experiences is essential to ensure accessibility is baked in at all stages and covers all bases.

The voices of disabled people should be at the front and centre of accessible product development and inclusive design, shaping projects as they go. For example, the success of our two major wayfinding apps, NavSta and UCAN GO, was completely dependent on not only testing with the target audience but co-designing with them.

This user-led approach allowed us to prioritise solutions that were most meaningful for people with varying impairments – for example, making it easy to personalise the app design and features – and earned NavSta ‘highly commended’ at the 2020 Celebrating Neurodiversity Awards.

What to do about accessibility in the ‘discovery’ stage

This phase is all about understanding how disabled users might use a service, as well as considering what problems they may experience. 

Projects like the Sidekick mobile app we developed for Open Bionics highlights why the discovery phase is so integral. Given every bionic Hero Arm is 3D printed specifically for each individual, we had to make sure the app catered for a wide variety of needs and could provide a personalised experience. This involved a great deal of discovery work with users over the three-year project.

If you discover full accessibility is compromised at this stage, it is important to ensure the client is aware and agrees to limitations, which should be noted in the accessibility statement (see below).

What to do about accessibility in ‘alpha’

Alpha testing is done to make sure a product is ready to send to potential users for beta testing. So this is when it is crucial to consider whether the design meets the WCAG 2.2 design principles and to start those initial checks. If you haven’t already done so, now is a good time to begin preparing your full accessibility audit as these can take time to arrange and usually need to be carried out before moving into public beta.

There are a range of tools that can help with those checks before moving to the next phase. For example, we use Apple Store guidance to inspect the accessibility of screens in the app, while Google Play Store allows you to generate a pre-launch report to identify issues.

What to do about accessibility in ‘beta’

Beta is a time to keep testing and making amends. Advice and technology often changes during this stage, so you must be open to adapting. As mentioned above, it is essential to get an accessibility audit here, ensuring apps work with assistive technologies such as screen readers and meet criteria of standards such as WCAG 2.2. It is particularly important if working with the public sector, given the existing accessibility responsibilities of public bodies.

Photo of elderly man looking at a phone with large text.

Publish an accessibility statement

The accessibility statement is a fundamental part of the process, providing detail of what has been tested, what is or isn’t compliant, and what steps are being taken to improve the process and address any issues.

If there is something that can’t be addressed immediately, or if the client deems certain factors irrelevant to their project, we document it in the statement. For instance, Open Bionics’ Sidekick app was audience-specific, and this dictated its features.

The statement should be reviewed at least once a year and updated if necessary.

What to do about accessibility in ‘live’

Even once the product is publicly available, it is essential to keep testing and improving. Accessibility features and compliance guidance are changing all the time, so products that were once compliant might not be as those rules and regulations change.

It is also important to carry out regular skill audits and ensure team knowledge is up-to-date. At Calvium, we have weekly tech training sessions to share new advances and best practice, which allows us to involve the whole team in improving product accessibility and ensure we are moving in the same direction.

And, of course, it’s best practice to continue to listen to user feedback to inform ongoing improvements.

Final thoughts

Accessibility is a business imperative, a key component for success, and a legislative requirement for public sector digital services.

Breaking the process down into bite-sized chunks and stages, as outlined in this blog, will help to establish good processes and highlight where new skills and knowledge are needed.

As a Disability Confident Committed (Level 1) employer and co-chair of the Disability Confident Network, we are committed to sharing knowledge and best practice to increase accessibility of digital tools and tech more broadly. And we are open to continual learning from others, always looking to improve where we can. Accessibility and digital inclusion is, after all, an ongoing journey that we should all be taking together.

 

 

Experimental digital exhibition area with delegates.

Designing for inclusion: highlights from the Inclusive and Accessible Technology Design event at BTF+

By Place

In October 2025 BTF+ (the Bristol Festival of Tech, Creativity + Culture) hosted talks, technology showcases, immersive performances, future-facing learning and discussions on themes from leadership and AI to sustainability and creativity. As Calvium’s local technology festival, we supported and participated over the week of events, with CEO Jo Reid taking part in a panel on digital innovation and the maker mindset.

Later in the week, as part of this broad celebration of innovation and culture, the ‘Inclusive and Accessible Technology Design’ session brought together leading voices from policy, academia, animation, and creative technology to explore how we can build more inclusive digital futures, not as an afterthought, but as a fundamental design principle. These different perspectives provided a rich variety of key takeaways and vibrant discussion.

Accessibility shouldn’t be an update — it should be the OS.

Charise Johnson, Policy Adviser in Data & Digital Technologies, The Royal Society

Charise opened the session with insights from her work on a landmark Royal Society report titled “Disability Technology: How data and digital assistive technologies can support independent, fulfilled lives”.

The report’s scope is expansive, addressing multiple sectors and real-world case studies, including a collaboration with Sony PlayStation on accessible game design. Johnson noted how developers are increasingly using Discord to co-design with disabled users, a great example of inclusive innovation in action.

Her biggest call to action was to recognise smartphones as assistive devices and design them accordingly. This reframe could have huge implications for how everyday technologies are developed and standardised. For those working at the intersection of place and technology, this insight reinforces the need to treat mobile interfaces not just as tools, but as enablers of independence.

Four people looking at a screen with an curved abstract shape. One of the people is making the same curve on screen. Above is a disability access sign, and a drink has been added to the icon.

Photo: BTF+

The importance of cultural memory

With decades of experience in accessible tech, Prof. Simon McKeown, Artist, Technologist, and long-time advocate for accessible design, brought a valuable historical lens to the conversation. Citing groundbreaking games like Driver (the first to feature subtitles), McKeown reminded the audience that disability tech has a deep-rooted legacy, particularly in the UK.

But that legacy is at risk. McKeown pointed out that while the UK pioneered modern mobility technology, much of that industry has since moved overseas, a shift he attributes to dwindling support and investment.

He also flagged the importance of cultural memory, urging designers not to forget the historical artefacts of disability technology, especially in fields like film and TV. In the near future, he sees great potential for robotics and mobility, and how new technologies could redefine independence for disabled people.

Inclusion is fairness

Tom Rourke brought a deeply personal perspective to the discussion. Living with a disability himself, Rourke used storytelling to explore and express the nuances of inclusion in his BBC animated short film The Penguin That Couldn’t Swim. “There’s something profoundly honest about animation,” he noted, highlighting the medium’s power to communicate complexity with clarity.

For Rourke, “inclusion is fairness”, a simple but powerful reminder that should sit at the heart of all design practices.

Large illuminated sun model, hanging in Bristol Cathedral with audience below. Helios by Luke Jarman.

Photo: BTF+. Helios, by Luke Jarman in Bristol Cathedral.

Imagining alternative futures

Dr. Simon Moreton, Associate Professor of Creative Economies, UWE Bristol, offered a provocative critique of the tech industry’s limitations. Moreton questioned the narrow worldview of many tech companies, one shaped by profit-first logic rather than community or care.

His report “Hopeful Futures for Creative Innovation” advocates for a radically inclusive creative economy and one that moves toward models of mutual support and long-term value. Citing thinkers like Rachel Coldicutt (Careful Industries), Moreton challenged the room to imagine alternative futures: not just accessible technologies, but accessible systems, platforms, and funding models that prioritise people over profit.

Inclusion isn’t optional — it’s foundational.

Being committed to enabling inclusive, accessible experiences in public spaces, we were struck by the clarity and urgency of the messages shared. Whether it’s rethinking mobile design, remembering histories, or challenging design culture, the takeaway is clear: inclusion isn’t optional — it’s foundational.

We believe that technology designed to enhance connection with place must serve everyone. This means embedding accessibility not just in our tools, but in how we collaborate, co-create, and share stories in our places.

Want to learn more about our approach to inclusive place-based technology? Get in touch or explore our latest projects and tools for more insights.

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

Out of the Archives 2 – Using heritage to support tourism

By Place

This one hour event 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.

Out of the Archives – 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!