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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.

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!