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This conceptual paper develops and justifies a pro-active, design-driven approach to sustainable destination development. Using insights from design science, it helps explain the limited practical usability of concepts such as the Tourism Area Life Cycle, by noting that these often focus on an aggregated ‘topological’ level of destination design, while a focus on experiences and product development on a ‘typological’ and ‘morphological’ level is key to constitute change. The ‘Tourism Destination Design Roadmap’ is introduced, its potential to scrutinise ‘visitor flows’ is explored as well as ways in which it can contribute to developing desirable qualities in a destination, while minimising negative impacts. The paper concludes by highlighting its conceptual contribution and identifying directions for future research.
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In this article, we investigate how small museums running on volunteers deal with the challenge of innovation given that the future is becoming more digital. From the literature, little is known about the strategies and practices for designing innovative visitor experiences in small museums and about the skills needed for doing so. In particular, we were interested in understanding how professionals working in small museums design experiences that mainly appeal to and engage a younger public and how digital innovation can play a role in both attracting and keeping such audiences engaged with the museum. Our most important conclusion is that the question of “how to innovate” is misplaced and that small museums rather need to capitalize on the strong tie with the community they serve. Only in this way can they lower the threshold to access and connect to a broader public that is younger and more diverse.
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This research concerning the experience and future of zoos was carried out from 2011-2012 and takes regional ideas concerning Zoo Emmen as well as global visions into account. The research focuses partly on Zoo Emmen, its present attractions and visitors while also comparing and contrasting visions on the future in relationship to other international zoos in the world. In this way, remarkable experiences and ideas will be identified and in the light of them, it can serve as inspiration for stakeholders of zoos at large. The main research subject is a look at the future zoos in view of: The Zoo Experience – an international experience benchmark; The Zoo of the Future – a Scenario Planning approach towards the future; The virtual zoo - zoo’s in the internet domain.
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Whereas investments in new attractions continue to rise within the theme park industry, knowledge regarding the effects of new attractions on theme park performance and attendance remains scarce. In this article results from a research amongst general managers of theme parks in Europe will be presented. Different methods were used to investigate what the impact of adding a new attraction on the number of visitors to a theme park would be, according to the general management. The managers first responded to a written survey and then answered some detailed, elaborative questions by email or telephone. The majority of managers also participated in an in-depth interview. Results show that investing in new attractions is considered to be the most important (controllable) factor on the number of visitors in both the short and long run. Most theme parks in Europe invest in major new attractions once every three years, combining it with a minor investment every year. Large differences in effects were found between parks. Parks that invest once every three years showed the highest effect on number of visitors for their latest new attraction.
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This paper develops a measurement scale for cultural experiences across different contexts, including attractions, events and tours, in Hong Kong. Four dimensions of experience (cognitive, conative, affective and novelty) are identified through structural equation modelling. The scale is applied to compare visitor- and context-related influences on the experience and on subsequent behavioural intentions. We find that the conative dimension of experience elicits the highest experience scores from visitors, but affective experiences are more significant in distinguishing between different experience contexts and visitor groups. The strongest experiences were attributed to event contexts, followed by tours, and finally permanent attractions. The experience is also enhanced when various sites are combined by visitors to provide a ‘destination journey’.
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Many visitor studies make social background variables the central point of departure to explain participation patterns. How the past is 'staged', however, also has an influence on those to whom it appeals. This relational perspective calls for new conceptual tools to grasp empirical reality. Inspired by the historical philosophy of Georg Simmel and the literary theory of Mikhail Bakhtin a number of concepts which enable us to grasp the subtle relationship between museum presentations and visitors are presented. Bakhtin's notion of chronotopy serves as a key concept. By linking museum presentations and visitor perceptions with each other, it is also possible to identify certain tendencies within the contemporary museum landscape.
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In the past two years [2010-2012] we have done research on the visitor experience of music festivals. We conducted several surveys asking festival visitors for demographic variables, taste in music, their motivation for visiting festivals, mentalities and the evaluation of the festival. We also asked for the use of social media before, after and during the festival. Results show that visitors using social media have a significantly different festival experience from users that do not use social media before, during or after the festival. Results on difference in festival satisfaction are mixed.
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