How Spaces Become Places

Sometime last year, we were finally presented with the opportunity to return to face-to-face conferences, expos and meeting around the world. Many were reminded that when you walk into a room full of people sharing that space together, it becomes something more than just a place you go to for meetings, work and presentations. Gathering in a physical area has another dynamic and significance to us, not just as professionals but as humans. It gives us something that we crave; meaning. A space gains meaning because of what happens in it, and it becomes a place when it is filled with people and their memories.

The definitions of space vary. Leisure spaces might be a theme park, a museum or the digital realm of a game. Workspaces might be an office, a conference room, or a virtual meeting. And then there is home and school – the list can be elaborated further, but all spaces share a universal rule: When people are in a space, their experiences become the defining elements that make it a place. As phrased by Yi-Fu Tuan in “Space and Place – The Perspective of Experience“, what begins as undifferentiated space becomes place as we get to know it better and endow it with value.

When we think about designing spaces for people, we need to focus on what they will experience rather than the design elements and objects of the place itself. An audience-centric approach makes for more engaging and memorable sites because it allows us to build narratives into our spaces that are amplified by the inner narrative of those who experience them. We design what happens around people to evoke reactions inside them. People are the focal point of our creative strategy and concept for a spatial experience, to be prioritised higher than the space itself; people first, spatial attributes second. When you’re designing a space for someone else, you need to think about their inner narrative and what kind of story they will build around themselves in that space – whether it’s a home, office or a third place of leisure or learning.

Places are not just digital or physical, and their gravitational point to ensure their successful combination is people. Physical spaces are not dead, but to make them more important than ever, we must consider how they can be developed as unique and memorable places. Furthermore, as the physical space expands into the virtual space of metaverses and multiverses, the crucial connection point in successful convergences is audience-centric hybrid thinking.

It all comes down to this: How will you design spaces of meaning and value to people that will turn them into valued places, regardless of whether they are part of a physical or virtual reality – or a combination of both? With a robust and convincing answer to that question, you may have just cracked to code on how to make a place become a space.

Interview With David Bassuk: Using Spatial Narrative for Experience Design

Experience designers and storytellers across industries are finding new ways of creating engaging audience journeys. Storytelling, for instance, has been an excellent way to build experiences that unfold on narratives. But storytelling doesn’t stop at scripts or characters. At AdventureLAB, we use storytelling as a design method, for instance. Another particular application is for creating spatial narratives. To expand on this topic, we invited David Bassuk to share his thoughts and experience with us.

Currently Professor of Acting in the Conservatory of Theater Arts at Purchase College, SUNY, School of the Arts & Creative Director of White Horse Immersive in Hangzhou, China. His teaching explores the integration of theatre, transmedia storytelling, gameplay and the design of immersive narratives and storyworlds. Directs in professional acting programs, mentors students in stage directing, creative writing and designing experimental performances. Current projects include working with UNAMI, The United Nations Assistance Mission for Iraq designing a project called “Futurers2050”  a game played across Iraq aimed at building youth motivation on the issue of water scarcity. 

Thank you, David, for taking the time to share your thoughts on this interesting subject. First, can you tell our readers what spatial narrative is and how you work with it?

A spatial narrative is one where the immersive experience of moving through space accumulates meaning differently than in a linear story. Here a story is encountered rather than explained.

The space becomes a container for discovery and interaction, offering a meaningful engagement between the storyteller and the audience as they discover narrative elements while exploring the scenic and game potential afforded by the space.

What elements need to be considered when we create a spatial narrative?

Architectural elements are critical to our understanding and can predict and even shape what happens in a location. Additionally, spatial narratives employ architectural space to create opportunities for experiences and storytelling, determining the content of engagement and sometimes even inspiring values. Beyond the architecture and physical design, the space offers the potential for opportunities for all kinds of attention gathering. Using puzzles, games, and all types of storytelling for numerous industries, institutions, or businesses, the space has the potential to activate engagement.

What are the main advantages of adopting such an approach?

The advantage is that the audience engages in the discovery process, which enhances their involvement within the spatial narrative.

What are some challenges creators meet when expanding narratives into a space?

The hunger for immediate clarity can be challenging. A spatial design is meant to slow the audience down and provide obstacles for them to have a more meaningful experience. 

How do you invite the audience into these spaces, especially when they are not eager to participate?

When the audience is not eager to participate, there are many tools to invite them, including reframing their mindset to see participation as a goal. The experience designer must persuade, cajole, and enchant the audience into a deeper level of engagement. 

Can you tell us an example of a project you worked on that made you proud / or took your application of the discipline to a new level?

An example that comes to mind is when I created the story and game design of a theme park in China. I designed a narrative about the discovery of ancient alien life forms and their creation of a lost civilization, all within the mythology of the ancient Mayans. My project was part of the Ocean Flower Island theme park in Hainan. An experience filled with scientific learning, an enjoyable story, and complex games and social interactions. 

What do you think are the opportunities and challenges presented by Virtual Reality for spatial narrative design?

Whether real or virtual, spaces have human interaction as the dominant element. Virtual spaces are more transformational; however, each has doorways or portals, clues to be found in spaces, and social interactions based on proximity and the opportunities of the design.

How character development can elevate your guest experiences

Great character development creates more opportunities for storytelling in projects across different industries.

Any story needs characters, and in good stories, they are well-thought and well-designed. They present the story through their actions, emotions, motivations and own faith. Whether we root for them or want them to lose the fight, we care for their journey. That is, if there are enough reasons for us to care. The characters live the story we follow; therefore, a flat character also reflects a flat story. Or the opposite, an exciting string of events in a narrative emerges from the motivations and aspirations of the characters.

But not only movies, theatre or fictional books benefit from good character development. This process became more common in themed entertainment, now also in cultural attractions and museums, marketing and branding. There are many advantages of adding characters to a guest or customer experience applying good practices for creating character dynamics. 

What is character development?

Character development is a practice for creating fictional characters, or sometimes recreating historical characters, with depth in personality, human traits and emotional complexity. A writer can add human attributes even to the most imaginary creatures, such as alien beings or talking teapots. It makes them much more relatable to the audience.

This process differs from character design which covers their style and visual aspect. Character development looks inside their mind and considers their origins, motivations, beliefs etc. The goal is to make them relatable and memorable and give them the power to direct the narrative from within. Therefore writers create characters that evolve with the plot line and overcome challenges and obstacles. Often, their motivations derive from a backstory. The challenge or the conflict of the story often brings out the character’s true personality, not least creating a powerful dynamic in the story. Their values and core identity define the way a character overcomes challenges. In great stories, all these elements are not coincidental but well-thought and designed to build up the plot’s resolution.

Why is character development important for other industries than entertainment?

With the rise of storytelling as a discipline for creating better customer or guest experiences, characters take a new role beyond the traditional mascot. In retail, for example, mascots have been important in creating memorable brands, standing out on packages or in funny commercials. Often these characters don’t present much depth, playing only one role, that of a mascot.

Brands are now telling stories not only about themselves but about their customers. Adding relatable characters who move these stories creates a better connection with the audience.  Character building and application differentiate from industry to industry, and their role can take a different form depending on strategy and goals.

Character development for theme parks

A fantastic thing about theme parks is that we often get to meet beloved characters. Disney Parks host some of the most famous Disney characters who are always happy to take selfies with guests. What happens when a theme park doesn’t have a library of characters to pick from? They have to come up with some. Character building for themed parks or even singular themed attractions creates opportunities for good storytelling, outstanding guest experience design and merchandising. Often, the merchandise becomes a manifestation of the memories made in the park. Good character development helps us create those memories.

Another advantage of adopting this process is to add life to a theme park. Sometimes theme park design is like story world building. Along with the different zones, visual design and events, this story world must also have characters. In the development process, we define how this character will act in the world we are building for the park.

During one of our workshops with the Jesperhus park in Denmark, a new character emerged – Dr Træls. He is a villain-like character created for more dynamic stories with the fun and drama involved in villain crises. Dr Træls is greedy, doesn’t like animals and is always up to no good. His name, translated from Danish, means something like “irritating” or “annoying”. This antagonist character created opportunities for building new experiences and expanding the narratives. Today he even got his own attraction in the park, which says how much the guests like him.

Character development for museums

In museums, we mostly meet historical characters who have influenced our culture and history. Sometimes exhibitions have characters recreated from historical figures we know something about and can help tell the story better. One of the most recent examples is how the National Museum of Denmark is using advanced technology to create a 3D avatar for the girl Egtvedpigen from the Bronze Age, discovered in her oak coffin 101 years ago. Now the 16-18 y.o. girl will have a digital avatar with a voice and real human mimicry.

In some cases, museums present stories of entire social groups or processes. To tell the story of the masses can be difficult, so exhibition directors sometimes use fictional characters that embody the story’s message. This way, they transform information presentation into storytelling, often from a first-person point of view.

Take, for instance, an exhibition that represents the modernisation of peasants in France in the 19th century. To understand this process from the peasants’ point of view, we follow a farmer named Pierre. He tells us how his village changed with the construction of a railroad nearby and how some of his neighbours started moving closer to the city. Seeing history through Pierre’s eyes, we can see the impact of modernisation on people. Numbers and data become stories. Pierre’s challenges and how his life changes make us more empathetic towards this character and anchor the story better in our minds. Perhaps some of us find similarities with modern challenges we encounter in our lives. With character development, Pierre receives a backstory and a path through the story – if he is not happy about the new railroad, then we must know why. He has motivations and aspirations, so we feel bad for him if he can’t accomplish them.

Character development for brands

Character building gives brand messages a voice and human attributes. Not to confuse with personas in marketing, which are mostly customer oriented, based on demographics, psychographics and buyer behaviour. Characters in marketing can be used to appeal to the target audience and represent the company values as an extension of a brand. They can be an independent entity that as a person reacts to events, celebrates successes, overcomes challenges and makes connections with others. Here is where character development comes into play. It helps us understand how this new character will react to one or another situation. Designing its personality is also suitable for evaluating its fit with the brand. They have the potential to become timeless, evolving together with the target audience.

A brand character can also be abstract, not a figure with visual attributes, but rather a set of guidelines which represent the brand personality. This character can also be developed with a set of values, motivations and goals. It gives the brand a voice and a stand, making it more complex, like a human who connects to customers on a deeper level.

(See the article we have on Brand Story)

What makes a well-thought character?

As mentioned above, character development is, in a way, personality development for someone who doesn’t exist, but we want to make it real. Therefore, a great character also has flaws; they may doubt themselves or lack confidence. They are memorable through their personality and reaction to the events that come their way. They are relatable not only through age or context but through motivations and challenges. They transform through the story encouraging the audience to grow together with them. Their story doesn’t end with the awaited achievements because a great character is defined not by their context but by their inner journey.

Dynamic in groups of characters

Imagine Luke Skywalker without Darth Vader or Frodo Baggins without Sauron. It is a bit difficult to break these famous heroes and villains apart. A great story needs contrast which is brought forward through relationships between protagonists and antagonists. A villain with a good reason behind their action makes an interesting character to follow and even empathises with. It is worth mentioning that an antagonist can also be an abstract concept, such as the personal struggles of the main character.

Secondary characters, despite the term “secondary” are immensely helpful in supporting the story. They support our protagonists, helping them achieve their goals. They can be a great comedic relief or even oppositional.

If possible, having a character set helps tell the story from more points of view and create guest experiences. Referring to our Dr Træls example, bringing a villain into a park for children, where before we could meet cute animals, proves successful for adding dynamics to the story. Even smaller children understand that.

Character development can sometimes be costly and come with risks. Therefore good planning and well-structured, strategic development can help not only meet but exceed expectations.

Characters can add a lot of fun to a guest experience, becoming our adventure companion and making us see their world closer. They can help us immerse ourselves in the story and follow the journey with more excitement and anticipation.

How will your next character help you tell your story?

There is no such thing as a singular brand story

Learn what a brand story is and how multiple narratives form and evolve as part of a storyverse

Most probably, you have heard before that a brand is like a person. It has traits that we might like or not; it takes action and has a voice. Strategically, it’s a good move to give brands personalities. It makes them more relatable, dynamic and changeable. As such, a brand narrative is not a static structure — it branches out into different storylines with new developments. The new roles of the audience with their increased influence and agency make it more difficult to control these narratives. However, there are ways to embrace this process and make sure it doesn’t stray away from our branding goals.

What is a brand story?

Traditionally when people say “brand story”, many times, they refer to “brand history”. On company websites, we usually find a description of how a brand evolved from the foundation to the present day. Especially for brands with a long legacy, this is an excellent way to present it. For some, their history is an essential element of the brand — like Disney or LEGO. They value their history because it is also strongly connected to generations of customers who knew and loved their products.

Staying focused too much on the past can be a trap, however. We miss some of the important events that shape the brand narrative today by only talking about history, and not the story we are shaping now and in the immediate future. It’s good to remember where we came from, but it’s more important to understand where we stand today. Therefore, a brand story is much more than history or even present events. It reflects values, actions, contribution, relatability, passion and more. And the main carrier of this story is the customer, or as we call it, the audience.

Since it is so integrated with the organisation’s external world, the narrative evolves with new circumstances like customer behaviour changes or social issues. External events can greatly impact a brand narrative in a good or a negative way. According to Statista, in 2019, 60% of consumers in the United States stated that their purchases were influenced by the brand’s stand on societal issues.

Why is there no such thing as a singular brand story?

Considering elements like slogans, labels, tone of voice, mission statements and so forth, a brand is a conversion of these in the audience’s perception. Without customers, guests, and users, there wouldn’t really be a brand narrative. It is not just created for them, but with, and sometimes, by them. With the variety of markets, and contexts — personal and general, it would be impossible to keep a consistent, singular brand narrative. Therefore, a brand is what it is, depending on the environment and the audience’s perception.

A good example of this phenomenon is Airbnb. Many customers know it as a platform for renting someone else’s apartment or house for a short-term vacation stay. Those who have great interaction with local hosts would experience what Airbnb aims as a brand — discovering local culture by meeting with locals and staying in their homes. However, if we take cities like Barcelona or San Francisco, the locals themselves see Airbnb as a driver of rent prices in their area. In their perception, this company is a disruptor of their local environment and not a promoter. The narrative is more complex than the marketing tagline.

The internal brand is an important part of the core story as well. The employees and creators live this story every day and add a special dimension to it. Therefore their relationship with the core narrative can make an immense difference in how the audience sees the brand. According to an Accenture report, 65% of consumers are influenced by the values and beliefs of senior executives and employees.

What makes a brand storyverse?

The first signals companies send into the world, such as the brand message or mission, are the building blocks of their core brand story. This would be the Big Bang, after which, the brand story universe (or storyverse) starts to expand. Narratives form on various channels, communities, among customers, competition and partners — they all contribute to this brand story universe.

In the storytelling realm, a story universe is multiple narratives that share one world. As creators, we add elements to this world that bind these narratives together. It makes our work more interesting, engaging and authentic to the audience. Those binding elements can be a consistent voice across brand channels, staying true to adopted values, the brand ambassadors, communities and so forth. GoPro, for example, has an extraordinary community of creators worldwide. They all share a passion for adventurous photography and filmmaking. The GoPro Sponsorship initiative equips creators with gear and empowers them to tell stories. This way, various brand stories live within this community — each experience with the product is not really focused on the product but on the adventure of capturing exciting views and actions. The audience is now taking storytelling into their own hands and takes it further than the curated channels. It reaches into groups of athletes, filmmakers, artists and more.

The process described above is continuous. Brand managers have to closely observe it, learn from it, and work with it. It doesnt’ mean that they have no control over brand development — obviously, they do, they should, it’s their job. But we are saying that the storyverse goes beyond the initiatives that come from within the organisation. The complete picture is created by a multitude of players.

What is audience-centric storytelling and what does it mean for brand strategies?

One of the most influential players, if not the most powerful, is the audience — the people who receive the marketing messages and experience the brand. Good storytelling is an efficient way to reach the minds and hearts of the audience. Hence, brand storytelling and experiential marketing are strategically applied by many organisations.

Audience-centric storytelling puts the audience in the centre of the action. They are the ones who drive the events and influence their outcomes. Many companies have moved from just presenting who they are to putting the spotlight on the customer and showing how they can change the world. This shift has also changed the role of the audience, making it a writer of the brand narrative. According to an Edelman report, 63% of their respondents aged 18-to-34 trust what an influencer says about a brand more than what the brand says about itself in advertising.

Why can anybody become a brand story guardian?

A brand story guardian is the one who keeps an eye on this living process. They are not necessarily a brand manager or marketing specialist. This role can belong to leaders, ambassadors, designers, creators, on-site staff etc. Their task is to observe and learn how new narratives form and what their impact is on the story universe. They have the power and authority to influence this universe themselves. Organisations should encourage these guardians to be more involved by genuinely making them e a part of the story and its creation. Leaders must understand that such creation of brand narratives doesn’t only rely on the marketing department.

The living brand storyverse

A brand story is a living organism. When we create a narrative and think That’s it! That’s my brand story!; we ignore influences that can be opportunities to grow or possibilities to misguide our audience. Therefore, a core brand story takes new directions following events that happen within the organisation and outside. It’s good practice to observe this process and learn from it to be able to take action at the right moment and in the right place. Staying authentic ensures a stronger connection with the audience and invites them to become a part of the core narrative.