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TOURISM AND BUSINESS STUDIES
UNIVERSITY OF WESTMINSTER
SCHOOL OF ARCHITECTURE AND THE BUILT ENVIRONMENT
CENTRE FOR TOURISM RESEARCH
DARK TOURISM,
STUDY OF THE PHYSICAL AND PERCEPTIVE
ENVIRONMENT OF SIX DARK SITES IN LONDON
DOROTEYA MILANOVA
BA TOURISM WITH BUSINESS
W1292220
DECLARATION: This is the work of Doroteya Milanova. All the other
contributors are acknowledged in the text and listed in the bibliography.
Word Count: 13,262
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TABLE OF CONTENTS
List of
Tables…………………………………………………………………………………… 7
List of Marketing
Publications……………………………………………………………….. 8
Site Maps……………………………………………………………………………………...
14
List of Abbreviations……………………………………………………………………...
…. 22
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Acknowledgements…………………………………………………………………………..
23
Abstract
………………………………………………………………………………………..24
Introduction………………………….
………………………………………………………...26
1.1 Research Background…………..
………………………………………………….. ...26
1.2 Aims and Objectives…..…………………………………………………………….
..27
1.3 Approach……..
………………………………………………………………………. .27
1.4 Outline………..………………………………………………………………………..
28
2. Literature
Review…………………………………………………………………………. 29
2.1 The dark tourism
phenomena……………………………………………………..... 29
2.2 Origins of dark tourism…………………………………………………………...
… 32
2.3 Dark sites: What makes a destination
dark?..................................................... ……33
2.4 Dark tourism
types………………………………………………………………….. .34
2.5 Dark attraction, museum, exhibition
profiles…………………………………….. .36
2.6 external and internal features of a successful attraction or
museum………… …37
2.7
Marketing…………………………………………………………………………….. .38
2.8 The attraction perception
dimension………………………………………………. 39
2.9 Dark tourism
spectrum……………………………………………………………… 42
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3. Methodology……………………………………………………………………………….
44
3.1 Research approach……………..
…………………………………………………….. 44
3.2 Research methodology……..………………………………………………………
...44
3.2.1 Secondary research………………………………………………………
…46
3.3.2 Primary
research………………………………………………………….. ..47
4. Findings……………………………………………………………………………………..
49
4.1 Introduction…………………………………………………………………………...
49
4.2 key features of the six dark
sites………………………………………………….... 49
4.2.1 London Bridge Experience and London
Tombs…………………….…. 49
4.2.2 London Dungeon……………………………………………………….….
50
4.2.3 Chamber of Horror at Madame
Tussauds……………………………… 51
4.2.4 The Clink
prison…………………………………………………………… 52
4.2.5 The IWM in
London……………………………………………………….. 53
4.2.6 Chislehurst caves………………………………………………………..
…. 54
4.3 Physical Characteristics…………………………………………………………..
…. 57
4.4 Perception and
Dimension………………………………………………………….. 61
4.4.1 Display and Vision among the six London dark
sites…………….…… 61
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4.4.2 Hearing and Smell…………………………………………………….
…… 63
4.4.3 Touch and Knowledge………………………………………………….
…. 65
4.5 Dark characteristics according to the spectrum
theory…………………………... 67
4.5.1 Approximate positioning of the dark sites on the spectrum
line…...… 70
4.5.2 Senses stimulation in relation to the level of
darkness……………..….. 71
4.5.2 Dark Product Display
Model……………………………………………... 73
4.6 Discussions of findings…………………………………………………………..
….. 74
5. Conclusions and recommendations…………………………………………………..
…. 77
5.1 Conclusions……………………………………………………………………..
…….. 77
5.2 Recommendations……………………………………………………..
…………….. 79
5.3 Recommendations for further research…………………….
……………………… 80
Bibliography…………………………………………………………………………………..
81
Appendix………………………………...……………………………………………………
89
LIST OF ABBREVIATIONS
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IWM Imperial War Museum
DT Dark Tourism
BTA British Tourism Authorities
USP Unique Selling Point
ACKNOWLEDGEMENTS
I would like to thank my supervisor Anne Gramm for her support and help.
This work would have been incomplete without the intervention of Miss
Amanda Hone. She was a great source of inspiration and deep understanding
of the topic. Finally I wish to thank Alex for big support and helpful advice.
ABSTRACT
This study followed conducted and detailed analysis of six dark attractions,
museums and exhibitions in London. The aim was to understand the nature of
the dark tourism phenomena in successful sites in terms of visitor affluence,
profitability and general performance. The research combines theoretical
understanding and measurement of the darkness, and builds up observations
upon such statements. In relation to the type of dark side and level of
darkness, attractions museums and exhibitions adopt different approach 6 | P a g e
towards commercialisation and communication of the environment. The study
discovered that the approach towards death have different aspects and
perceptions. The findings revealed that dark tourism although related to death
might provoke different emotions and encourage mixed feelings.
The methodological model used for this research conducted an open
positivist analysis of existing structures and locations. The research is open to
interpretation and further suggestions and improvements. The deductive
(Brotherton, 2008) nature of this research has drawn conclusions from the
general material collected. Based on subjective as well as objective findings
this document has not set up strict patterns, but instead suggests techniques
used by the supply side in order to reach their organisations’ aims and
objectives.
Finally this paper addresses some locations and dark destinations, which
have provoked visitor interest in recent times. Whether their display is
following these social and ethical norms of exploring death and disasters is
dubious. This research recommends careful analysis of the ‘dark’ level
saturation and type of dark display before proceeding towards the display
setting. Ultimately the dark tourism industry in many cases is just another
product, which sells and attracts services and products through marketing,
targeting and promotional distribution for lucrative purposes. Using the model
proposed dark sites could carefully decide the use of elements such as light,
smell, interaction and noise, as well as souvenir production and distribution
for the dark suppliers to use in order to operate smoothly in the tourism
market, regardless the delicate content of their offer.
INTRODUCTION
1.1 RESEARCH BACKGROUND
Dark Tourism is not a new trend in the contemporary tourism, however as
observed by Lennon and Foley (2000) it is an expanding opportunity to create
demand for more tourism attractions, museums and exhibitions. In the last
fifty years some unlikely and aesthetic destinations with an unfortunate
background have explored the profitable nature of the dark tourism trend and
have become successful dark tourism destinations (Auschwitz, Ground Zero)
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(Novelli, 2005; Joly, 2010; Amin, 1994). Some examples of popular dark
attractions in the UK were the guided tours to observe the Battle of Waterloo
in 1815. People went to watch from a safe distance the on-going conflict
(Webber, 1992; Henderson, 1996). Moreover one of the earliest battlefields of
the American Civil War was sold the next day as an attraction site (Webber,
1992). A few years after the collapse of the twin towers in New York (result of
a terrorist attack), the building’s remains have become a successful lucrative
tourism attraction (Svenstorm, 2008). Other examples if tourist sites are
Chernobyl- 'the Ghost City' open only to visitors (Joly, 2010) in Ukraine, the
Killing Fields in Cambodia or the Paris Catacombs.
Museums, exhibitions and attractions where evidence of death and
disaster has been assembled are known as dark tourism suppliers (Stone,
2005; Hall, 1997). Moreover, their common theme of display is ‘death’; they
have different purposes and perceptions towards it, and present it to their
visitors in antithetic ways. The findings in this research will give a better
understanding of the specific situation, space patterns and underlying
dimensions of various 'dark' sides.
1.2 AIMS AND OBJECTIVES
The aim of this research is to assess the differences between dark tourism
attractions, museums and exhibitions and the characteristics of the
contemporary dark display. In order to achieve this, the study will investigate
the following:
What is the 'dark' supply mixture in London?
How dark attractions market and promote themselves?
What their physical environment is like, and how does it serve the
organisation’s aims?
How they set the perception dimension and why?
What is the link between level of darkness and 'dark' supplier
interpretation?
1.3 APPROACH
Firstly the research will analyse the 'dark' offer mixture in London by
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analysing several types of attractions and museums. Then it will proceed by
interpreting their level of darkness according to the spectrum line theory
(Stone, 2006). Consequently, it will notice how the suppliers propose their
dark product to the audience, with reference to their purpose, mission and
dark saturation. Furthermore themes of exploration will also regard the
environment of the display, perception, proposal and message to the audience.
From the findings it will be possible to analyse the dark contemporary product
offered by the various suppliers.
1.4 OUTLINE
Chapter two will be looking at the dark tourism phenomena and popularity.
Consequently this would bring us back in time, when dark tourism was the
ultimate form of entertainment and amusement. To follow the literature
review will analyse the origins and history of dark tourism phenomena, and
the different types of thanatourism (Seaton, 2002). Dark museums, exhibitions
and attractions will be briefly defined.
Chapter three will explain how the research will be conducted. The
study will use three different qualitative research methods: participant
observations, ethnographic interviews and content analysis of the
communication tools (website, marketing publications (Clark, Riley, Wilkie,
Wood, 1998).
2. LITERATURE REVIEW
2.1 THE DARK TOURISM PHENOMENA
Life and death are an integrated part of our reality. People have been
exploring the meaning of these two crucial events throughout history (Starck,
2006). Many books, theories and studies have been conducted exploring life,
its origin, meaning and progress. So has been done for death. As an inevitable
part of our existence, humans have always been seeking death and exploring
it from a safe distance (Tercier, 2005; Dallen et al. 2004). The reasons behind
hunting for places of death could be different. People visiting cemeteries could
be motivated by a desire to memorise and honour deaths, others visiting war
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museums could be driven by a desire to learn about the past and share
collective memory (Keil, 2005). Moreover dungeon visitors could seek thrilling
entertainment and so on. There are all sorts of different reasons, which vary
from pursuing knowledge, memorisation, military, humanitarian or science
interests (Body World Exhibition), to purely fascination with death per se’
(Bockoc, 1993; Seaton, 2006).
For the first time the desire to travel to places of horror and death was
defined in 1990 as ''dark tourism'' (Lennon and Foley, 2000). It was noticed
that visiting places related to death and suffering for tourism purposes was a
faster growing phenomenon in the late twenty, century-early twenty first
century (Lennon and Foley, 2000). Dark tourism however is not a recent
phenomenon, yet it is seen by many as a growing opportunity for new
business developments as well as alteration for other purposes which will be
analysed later on.
Dark tourism has different definitions and names (thanatourism, black-
spots, macabre, morbid tourism and more) (Rojeck, 1993; Dann, 1994; Blom,
2000). Tarlow (2005) defines the phenomena as:
''…visitations to places where tragedies or historically noteworthy death has
occurred and that continue to impact on our lives'' (Tarlow, 2005:48).
But dark tourism involves more than only dark, sad, negative and horrible
events that have happened in the past. In fact, visiting the grave of a favourite
actor, singer or historical figure is also considered to be dark tourism, and
often is associated with positive experience.
FIGURE 1
DEATH AND CONTEMPORARY SOCIETY
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(Stone and Sharpley, 2008)
Seaton (1996) argues that thanatourism is dependent on the traveller’s frame
of mind. The thanatourist is a person who travels guided by the desire for
actual or symbolic encounters with death (Tarlow, 2005; Dann and Seaton,
2011).
Stone and Sharpley (2008) have developed a dark tourism consumption
model (fig. 1) which is based on the concept that dark tourism is influenced by
both the society and
2.2 ORIGINS AND HISTORY OF DARK TOURISM
Although in literature this form of tourism was only defined in 1990 (Foley &
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Lennon 1996; Lennon & Foley 2000; Seaton 1996), people have been
travelling to witness it long before then (Schwartz, and Schuman, 2000).
Interest in dark tourism has been recorded since the times of ancient Romans,
Greeks, Egyptian and Mayas. The famous Coliseums, public human and animal
sacrifices and executions have attracted a large number of spectators and
participants in the past. There is not a certain period or precise time when
dark tourism started. People have always been travelling to destinations
related to death for one or another reason (Yuill, 2003; Lennon and Foley,
2000). According to Greek philosophers tragedy was part of people's life. They
argued that 'tragedy leads to self-questioning through the pain of others'
(Goldhill, 2004:352). They argue that by watching the misery of tragic heroes,
would lead people to better control and appreciate their lives (Goldhill,
2004:352). Aristotle, unlike Plato, thought tragedy made the citizen better a
man (Goldhill 2004). As Freud (1984) recognised, there is an Oedipus inside
everyone, where the emotional and the intellectual power of tragedy stems.
In contemporary western society (Lennon and Foley 1998) death seems
to be so surreal that people have a growing interest in discovering the death
and places related to it (Seaton 2009:531). Many authors have searched into
the very nature of the 'dark' motivator (Yuill, 2003), and some have gone deep
into the topic starting from analysing the perception of death in contemporary
peoples' reality (Wight, and Lennon, 2004). As a result of such analysis, dark
tourism was thought to be the 'new form of meditating experience' (Walter,
2009 and Harrison 2003:158), that creates an invisible bridge of interactions
between the dead and the living. This new meditative form of tourism not only
gives to the visitor a physical stimulation of the dead environment, but
through exploration of deathly a person has opportunity to build an
ontological meaning, and reflect on both life and death (Walter, 2009 and
Walter, 2005).
The growing popularity of Dark Tourism can be observed in
contemporary society (Winkel, 2001; Lennon & Foley 2000). Some criticise
this form tourism commenting that is disgraceful and unethical (Michael,
2003). However dark tourism could be important too. Through dark sites,
people can explore the darkness of our past, learn from the mistakes of our
ancestors and remember victims. Indeed they display humanity's past and the
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tragedies people have been experiencing. Death is an inevitable event in
everyone's life and travelling to discover it and learn about it is one of the
oldest forms of tourism in human history (Seaton 1999; Stone 2006). The
thanatouristic product is now being classified in order to satisfy the needs of
contemporary society and suit their wants through careful physical and
perceptive design. The examples which will be looked at are the practical
representation of such phenomena.
2.3 DARK SITES: WHAT MAKES A DESTINATION/SITE DARK?
According to the definition of dark tourism and Michael's (2003) criticisms
only places related to torture, death and disaster qualify as dark tourism
destinations. This is however debatable as many monuments and cemetery
(Miles, 2002) also are dark destinations (as well as doomsday destinations)
and they are not related to a horrible death and torture and can deliver highly
positive and happy experience (Blom, 2000). Some examples are the Pete
Lachaise Cemetery in Paris where Oscar Wide, Ghopin and Jim Morrison are
buried. The cemetery is one of the most popular tourist destinations in Paris,
providing satisfying experiences for the people who chose to visit it (Tarlow,
2005). Another form of dark site could be a construction or architecture,
which reminds people of death (Tanas, 2006; Rojek and Urry 1997). A notable
example is 'Bone Church' in Kutna Hora near Prague (Outside Prague, 2010).
The building decorated with human bones aims to remind people the
significance of life, and the inevitable death (Outside Prague, 2010).
So, what makes an attraction/site dark is not just horrible evidence of
death. Dark sites are places where evidence of death is presented. Recent
research argue that dark sites can be labelled as 'darker' (Auschwitz) or
lighter (cemeteries, dungeons) in relation to their perceived ideological,
temporal and spatial product features (Stone, 2006).
2.4 DARK TOURISM TYPES
Before starting the examination of the selected dark sites in London it
important to define the different types of dark tourism first. Stone’s (2006)
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suggests that there are seven types of dark suppliers: dark fun factories, dark
exhibitions, dark dungeons, dark resting places, dark shrines, dark conflict
sites and dark camps of genocide (Stone, 2006:23). He categorises the
thanatourism offer in relation to the dark product content. Sean (1996)
however subdivides them in five branches in relation to the death occurrence
and peoples' motivations. Sean argues that some people travel to watch death
(public hangings and executions); others travel to sites after death has
occurred (Auschwitz); some other reasons for travel would be to internment
sites and memorials (graves and monuments). In addition many others would
be driven by the desire to visit historical re-enactments (Civil War re-
enactment), where participants would attempt to re-create the historical event
or period in order to make the experience more vivid and graphic to the visitor
(Smith, 1996). Moreover, there is the dark tourism travel to synthetic sites at
which evidence of the death has been assembled (museums). Finally there are
the deadly fun factories (Dann, 1998): perilous places, houses of horror, fields
and fatality, tours of torments and themed thanatos. This simple subdivision
narrows down the most popular dark tourism attractions and gives them a
specific title which allows the visitor to choose what's more appropriate for
them and how the attraction supplier should design its product in order to
guarantee satisfaction.
The grounds for promoting dark destinations are different: cultural,
curiosity or simply new commercial opportunity and more (Trend, 2003).
Often misery and fear are being purposely developed and the death is being
exploited as a result of a new marketing idea in order to satisfy the market
demand (Fun Factories) (Wight, 2008). Often dark tourism is criticised by
society too, the dark display is difficult for a person to comprehend and
understand (Swarbrooke, 2001). However, the visitor should be able to decide
whether they like it, and would they tolerate it or not by analysing the
promotional publications created by the suppliers. Bearing in mind the
delicacy of the product type most suppliers have adopted an unwritten set of
rules which make the site socially acceptable (Sharpley 1999).
Ultimately the Dark Tourism sector could be seen as an open umbrella.
Dark tourism offers a number of different destinations, sites, exhibitions and
museums to visitors, whom all have their own perceptions of the place (Wight
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and Lennon, 2004). Death can occur in a different ways and therefore the
experience which the visitor would perceive will be different when visiting a
cemetery, or a concentration camp, or from visiting London Dungeon.
Dark sites tend to differentiate from each other not only in relation to
their different level of dark saturations, but also in terms of display, popularity,
layout, perception and marketing communication. Accordingly, Dark Tourism
has been subdivided in different categories, according to the level of darkness
and nature of the supplier’s mission (Krishenblatt-Gimblett, 1997). Given the
complexity of the dark tourism phenomena, the dark product has been
designed by the various suppliers according to the level of scene, the darkness
saturation and the historical background of the display (Stone, 2005).
Assuming that visiting ‘London Dungeon’ would create a different
understanding of darkness compared to the IWM is possible, although they
are both dark tourism suppliers. This suggests that darker and lighter
paradigm does exist within the dark tourism industry (Stone and Mile, 2002).
2.5 DARK ATTRACTION, MUSEUM, EXHIBITION PROFILES
During the long existence of dark tourism, not all issues related to dark
tourism have been researched and explored. London is experiencing the
benefits of the dark tourism phenomena through creating successful
attractions, exhibitions and museums related to death (Holt, 1995).
An attraction, museum or exhibition could be the reason for someone to
visit certain place (Lennon and John 2001; Lee 2002). Often people visit
destination just because the place is famous of having a unique and rare
feature (Harvey, 1996). The attractive force could have a very broad form and
characteristics. It could be a building, an open space attraction with natural
features; it could be the environmental or the constructional sense of the
place (Bocock, 1993). Ultimately a place could be attracting visitors with a
combination of environmental perceptions (Bell et al., 1990:27). Middleton
(2001) states that an attraction is a permanent resource controlled and
managed that would help to attract, entertain and educate visitors. BTA
(British Tourism Authority, 2010) confirms such statement adding that in
retails, shopping, theatrical, film and sport venues are also part of the
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attraction sector. Finally, BTA (2010) suggests that attractions should be open
public places where tourists, day visitors and local residents can visit without
booking in advance. In relation to these statements Yale (1998) argues that
such definition is too generic and a tourism attraction not only could be
designated, but they could also be non-permanent. For instance the changing
of the royal guards in London are an example of a 'regular' tourist attraction
and not 'permanent' (Yale, 1998:177). A museum on the other hand is defined
as:
'a permanent establishment in the public interest with a view to
conserve, study, exploit by various means, and public interest with a view to
conserve, study, exploit by various means, and basically to exhibit for the
pleasure and education of the public objects of cultural value' (International
Counsel of Museums, quoted by Hudson 1975).
Attractions, exhibitions and museums tend to be created in order to
serve society in different ways: to educate, entertain, attract more visitors to
the destination and making profits (Hudson, 1975).
2.6 EXTERNAL AND INTERNAL IMPORTANT FEATURES OF A SUCCESSFUL
ATTRACTION OR MUSEUM
There are several important elements for the functionality of a well
performing dark site. The first one is location within the city (Law, 1994).
Many tourists would visit London for its package of different offers. If the dark
attraction is in a central and cosmopolitan area it is more likely to attract
walk-in visitors who are not necessarily dark travellers. The attraction needs
to be easily accessible by foot, road, private and public transport. Moreover,
the ever expanding visibility in a display site has encouraged a coherent
'legible' set of symbols, messages and perception displays, turning the display
into 'talking environments' (Dicks, 2003). Harvey (1996) argues that the
success is achieved through getting people to queue up in order to see the
display offered by the site supplier and then report the experience to others
and attract further visitors.
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Presenting objects and displaying some visual information from behind a
glass is no longer attractive to visitors (Lloyd, 1988; Urri, 1995; Linenthat,
1995). The contemporary museums, attractions and exhibitions had to adapt
to technologically developed society in order to keep visitor affluence and
interest. Most sites have been supplemented through the use of digital
technology, which would allow the exhibitors to expand the communication
process (Hewison, 1989), and propose the content in more dynamic way.
Contemporary museums and attractions are very competitive for visitors. They
rely on distinguishing themselves in order to bring in their respective
audiences (Dicks, 2003). Being an important part of the life of the community,
they have to prove themselves and assure their place as part of city’s tourism
resources (Hewison, 1989). The market demands that museums become part
of the leisure and tourism industry with entertainment an essential part of the
product (Hewison, 1989; Trend, 2003; Freeman, 2005). Technology, audio-
visual presentations, and actors are some of the elements dark attractions and
museums have adopted in their product design.
2.7 MARKETING
In addition to the physical changes, sites have also developed an intense
marketing presence in order to compete with others, and attract visitors.
Museums and attractions are more veritable and more communicative (Dicks,
2003), involving and supporting more departments such as marketing,
advertising and promotion. Macdonald (1998) notes that museums, exhibitions
and attractions had to adapt to the respective market audience and to what
they would buy (Macdonald, 1998). More efforts are made in actions such as
building 'brands', identifying 'unique selling points' and establishing a strong
'corporate image' and 'market niche' (Macdonald, 1998:118). More features
have been added to the interior building design, such as shops, cafés and
interactive rides, in order to increase the visitor spending and satisfaction.
Additionally market segmentation is vital in order to create a display
which would match the audience’s needs and wants (Davies, 1994). Because
the audience is fragmented, the site should adopt separated displays and
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facilities for all segments (Lovelock, 1984). In museums, exhibitions and
attractions this is achieved by setting separated and temporary displays
(Brunt, 1997). Specific temporary exhibitions also attract niche markets,
which would increase site diversification, and visitor attraction (McLean,
1997). Finally, due to the competitive market environment of London’s
environment, dark sites have had to adopt a unique approach towards their
offering which would differentiate (Kotler, 1967) from the competitors.
Accordingly each one of the organisations discussed in this paper has
specialised in a different area of the ‘dark’ concept, and compete through
differentiation and specialisation (Kotler, 1967). The consumer is paramount in
the concept of marketing, therefore meeting the target audience’s needs and
desires while satisfying the organisational goals is the core mission to any
marketing strategy (McLean, 1997).
This point highlights the changes of the display introduced by contemporary
society and its demanding needs. In addition to the physical and visual
changes of the contemporary museums, dark sites had to adopt business
strategies and marketing concepts in their product offer in order to reach a
competitive advantage over others.
2.8 THE ATTRACTION PERCEPTION DIMENSION
Differentiating is a long process of setting features, elements and models
unique to the given site. Offering the visitor a satisfying experience could be
achieved in different ways. Law (1994) discusses the importance of perception
and emotional experience as essential dimensions of the tourism product.
Death, horror and violence are provoked by strong emotions (Ashworth, and
Hartmann, 2005), therefore, tend to remind a memorable experience in the
human minds. Being a passive observer of such extreme human actions make
the visitor experience feelings which vary from one individual to another.
Environment perception is stimulated by use of senses stimulation such as
sight, sound smell, touch and all that is around us (Bell et al., 1990) in order
to reproduce scenes and encourage emotions.
Before analysing the design environment in the sites it is important to
understand what the human senses are, and how they affect our perceptions
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and emotions. Along with the concept of perception the sites inevitably have
been designed to deliver certain emotions and sensations as well (Frey, 2006).
Sensation refers to each individual's sensory system and the way in which
they would react on the environmental stimuli varies (Law, 1994). There are
four elements stimulating the human senses: vision, hearing, smell and touch.
In addition there is knowledge which determines the level of fear (vital
response to physical and emotional danger) and emotions (Psychology Today,
2012). The four senses have impacts on the peoples' experience and they will
interpret the product in assorted ways according to the individual’s
perceptions and past experiences.
Our vision is a source of information which dominates the rest of the
senses (Dicks, 2003). Visual perception is highly complex and an essential
element of the product on offer in museums and attractions (Porteous,
1996:3). Darkness creates a sense of isolation and disorientation (Tuan, 1979).
Lighting is a one of the basic elements of the display settings. It not only is
used for illuminating the areas and the objects, but also creates atmosphere
(Frey, 2006). The level of light saturation needs to serve the display
requirements and aims. Lighting derives from different sources: natural,
electric, visual media, projectors and so on. This should also be arranged in
order to fit with the exhibition content and the design functionality. Each type
of light creates a different perception of the environment. For instance natural
light creates a freer and friendlier and more spatial perception of the
environment, and a connection with the external space (Frey, 2006).
Contrarily darker illumination, electric, flashing or coloured lightening effects
could provoke more oppressive perception of the environment.
Hearing could be perceived to be informatively poor, but an emotionally
rich sense (Porteous 1996:3). Hearing words brings clear precise information,
while hearing noises bring a whole range of associations stored in our brains.
New research has shown that animal noises encourage fear and influence
human emotions on a primal level (Vegas, 2010).
Smell sometimes similar to hearing produces memories and feelings and
some are vague (subject to personality: some people might like petrol smell
because their brain associates it to a pleasant moment, perhaps travelling).
Although in humans the sense of smell is not the best developed one, it plays
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an important role in environmental perception and emotions. Touch also helps
us feel and perceive the physical environment around us. Being able to touch
makes things appear more real: “The sensibility of the individual to the world
adjacent to his body by use of his body" (Gibson, 1966:118).
Also there is knowledge, which interacts with the human sense of fear
and emotions. People could associate objects, smells and environments with
their past experiences and trigger a certain positive, negative or neutral
emotion as a response (Psychology Today, 2012). Being aware of the tragedy
and the circumstances makes the visitor experience more intense and also the
other way round. The fear of not knowing brought people to develop
superstitions, which are the human attempt to create an illusion of
predictability in an uncertain environment (Tuan, 1979).
All five elements form the basics of the human experiences work as
ingredients which are then mixed and matched in different measurements and
characterise the very nature of the dark attraction or museum.
The attractions and museums analysed in this research have recognised the
importance of the environmental context and in relation to their level of
darkness have adopted such stimulation in an adequate way (Moscardo and
Ballantyne, 2008). Recreation of human misery and horror seems to be
contradictive; linking violence with entertainment even disgraceful and
unethical, and yet such dark sites attract hundreds of visitors each day. In the
next chapters it will be seen how these sites manage to do this and what are
their criteria and limits while setting a dark exhibition.
2.9 DARK TOURISM SPECTRUM
Before proceeding with the analysis of the dark sites, however, it is vital for
this research to reference the dark spectrum theory (Stone, 2006). Recent
studies show that the level of darkness is one of the fundamental elements of
dark tourism supply characteristics (Strange and Kempa, 2003). It involves
the level of darkness in the dark tourism site: the fundamental division
between death as fiction or as a tragic reality.
The spectrum line (figure 2) divides the ‘dark sites’ in relation to their
20 | P a g e
perceived ideological, political, temporal and location product features. The
shades saturate from the right (lighter) to the left (darker): darkest, darker,
dark, light, lighter and lightest (Stone, 2006). The darker shades of the
spectrum are associated with more recent dark sites and events. In the
darkest dimension are noted ‘places of death’ rather than places associated
with death (Stone, 2006). In relation to these it is assumed that none of the
dark attractions involved in this research have the darkest position in the
spectrum.
Stone (2008) suggests that product display authenticity, political
relevance and a shorter time scale of the event are all characteristics of the
darker side. In this context authenticity does not appeal to the quality or
experience of a place, but the relationship between the visitor and his/her
perception of the surrounding (Wang, 1999; Olsen, 2002). What the visitor
perceives as authentic is the link created between the displayed and the own
understanding of the world and society (Cohen, 1988). Authenticity is
therefore hard to measure. However Lennon and Foley (2000) suggest that
authenticity in the dark tourism site prospective refers to the originality of the
material displayed.
As Lennon and Foley (2000) stated the 'chronological distance is a vital
characteristic of the dark tourism destination'. The reason for that is that the
event might still be fresh in the mind of survivors and witnesses of the
tragedy, which automatically makes the destination ''darkest'' (Miles, 2002).
Authentic locations and original objects, displays of recent reliable and
political elements are features of the darker saturation of a site (Stone, 2006).
Meanwhile lower political ideology, inauthentic product content and location
as well as a long period of time since the event took place are features
attributed to the more relaxed and fun orientated dark sides. Stone, and
Sharpley, (2008) argues that lighter dark attractions are entertainment
orientated, meanwhile the darkest aim to teach and educate.
Some examples of a darkest product side according to the spectrum theory
are Auschwitz or Ground zero, where the issue is related to a recent historical
event and the topic is still very painful (Shackley, 2001). Here, the level of
authenticity (evidence in documents and pictures that witness the disaster) is
a key element of the display. Ultimately the display is located in the original
21 | P a g e
place where the tragic event took place is also quoted as adding darkness to
the attraction, museum or exhibition (Macdonald 1997:156-157). Displays
with such dark characteristics often aim to encourage remembrance,
commemoration and education. They are usually set for non-profit purposes
and might be established by larger organisations such as the government.
Places where dark elements such as death, misery and torture are a lot more
real (based on facts, documents and pictures of real people) have higher levels
of darkness.
On the other hand, according to the dark tourism spectrum theory,
sometimes places with dark content which appeal to human fears and
emotions, have little to no authenticity and are politically irrelevant. These are
the attractions created by independent profit orientated organisations in order
to entertain children and adults (Seaton and Lennon, 2004).
FIGURE 2
DARK TOURISM SPECTRUM LINE
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(Stone, Vol. 54, No. 2/ 2006/ 145-160).
3. METHODOLOGY
3.1 RESEARCH APPROACH
The previous chapter provided a critical analysis of the literature available on
the topic. Along with the literature review in order to research the issue this
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paper is concerned with an in-depth investigation of the collected data
(Cameroon & Price, 2009).
Literature suggests that there are different paradigms of research:
positivism, realism, interpretivism and pragmatism (Saunders and Lewis,
2003). This study used a gnostic critical realism and realist research
methodological approaches, where seeking systematic knowledge of the world
is analysed, but value that is caused by subjectivity (Gill and Johnson,
2002:138). Using a critical realism approach means that there is an objective
world, and the idea that our understanding of it can only be subjective and
never objective or definite. Findings are gained through personal struggle,
challenge and diversity (Pageles, 1982; Miles and Huberman, 1994).
3.2 RESEARCH METHODOLOGY
There has been a mixture of research techniques used in order to analyse the
dark offer. Secondary findings have involved the use of books, journals,
reports and online information (websites, blogs and forums). Primary research
has included qualitative techniques such as observation and in-depth
interviews. The reason why qualitative techniques were preferred was
because they are more likely to provide a deeper understanding of the design
offer (Burns, 2000; Finn et al. 2000). Finally observing, communicating and
analysing findings helped to find associations and patterns (Gambril, 2006;
Tribe and Airey, 2007).
Qualitative research is designed to use systematic observation and
focuses on the design and environmental settings of the dark exhibitions. This
paper investigates the dark attractions features and produced perceptions
using several qualitative methods: interviews, observations and text sources
(websites and marketing publications).
The reasons why these dark sites were chosen over others are various. Firstly
they represent the intensity and the popularity of this form of tourism in the
UK’s capital. They all offer a dark product to their visitors, however in a very
diverse way from one another way. The sites share success in terms of visitor
affluence and touristic recognition (Merlin Entertainments, 2009). Ultimately
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they all share rich history and heritage as a primary background. From a
practical point of view, all six of them are located in London and are easily
accessible.
3.2.1. Secondary Research
The physical characteristics of the buildings have been analysed by obtaining
a floor plan, and by visiting them personally. In some cases it was not possible
to attain maps due to ‘security’ reasons; therefore similar floor plans were
drawn. Maps reveal the design of the visitor’s path and how this becomes
more linear and restrictive within certain attractions. Additionally the
business missions of the organisations have been analysed through marketing
promotional publications, websites, journals and other media.
3.3.2. Primary Research
a) Observations
In order to conduct the research a visit was paid to each destination from
where it was possible to analyse the structure and the design of the sites.
Using a check-list (see appendix) each site was observed and analysed in
terms of the building’s physical structure and the different displays and
rooms’ atmosphere.
b) Interviews
To better understand the purpose some interviews were also held with
representatives of the dark tourism industry. The interviews were collected
using a recording device and with some notes taken during the interview.
Coding was difficult, and unsuitable. Nevertheless, Saunders et al. (2007)
argues that there is no coding system when analysing qualitative data. In
relation to this statement the research was based on a manual open coded
system (Neuman, 2003).
Finally, the research strategy used in this research is inductive rather than
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deductive. Inductive research consists of theory building rather than theory
testing which is deductive (Phelan & Reynolds, 1995). However inductive
reasoning uses a different method than deductive thinking (Gambril, 2006).
With deductive reasoning one may have a hypothesis that is an observed
event, sequence of events and a conclusion (Gambril, 2006; Cameron et al.
2009). Ultimately deduction interferes with generalised rules (Hart, 1998:82),
relying on facts and different arguments (Gambril, 2006).
4. FINDINGS
4.1 INTRODUCTION
Observations were combined with interviews here. The semi-structured
interviews leave freedom to the respondent to interpret the question in their
own way. The interviewee is asked to think of the situation and draw
conclusions. The interview questions focus perceptions of the environment.
The core issues are analysed through six subcategories: physical layout and
mobility, sight, hearing, smell, touch and knowledge.
4.2 Key Features of the Six Dark Sites
4.2.1. LONDON TOMBS
The following findings have been based on 8 days personal experience within
the London Tombs experience. During the time being there were held several
informal interviews with the general manager Mr James Kislingbury and some
employees. From this experience it was discovered that the attraction is an
independent profitable organisation held by few shareholders. The general
manager was in charge of the staff and was also responsible for the smooth
performance of the shows.
The attraction runs shows every day and occasionally during their peak
times they are also run till at late night (Halloween till 11 pm). The attraction
has some degree of authenticity (original location); however, there is no proof
of actual death within the rooms. In the past London Bridge was unsafe with a
poor reputation, where many civilians have found their death (several death 26 | P a g e
bodies have been found during the construction of the bridge) (Kislingbury,
2011).
The product is designed to frighten almost anyone as there is a vast
range of the most common phobia elements (dark space, fake snakes, blade,
dolls and more). The entertaining aspect of it is to let imagination control
human feelings, and knowing that nothing bad would actually happen as it is
all false.
The London Experience and London Tombs have well developed infrastructure
and tourist facilities (Kislingbury, 2011). The visitors are always guided by a
member of staff and the duration of the visit lasts around 40 minutes (optional
exit before the Tombs is provided).
The attraction is highly marketed and promoted to the UK and overseas
visitors in numerous media publications: Time Out (magazine and web);
London Tour and London Map and others. Moreover the attraction
collaborates with several other organisations: Groupon, Tesco Clubcard,
Moneysaving.com, The London Pass, 2 for 1 London, Smartsave and more.
Finally the dark site is a winner of several dark attraction rewards:
''UK's best scare attraction for the last 3years'';
Winner of "The Best Year round Scare Attraction" (Scream Awards,
2008)
`Finalist in "Most Innovative Marketing" British Youth Travel Awards
2009 (Scream Awards, 2009).
4.2.2. LONDON DUNGEON
In 1995, 610,000 people visited the London Dungeon (Yale, 1998). The
product revolves around a story of London during its dark ages, and displays
this using an interactive, three-dimensional, interactive environment.
London Dungeon is a commercially orientated tourism attraction (main
reason for being is to create profits) run by Merlin Entertainment Group. The
design used offers more graphic features and almost playful atmosphere. The
attraction offers a wide range of facilities, infrastructure, technological, visual
and vocal devices which would enhance the visitor experience and make it
more enjoyable (check-list, 2011). In order to facilitate and regulate as well as
27 | P a g e
to restrict the length of the visit they have adopted a linear route structure
which will be discussed in more detail in the following chapter. The high
degree of tourism infrastructure on the outside of the attractions is also
designed to accommodate a high volume of visitors.
4.2.3. CHAMBER OF HORROR AT MADAME TUSSAUDS
Madame Tussauds-Chamber of Horror is one of the most well-known London
tourist attractions. Here only one part of the tourist attraction has been
mentioned, (The Camber of Horror only dark display within a bigger tourist
exhibition). The museum-style ropes and poles have been visited by over 200
million visitors since it began 200 years ago (Madame-Tussauds, 2011), and
with current visitor affluence of over 2.5 million people a year visit.
One of the first dark exhibitions in London was presented by Madame
Tussauds when she arrived to England from Curtius (France). The Tussauds
collection was presenting historic artefacts alongside some other wax figures,
so objects were purchased to go in the Chamber of Horrors. The exhibition
progressed by showing a story of a crime in 1981. This was the first recorded
simulation of a crime rather than being a real scenario for entertainment
purposes (Yale, 1998).
Ultimately they added special effects, lightening and mechanical spiders
to make the attraction more stimulating. The exhibitors came up with the idea
of regrouping the murderers according to the type of crime they had
committed and add decorative elements such as coffins, bars and fake blades
(check-list, 2011).
The exhibition belongs to the Merlin Entertainment Group, which is
probably why the features and the character of it remind of London Dungeon.
The building consists of upper site construction and numerous underground
rooms and corridors. The Chamber of Horror is designed to flow in one and
only direction for all visitors. The underground is reached by stairs from the
main Madame Tussaud’s exhibition (which is not dark). Their inglorious
aspect communicates to the visitor ''to be prepared for a trilling experience''
(Chamber of Horror, 2011). The dark exhibition might not be appealing to
everyone, therefore the building is provided by one other corridor which
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would lead to the exit.
4.2.4. THE CLINK PRISON
The Clink prison is built upon the original site of the Clink Prison. The site
dates back to 1144 making it one of England’s oldest prisons (Clink Prison,
2011). The highly visited attraction offers an educational experience allowing
visitors to handle original artefacts, including torture devices (checklist,
2012). The exhibition has been made even more credible and realistic by the
wax figures placed behind bars and under the torture machines. Ultimately
the product is enhanced by audio and sound effects. Visitors have the
opportunity to view and hear the stories of the inmates and Southbank. There
is not much to say about the design of the place, as it was not designed to be a
tourist attraction at the time. The narrow, dark and small rooms of the prisons
were designed to keep criminals out the streets of London. The path therefore
is simple linear and with not too many exits (Clink Prison, 2011).
4.2.5. The Imperial War Museum in London
The London IWM brunch is located in Elephant and Castle area. The museum
which displays war related artefacts, documents, pictures, objects, stories,
monuments of conflicts, death and tragedy is a highly authentic and reliable
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source of European dark history (Collections and Research 2011). The
museum contains the England's largest display of military artefacts, ranging
in period from the First World War to the present day. The first impression of
the character and authenticity of the display could be perceived from the very
outside of the building. In fact on the left side of the main stairs there is a real
segment of the Berlin Wall (IWM, 2011).
The exhibition starts with a display of war machines mainly from the
first and Second World War (tanks, rackets, submarines and small aircraft).
They are all located in one big round space right after the entrance. On the
left side of the main room there is a children exhibition ''Once upon a War
Time'' which is paid for: £5 (Collections and Research 2011). On the same side
next to the paid exhibition there is a cafeteria and a gift shop on the opposite
site of the ground floor. This first part of the exhibitions is more
commercialised compared to the rest of the museum.
Visitors have the chance to customise their visit and choose where to go
and what to see, which differs from London Dungeon where people were
walking into groups through the linear and straight path of the horror
museum. The Holocaust exhibition is one of the darkest displays in the
museum, and it is not advisable for people under 14 focusing on the Jewish
persecution in Europe during the Second World War.
The exhibition's layout starts with written testimonials of people's and
religious believes about the 'danger' Jewish people were for Europe. The
evidence stretches to vocal testimonial by showing a video of Hitler himself
and his speeches in front of the German population. Following the path, the
display becomes even more visually saturated (people’s pictures, objects,
symbols). On display are medical tables, real shoes from the concentration
camps, and a reconstruction of the inside of the trains people were
transported to the concentration camps. The next room presents a model of
Auschwitz. A record of survivors plays in the background of the room
(checklist, 2012) while visitors are allowed to go inside, touch and spend some
time if they want to, or sit down and listen to the victim’s stories. The display
continues onto 'inside the camp experience'. Clothes, shoes, cookery and other
belongings of the imprisoned people were collected and displayed here. The
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exhibition ends with a long list of names of people who lost their lives in the
camps across Europe.
The museum measures their success in many different ways:
‘visitor figures, income, profile raising, media coverage, development of
museum audiences etc’ (Gilbert, 2012).
4.2.6. CHISLEHURST CAVES
The caves of Chislehurst are a deep and very ancient man made set of tunnels
located in the south-east of London: The 20 mile cave systems are believed to
be around 8,000 years old. According to scientific findings there are
reminders from Saxon, Druid and Roman civilizations. Chislehurst caves
therefore are rich in history and many different activities were held in its cold
dark underground. The caves were initially dug for the generous amount of
chalk in the ground used in the production of lime, as well as brick making for
the building purposes (Chislehurst caves, 2010). Several researches have
concluded that the caves were used for human sacrifices in the oldest parts of
the site. Other believes suggests that there is paranormal presence too. In the
most recent history the site used to host people during the Second World War.
The site visual display (wax figures, beds) represents the human presence in
the caves during the Blitz (checklist, 2012).
The underground is today open to tourist to explore with an experienced
guide. The caves offer a thrilling and educative experience. The attraction’s
aim is to make profits in a long term. They measure their success in terms of
visitor affluence and profits (Terry, 2011).
To conclude this section it can be said that the dark supply in London is a well-
developed and diversified sector of the tourism industry in the city.
Nevertheless many more dark suppliers are available in London: Jack the
Ripper or Ghost Tours; The Brain Exhibition; DT Hotels; DT walks, and so on.
The organisational purposes and missions have been summarised in
table 1 (see list of marketing publications p.6). Additionally promotional 31 | P a g e
publications and visual material are presented in 'marketing publication'
section at the end of this paper.
4.3. PHYSICAL CHARACTERISTICS
While the previous section analysed the general aspects and missions of the
various sites, the following paragraph will aim to look deeper into the physical
design of the buildings. The physical place hosting the exhibition, attraction or
museum could be the original place where the event took place (Clink Prison),
or it could be purpose built (Imperial War Museum). In addition to the original
building design, a team of designers decide the internal path and mobility.
Their style of set and layout reflect the character, purpose and aims. Gilbert
(2012) suggests that in any exhibition the design will prompt certain feelings.
These are often determined by the nature of the display. The senior exhibition
manager suggests here that the exhibition layout depends on the type of
product rather than organisational wants.
The entrance space in many of the visited dark sites was brighter and
spacious compared to the rest of the building. For instance in the Imperial
War Museum, the ground floor consists of a wide open space from where the
visitor can choose their path. The luminosity is well saturated throughout the
whole entry space. Gilbert (2012) recommends that by providing this
atmosphere the museum wants to create a welcoming environment for visitors
as soon as they enter the building:
‘This is achieved through staff, graphics, decorations and lighting. The main
atrium space containing the large exhibits was intended to provide a strong
visual impact for visitors when they first enter the museum.’
A similar welcome effect was used by Clink Prison, Madame Tussauds and
Chamber of Horror and Chislehurst Caves: the brighter, open space.
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Before progressing towards the darkest areas the sites usually warn the
visitors using different methods. These could include signs or symbols (child
experimentation table in the Holocaust exhibition symbolically warns the
visitors that they are for about to enter a more saturated dark area), (Howsen,
2012). Other sites use verbal communication (before entering London Tombs).
Finally a physical separation (by doors, stares or panels) is a sign of dividing
the areas from one dimension to another.
New musicological designers who have applied freedom of access can be
seen as reflecting upon what they feel are the needs, wants and expectations
of the visitor. Linearity is very limited in some attractions such as the London
Dungeon, London Experience and Chamber of Horror. Inside the Chamber of
Horror, for instance, there is a lack of free exploration within the building, and
this is a direct result of the way in which the basement site was made: as
categorically linear way as possible. Similarly the London Experience and the
London Tombs have a one way corridor path conducted by a number of
different guides (actors) along the way. The reason for this is to be able to
accommodate large number of visitors (see map). On busy days there is one
actor in each corridor who takes over the visitor group and conducts them as
quickly as possible, so the next group can come through (Kryonika, 2011). In
terms of architectural interaction the building is somewhat limited and people
cannot choose a highly customised route. Chislehurst Caves have a big space,
which could be potentially freely explored by the visitors. However due to the
huge size of the underground and lack of visibility and other infrastructure
facilities inside, not many would choose not to follow the experienced guide
conducting the visit (Terry, 2011).
While these sites are very limited in terms of free exploration and mobility
during the visit, the Imperial War Museum and the Clink Prison offer a lot
more freedom of exploration and time availability inside the site. Visitors are
free to customise their experience by deciding which path to take and which
room to visit. They have the opportunity to ask information along the way from
one of the many museum curators or read to information boards present along
the way. The dark site offers to everyone a lighter war experience to progress
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further up to a more detailed and darker evidence of death during war times.
In addition to offer visitors a positive and welcome initial impact, the contrast
between the ground floor and the rest of the dark exhibitions would also help
to maximise the ‘horror’ impact of the darker exhibitions (Howsen, 2012). On
the ground floor there is a lot of freedom of mobility, while this becomes more
restricted and linear in the Holocaust exhibition. Gilbert (2012) suggested
that:
‘’Each exhibition is looked at individually at the design stage. Depending on
the narrative of the exhibition we decide how best to present this to visitors,
this will determine whether we agree a linear route or a more free flowing
exhibition’’.
This recommends that there is a link between the nature of the exhibition and
the physical set. From several observations it could be suggested and
concluded that the darker product would require more straight forward linear
path which would involve the visitor more closely with the display.
In some sites the linearity was encouraged by the suppliers for another
purpose too: to increase visitor flow and minimise time circulation. This would
allow higher visitor capacity and consequently more profits too (Mears, 2011).
This characteristic was mainly noted in highly commercialised dark
attractions such as London Dungeon, London Experience and Chamber of
Horror. Here little or none recreational facilities were available. These
attractions offer no space for people to stop and look around for longer. In fact
the space's profitability was related to the time and space. More visitors
consuming less time within the attraction would open more space for new
visitors to enter (Mears, 2011). On a busy day London Experience would have
a group of around ten visitors every twenty minutes. These groups would
never meet (Kryonica, 2011).
In conclusion to this point it can be said that the organisation’s purpose,
mission and needs are main elements in determining the structural design.
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These concerns are founded in things such as the specific type of museum in
question, and the way in which the market demand has influenced and
constructed the conscious orientation of the design team. Dark attractions
tend to have more structured and linear routes, which could allow high visitor
circulation throughout the day. When one of the mission statements of the
organisation states ‘make profits’, then the physical design of the sites tends
to be as space productively as possible. Meanwhile organisations which states
‘educational’ as one of the main statements of their missions tend to offer
more freedom of internal and external mobility.
4.4. PERCEPTION AND DIMENSION
4.4.1. Display and Vision among the Six London Dark Sites
In the contemporary society, display has become increasingly prominent for
both attractions and exhibitions. Visitors will research through the media and
visual information in order to decide whether they want to visit (Mears, 2011).
The visual information communicates the type of site, the level of dark
saturation, and the kind of experience the visitors should expect from it
(Mears, 2011).
London Experience and London Dungeon display their product in a
visually interactive way making it appear more dynamic and exiting. Instead
of locking the medieval clothes and object behind glasses, they have
incorporated them into the environment. The whole visual display becomes
part of a recreated reality. No single object (in the attractions) is in a formal
display frame presented, but scenes, landscapes, faces, characters and actions
are recreated.
The ‘darker’ areas of the (London Tombs, Chamber of Horror, some areas of
the Clink Prison) attractions use stimulating light and colour effects. Flashing 35 | P a g e
light tends to discomfort a person’s sensations and leads to disorientation and
possible rise in the perceiver’s emotions (Hone, 2011). In the attempt to
create fearful feeling has been enhanced by displaying revolting for the
contemporary society elements such as fake blade, silicon masks, was figures
with missing heads or legs, fake snakes, spiders and human bones. In London
Tombs light is low, while in London Dungeon the sight is restricted (in some
rooms to the minimum), provoking emotional reactions (Hone, 2011).
While areas or sites, which aim to recreate the environment (IWM, Chislehurst
Caves, parts of London Dungeon, London Experience and Clink Prison), rather
than to provoke strong emotions tend to use light which would have been used
at the time of the ‘dark’ historical moment. Chislehurst Caves use original gas
lamps as it was during the blitz, to then use no light at all, during the more
remote and ancient ages. During the first part of the display the attraction
illuminates the underground with additional electric lights, where visitors can
visualise the evidence of people living in the undergrounds during the Blitz. In
the second part of the walk however visitors are asked to give their candles
away and remind in the complete darkness for several minutes. The complete
lack of light, feels highly uncommon to the contemporary person, which also
provokes mixed feelings (Hone, 2011).
The lower light in the IWM had different functions:
‘’Light is used in two ways, to create an appropriate atmosphere with in
exhibition but also to control environmental conditions for the exhibits on
display. The lighting in the Holocaust exhibition does both these things.”
(Gilbert, 2012).
Finally sight is confined by the speed of the movement. In London Tombs
people have been asked to hold to each other and walk fast while crossing the
straining linear path (author participation). While in London Dungeon visitors
are often put on fast moving rides which disorientate the person and limit
him/her from observing the environment. Sight limitation and disorientation
do increase the thrilling feelings, rice blade pressure and adrenaline which
appeals to younger audience (Hone, 2011)
The Clink Prison offers the chance to see the prison building and read
36 | P a g e
literature material attached to the walls. Visualising the environment here has
an important value as the purpose of the product is to educate rather than to
provoke feelings (Hone, 2011).
In conclusion to this point it could be said that vision has an important
element in the perception of the display of a dark site. The amount of visibility
and light characterise not only the physical appearance of the display, but it
also transmit moods and feelings. The presence of light can stimulate certain
experiences and provoke mixed feelings. It could be suggested that lighter
dark sites use light as an additional senses stimulation tool in order to deliver
strong experiences and feelings. People perceive those in a different way from
one another. However the majority claims to feel ‘scared’ (Mears; Hone,
2011). In darker attractions use of light effects is much more restricted than
in the lighter ones.
4.4.2. Hearing and Smell
It has been noted that these two senses are also been regulated by the six
dark sites visited. Hearing plays an important element of the contemporary
museum, attraction or exhibition product offer. In the lighter attractions such
as London Bridge and London Tombs as well as parts of the Camber of Horror,
audio elements are highly encouraged and stimulated. Nevertheless recorded
screaming, opening old doors, whispers and banging noises have been
recorded and played out by sound systems throughout the buildings. The
volume is high to the point to discomfort most visitors (Hone, 2011). The
sound included human screaming, animal noises, animal cry, banging doors
and other commonly irritating noises.
Contrarily the noise in the Imperial War Museum is kept low. On the
ground floor the visitor could only hear pleasant noise coming from the coffee
shop and the moderate tone of the other visitors’ conversations and
comments. Meanwhile the top floor exhibition is absent from visitors voices,
the only sound comes from recorded speeches by politicians, and whispers of
real victim testimonials. Sarah Gilbert defines the sound information as a:
“Method of interpretation. We find that our visitors are interested to hear first-
37 | P a g e
hand accounts from people who actually experienced the topic that we are
presenting.” (Gilbert, 2012).
During the visit in the scary attractions it was noted a strong specific
unpleasant smell. It was almost identical in London Dungeon and London
Experience. It fit the product character quite well, as the combination of what
was seen and what was heart was also possible to smell. The heavy, smoky and
pungent smell was not recommended to asthmatic visitors (Kryonica, 2011).
The thought that the smell was encouraged and created on purpose in the
attractions was turned down by Kryonica (2011). She said that these were the
'natural' odours of the underground, substantiated by the traffic pollution and
the nearby rail way dust. The unwilling smell factor contributes to the rising
emotions in the visitor perceptions at the London Dungeon and London Bridge
(Hone, 2012).
Meanwhile loud animal and human noises in combination with heavy odours
were encouraging fear and excitement in the visitor emotions (Hone, 2011), in
the lighter attractions and exhibitions, the opposite was the case of
Chislehurst Caves. There was, as well as the other senses, a complete absence
of smell or sound stimulations. There was a trace of a cold stone feel to the
intangible characteristics of the place but none else, which helped the
mysterious nature of the experience (Terri, 2011). The only sound came from
the tour guide voice, which at one point also goes mute, leaving the visitor in
an unusual situation. Smell in the IWM was carefully contained in some areas
of the exhibition (Submarine Experience), and absent in areas such as the
Holocaust Exhibition. Presence of smell in the Holocaust Exhibition there was
‘inappropriate’ (Gilbert, 2012).
In the IWM the different war experiences and events were not only
presented by collection of visual material, but are also supported by sound
records, making the product appear authentic to the visitor. As smell could not
be captures from the relevant time, the exhibitor curators have decided that it
was inappropriate to recreate odour, as it would not match the originality of
the display.
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To summarise this point it could be said that sound and smell presence is
important to contemporary museums and attractions in order to communicate
an attitude and feelings to the audience. They make the product more
multidimensional an interactive. In lighter sites these are highly stimulated,
meanwhile in darker sites laud noise and recreated smell is unsuitable (IWM),
due to unwilling interference with the ethical and authenticity concepts.
4.4.3 Touch and Knowledge
Touch involves familiarisation with the environment and gaining a better
perception of the situation. Therefore being able to touch in environment with
low visibility could be beneficial to visitors. Even though the light source is
sufficient to analyse a subject, more credibility and understanding will be
gained when the person feels the environment (Hone, 2011). The dark sites
explored in this paper have had different approach towards the haptic
perception. Interactivity was very much available on the ground floor in the
Imperial War Museum and on some digital screens in the 'Cold War'
exhibition, and in the Holocaust exhibition (chairs to sit on, original train
carriage-possible to go through and touch).
“Interactivity provides an alternative way for visitors to learn about a subject.
With screen based interactive it also often gives the museum an opportunity to
look at a theme in more detail. Younger audiences respond particularly well to
interactive elements but they are popular with all age groups’ (Gilbert, 2012).
Interactivity is encouraged by Clink Prison site too, allowing the visitor to
learn and understand better the display presented. Although objects which
are not allowed to be touched are usually covered by a glass box or there is a
sign acknowledging the visitor what would be appropriate or not to do.
While passing through the corridors of London Experience Chamber of Horror
and London Dungeon it was possible to see (even in low light), hear and smell
39 | P a g e
the surroundings, touching was a lot more limited. The background objects,
sculptures and stenographs were pieces created for the exhibition purpose
and touching could damage or misplace them (Kryonica, 2011). Additionally
the feel of the non-authentic (fake) materials and objects would decay the
visitor illusion (Hone, 2012), and growing emotional storm. Finally, due to the
limited time available in London Dungeon and Tombs, visitors have little
opportunity to explore the surrounding.
Knowledge in this contest would refer to the peoples’ perceptions of the
environment and how some elements have a stronger impact on them due to
their familiarity with the circumstances of the display. For example people
who had studied the Second World War would perceive the information
displayed as more darkly saturated than people who have not (Hone, 2012).
Nevertheless medieval murderers and diseases such as the plaque are
presented by dark lighter sites. Perhaps the disconnection of those deaths
with the contemporary world characterises them as ‘lighter content’. World
conflicts which have affected directly many family members of the visitors
tends to be perceived as a lot more horrifying, although it probably took less
victims than the plaque (Howsen, 2012; Hone, 2011). A person who is afraid
of darkness would be more terrified in the Chislehurst Caves than in IWM, or
perhaps a person is claustrophobic would feel stronger emotions in the
London Tombs. An American citizen could possibly feel stronger feelings
seeing a piece of the Twin Towers after 9/11 attack rather than a visitor who
had never been in America, and have no connection with their culture, and so
on (Hone, 2011).
This point argues that the feelings experienced in a dark site vary not only
according to the type of display, visual, hearing and interactivity, but also
according to the personal perception, experiences, knowledge and personality
of the visitor. Using the personal and unique background, knowledge,
principles and experiences, people would interpret the display and the dark
environment in a different way.
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4.5 DARK CHARACTERISTICS ACCORDING TO THE SPECTRUM THEORY
The following paragraph will take all the evidence and findings from the
previous chapters and will try to analyse their approximate position on the
spectrum line developed by Stone (2006). The allocated places of the dark
sites on the line will be rough as within the dark sites discussed in this paper
there are different exhibitions and displays.
As the evidence supports the theory, the darkest product offers display
of original items from a death field, with short time distance from the event,
and engaging political and recent ethical issues as seen in the Imperial War
Museum. Some original objects could be also seen in the Clink Prison. This
site has also offers authenticity of the building (the original place of the
prison), however it has no political relevance and the time distance from the
events is very long.
London Dungeon, London Experience and Tombs, and Chamber of
Horror have no original display, the death related issues are long gone and
there is no evidence of death taking place in the actual buildings; therefore
they are lighter sites according to the spectrum theory. Additionally to their
inauthentic display, the sites are enriched with false artefacts and symbols
(fake blade, costumes, fake animals), which makes them more fictional and
entertaining than educational and historically reliable. London Dungeon even
use rides which makes the site even less learning orientated, and more
entertaining, especially for the younger audience. These characteristics added
to the show like tours and performances place the attractions on the lightest
end of the spectrum line.
Finally the Chislehurst Caves attraction is located in the original
underground tunnels. They have no evidence of actual human sacrifices (other
than the stone bed), and no real evidence of ghosts. The dark events are very
distant from the present, and have no political relevance. On the other site
this was the place which saved many lives during the blitz. It can be assumed
that the site is a light attraction with some elements of ‘dark’ character.
The following table summarises the sites features subtracted from the
personal visit findings (table 2).
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TABLE 2
Dark features check-list table
IWMClink
Prison
London
Experien
ce
London
Dungeon
Chislehur
st
Caves
Chambe
r of
Horror
Location
Authenticit
y
_ _
Originality
of the
display
_ _ _ _
Political
Relevance_ _ _ _ _
Recent
event_ _ _ _ _
Educational
Entertainin
g_
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Profit
orientated_
Where ‘–‘ means more ‘No’ than yes, and ‘ ’ means more ‘Yes’ than no.
4.5.1 APPROXIMATE POSITIONING OF THE DARK SITES ON THE SPECTRUM
LINE
Summarising the above findings it could be assumed that the approximate
positioning of the dark sites on the spectrum line is as displayed in fig. 3.
From this could be deducted that the sites analysed in this paper have similar
aspects and close to each other proximity, however they differentiate in terms
of market communication and product content. This research found that the
sites have similar display character in the lightest and in the darkest end.
Regardless of the product content and the marketing and organisational
perspectives the darkest sites use less senses stimulation, and provocative
elements. On the other side the lightest sites have encouraged strongly these
elements. The model following combine the elements of the dark spectrum
theory with the senses stimulation characteristics of the darkest and lightest
display (model 1). This model is suggested by this research, in reference to
the findings.
MODEL 1
APPROXIMATE POSITIONING ON THE DARK SPECTRUM LINE (STONE 2006)
DARKEST
LIGHTEST
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Imperial War Museum
Clink PrisonClink Prison
London Experience
and Tombs
London Experience
and Tombs
Chislehurst Caves
Chislehurst Caves
London DungeonLondon Dungeon
4.5.2SENSES STIMULATION IN RELATION TO THE LEVEL OF DARKNESS
MODEL 2
(a)
(c)
(d)
(B)
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Chamber of HorrorChamber of Horror
Darkest Side
Low senses stimulation
Lightest Side
High Senses Stimulation
The model developed in this research analyses whether the site is
characterised under the lighter (Stone, 2006) paradigms of the display,
(fictional, remote, entertaining), and then adds the sense features. The
senses stimulation here is highly encouraged by the supply side (loud
noises, fake dark iconic objects, strong smells, reduced vision, flashing
lights). In the higher of the line (a), museums, exhibitions and attractions
could contain elements such as special effects and even rides as part of the
dark display, taking it to a different dimension further away from the
concept of ‘dark’, towards the theme and entertainment type of industry.
Contrarily moving towards the left side of the spectrum line (c),
towards the darker end, the sites here would have a different approach
towards the ‘dark’ environment. In this dimension the dark suppliers would
have to deal with ethically sensitive product. The suppliers here would use
as little senses stimulation as possible (b). They would tend to display the
facts and the evidence limiting their interference with the interpretation of
the emotions and the feelings. They would tend to let the visitor decide the
horror of the situation by using personal knowledge and judgement.
Finally model 3 developed by this dissertation suggests some of the most
commonly met physical and perception characteristics seen in darker sites
and in the lightest attractions on the other end. It proposes some commonly
seen features in the lighter and darker sites.
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4.5.2Dark Product Display Model
MODEL 3
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4.6. DISCUSSION OF FINDINGS
One of the main motivators to conduct this research was to understand what
makes some dark sites use heavily dark material and being perceived as funny
and entertaining. Respectively it was interesting understanding the reason
why the connection between what is known to what is seen, and what is
perceived was so important for dark sites to understand in order to fit in with
the tourism market and the consumer demands.
Managing dark sites is extremely difficult task due to the sensitive and
often disturbing content of the display. Therefore understanding the type of
dark product made them freer to use element which would stimulate the dark
experience visitors are looking for, and at the same time keep distant from
ethical concerns.
Analysing the six dark sites product offer, character and features helped
realising the differences between places which relate to death. Using the dark
spectrum line theory has useful to analyse the seriousness and the actual
negativity of each one site. Ultimately it was valuable in order to understand
the dark sites characteristics and level of darkness. What it did not explain
however was the intangible elements of the product which can be vital upon
the perception of the dark site. From the above observations, interviews and
findings it could be argued that the display set and the stimulation of the
senses are the main factors upon which dark site manages focus their efforts
on. Vision, sound, touch, smell and knowledge are seen as perceptual
ingredients which play an important role upon the dark site product offer.
They are used in different proportions in order to deliver an exciting
experience, and at the same time they should serve the organisational
purposes, and finally product type requirements.
This study suggested also that there are different dimensions of the dark
product. Dark sites managers should acknowledge the level of darkness of
their actual product and in collaboration with the dark designers follow
certain unwritten models of display. Sites with lower level of dark product
saturation (lightest) can free their imagination and stimulate senses which
encourage strong feelings and emotions in order to challenge the visitor. They
47 | P a g e
use historical dark elements in combination with contemporary horror
fictional stories, horror movies, and common phobias. They have obtained the
unwritten ethical allowance to play with death and fear, by not involving
resent tragedies and by not upsetting still alive memories. They are no
different from a reality horror show; based on dark humour and fantasy.
Although their dark and in some extent historically relevant content; London
Bridge, London Tombs and the Chamber of Horror are perceived to be the
lightest dark sites.
On the other hand, it is believed that darker sites offer the ugly truth of
the human heritage. The aim is not to provoke additional darkness through
the use of sense stimulation, but through the use of original material and
evidence. Finally, those who are driven in dark sites for meditation or life
philosophical motivations would possibly visit dark sites where the discussion
and the display of life and death are open and neutral.
In relation to the customer motivations and demands dark sites have adopted
a different product, which would reach a specific target audience.
Differentiation and uniqueness had been encouraged by the competitive
marketing environment of the highly tourist city of London. For this reason
London Dungeon, London Experience and Chamber of Horror all share very
similar motivators and organisational structures and missions; however they
all tend to differ, and offer a USP. They promote, update and sell their dark
product using strategic product innovations and product development
elements.
Moreover, this research discussed the link between the dark site display
and organisational purpose for being. Most of the sites discussed here were
aiming to make profits and increase visitor affluence. This suggests that the
dark content is used as a trendy tourist offer, which goes beyond the dark
message itself and adapts to the commercial and selling aspects of the dark
product.
The findings evidence the blurred line between the educational and
entertaining character of the dark sites. The dark museums, exhibitions and
attraction have adapted to the requirements of the demanding market and
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have used elements which would make the unattractive nature of their
product attractive.
Many people wonder to what extent is acceptable the commercialisation of
dark product and to where the line of tolerance stretches. Many recent dark
attractions have risen in the last decades. Several of them are perhaps too
recent to be labelled as dark sites. Adding promotional features, selling
elements and interactive features to the display to make them more appealing
would be unethical and inappropriate.
5. CONCLUSIONS AND RECOMMENDATIONS
5.1 CONCLUSIONS
This research ends with three different conclusions. Firstly, several different
dark sites were analysed and measured in terms of darkness following several
criteria suggested by Stone (2006). This was to analyse the type of dark
attractions referencing not only personal experience and customer reviews on
the sites, but also based on academic literature too. Using the theory and
qualitative research methods it was assumed that this theory was relatively
accurate and reliable. The dark sites revealed that they do have a level of
darkness which varies from one to another. London Dungeon, London Bridge
Experience the Chamber of Horror was seen as a group of dark attractions
belonging to the ‘lighter’ side of the dark tourism supply. They shared
marketing aims and organisational missions, as well as promotional approach
and own interpretation of the ‘dark concept’. The IWM was probably the
darkest from all six sites, due to the original display, the recent timescale from
the war events and the political relevance of the product. Chislehurst Caves
was suggested to be a light site with dark elements to it. This site was
important to mention as an example of an ordinary attraction including dark
elements to their product content in order to follow the market trends and
satisfy the demand.
Secondly, it was suggested that dark sites have different way of interpreting,
approaching and displaying the concept of death. This often depended on their
49 | P a g e
dark themes, product content, organisational missions and purposes. In this
stage was discussed the mixture of dark attractions, exhibitions and museums
in London. It was inducted that the expanding dark tourism demand had been
met by increasing dark tourism supply. The sites have death as common
feature of their product; however they approach the visitors differently, and
deal with the dark content in their own way. They all have specialised in
altered historical areas related to human misery and death. Moreover it was
seen that in order to compete effectively, they had adapted unique features
and selling points, introducing interactive elements, and provoking feelings by
using sense stimulation. The ‘lightest’ highly commercialised attractions had
lower educational aims, straight forward linear paths conducted by guides and
actors, which would facilitate quick visitor circulation. This would allow
higher visitor capacity, enhance space productivity and increase profit
generation for those attractions. Furthermore a linear path was also observed
in the darkest areas within the sites. This path design was set for different
reasons: to facilitate circulation; to minimise time spent in the darkest areas;
to allow the visitor to integrate better in the scene and time.
In addition to the physical setting the dark supplier is also concern with
creating certain perceptions and environments within the display. These were
achieved by encouraging sense stimulation effects. Using these in different
saturation could play an important role on the visitors’ emotions and
experiences. This research suggested that there is a set of rules to follow
when creating and setting a dark display. In relation to the type of product
and level of saturation, dark sites would display death and the surrounding
environment accordingly. Darkest sites would interfere as little as possible
with the display by adding recreated environment simulations. They would
tend to present facts as they are, rather than aiming to encourage feelings by
provoking human physical senses. Contrarily, lighter sites aim to incite strong
feelings and emotions by using different tools, which encourage the
interaction with sense stimulation and provoke people’s imagination.
The research followed qualitative techniques in order to understand the
supplier’s vision and interpretation of the dark tourism product. In many cases
50 | P a g e
however, such methods where difficult to carry out due the complexity and
busy environment of the tourism industry. Interview requests were often
declined by the attraction managers. Some others declined to provide any
type of internal marketing information (London Dungeon). Ultimately it was
difficult to obtain maps from the sites due to ‘security reasons’. Because of
these and other obstacles, this fields needs to be ultimately researched and
investigated in order to fully understand the psychology behind the dark
tourism supply sites.
5.2 RECOMMENDATIONS
The next generation public displays tend to become more interactive,
engaging, emotional and exiting. Dark heritage on display has transformed its
aspect through use of technology, sense stimulation and better understanding
of peoples' motivations and desires. Dark sites should not only satisfy and
anticipate visitors’ wants in order to succeed, but also should respect ethical
and social norms, which restrict the intense interpretation of the dark
product. Successful sites have incorporated these tools in order to attract
more visitors, increase visitors’ satisfaction, and fulfil their commercial or
educational missions. However, dark sites should be aware of the implications
of the death related concepts. This research would recommend careful
analysis of the level of darkness, before proceeding to the design set, and use
of sense stimulation, commercialisation and communication strategies.
Moreover, the sense stimulation model could be used in order to reach
balance.
The second recommendation suggests that the dark sites purpose could
expand, and propose other uses of the dark displays related to contemporary
issues from the third world. Darkness and death could be reported by setting
interactive exhibitions, which would help wealthy societies understand the
difficulty of the world we live in. Simulating the lifestyle and the
environmental conditions in places such as the streets of Ethiopia or North
Korea in exhibitions, could attract dark visitors. They would visit driven by
various possible motivations. Interacting, sensing and perceiving the dark
51 | P a g e
environment would make them experience other, darker reality of the world in
safe conditions. This could benefit not only possible increase of visitors in
exhibitions, but raise awareness, create unusual experiences, and perhaps
help some people appreciate their living environment. Such exhibitions could
be also set by charity organisations in order to raise money for poor societies,
or disease research.
5.3 RECOMMENDATIONS FOR FURTHER RESEARCH
Further research needs to be addressed in areas of the perception dimension
of the dark display environment. This study was useful to introduce the idea of
relationship between ‘dark’ product content and adequate senses stimulation
within a dark tourism organisation. However, more needs to be discovered in
terms of senses stimulation and their use by organisations in order to deliver
the ‘dark’ product in a tolerable manner. The human perceptions are
subjective and hard to analyse. Further research needs to be done on senses
stimulation and their effects on people’s feelings and perceptions in order to
create a successful, satisficing and ethically correct dark display.
LIST OF TABLES
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FIGURE 1 DEATH AND CONTEMPORARY SOCIETY
FIGURE 2 DARK TOURISM SPECTRUM LINE
TABLE 1 TABLE OF DARK SITE TYPE, MISSIONS AND MARKETING
DESCRIPTION
TABLE 2 DARK FEATURES
MODEL 1 APPROXIMATE POSITIONING ON THE DARK SPECTRUM
LINE
MODEL 2 EXTERNAL SENSES SATURATION
MODEL 3 DARK PRODUCT DISPLAY MODEL
LIST OF MARKETING PUBLICATIONS
TABLE 1
Table of dark site type, missions and marketing description
Site Name Type Missions Marketing
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Description
London
Experience
Scary
attractio
n
aims to be at the
forefront of the industry
by ensuring visitors
receive an accurate
experience of what life
used to be like
throughout its extensive
history
‘’Welcome to our
Dungeon, come inside
and we will take you
on a tour through
London’s most
horrible history’’ ARE
YOU BRAVE
ENOUGH?
London
Dungeon
Scary
attractio
n
The world’s No 2 visitor
attraction operator,
Merlin aims to deliver
memorable and
rewarding experiences
to its 30 million visitors
worldwide, through its
iconic global and local
brands
‘’Heart stopping’’
Madame
Tussauds
(Chamber of
Horror)
Scary
attractio
n
SCREAM, you’ll need
to warm up your vocal
chords to ensure you
can scream loud
enough to be rescued.
But then again, who is
going to come to your
aid.....?
Clink Prison
Museum Aims to preserve the
prison and create
profits, offering and
educational and
entertaining experience
Why not explore the
prison that gave its
name to all others?
The clink Prison.
Imperial
War
Museum
Museum Our ambition is to be
the world’s leading
authority on the
interpretation of conflict
and its impact,
particularly focusing on
Britain, its former
Empire and the
Commonwealth, from
Information on
artefacts and history
of British and
Commonwealth
military forces.
54 | P a g e
the First World War to
the present.
Chislehurst
Caves
Attracti
on
To entertain visitors and
preserve the
underground by offering
an enjoyable family
experience.
A labyrinth of dark
mysterious
passageways which
have been hewn by
hand from the chalk,
deep beneath
Chislehurst
Source: websites and marketing publications (brochures, magazines, leaflets)
LONDON BRIDGE EXPERIENCE AND LONDON TOMBS
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CHISLEHURST CAVES
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CLINK PRISON
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IWM
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CHAMBER OF HORROR
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(All images are taken from different marketing publications, and websites)
SITE MAPS
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LONDON DUNGEON
TYPE OF WALK: SINGLE FORWARD ROUTE
Strictly linear floor plan.
Actors along the path.
Several site rooms.
No chairs, stops or breaks spaces.
(Manually developed map)
LONDON BRIDGE EXPERIENCE AND LONDON
TOMBS
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Little free exploration.
Straight hallyways.
Actors alonf the path.
One entrance for ticket purchase and attraction (A).
One entrance to the waiting area and gift shop (B).
More than one exit
Two floor building (ground and underground)
TYPE OF WALK: GUIDED, CURVED
(Manually developed map)
IWM
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A B
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Open Plan- free exploration.
Spacious halls and rooms.
Non-guided walk.
Several relaxation facilities along the way (chairs, benches).
One main entrance.
One main exit (several fire exits)
Four story building with underground floor.
TYPE OF WALK: VARIED THROUGHOUT THE DIFFERENT EXHIBITIONS
CHISLEHURST CAVES
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Strictly linear path (due to the complex underground space availability).
Some visual display along the path (dormitories, wax figures, art work).
Straight corridors with several larger rooms.
Strictly guided visit.
One underground floor.
TYPE OF PATH: CIRCULAR
(Manually developed map)
CLINK PRISON
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Entrance
History
Dark experience
Non-guided walk.
One main entrance.
One main exit.
One ground floor construction.
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Clink Clink Entrance
Testimonials
Clink Inmate time-line
Equipment
Paranor
Keystage 2 Kaystage 3-4
exit
TYPE OF PATH: CURVED, SLIGHTLY NON-LINEAR
(Manually developed map)
CHAMBER OF HORROR
Ride Restrictions:
Suitable only for persons of 12 years and older
Not suitable for pregnant women
Not suitable for guests with heart conditions or high blood pressures
A dark experience with sudden loud effects and strobe lighting
Live actors – do not touch
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Wax figures of known people.
No dark content.Exit
TYPE OF PATH: CURVED
(Manually developed map)
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APPENDIX
Observation Checklist
Checklist: London Dungeon
Approaching the Building:
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Central location. Easy to reach by tube, bus and car. The attraction is located on
the high street. There is limited space dedicated to queues. The entrance is facing
the London Bridge High Street.
1. Does the building look authentic or manmade?
The building is as old as the London Bridge station. The building is part of the old
London Bridge underground construction.
2. Does the building inspire feelings? What kind?
The outside decoration and choice of colours suggest that the site has dark
character. The statues and fake fires suggest that the attraction’s content is
fictional and entertaining. The initial approach inspires mixed feelings. The visitor
is not well aware of the level of darkness of the site, however the decoration and
the staff makeup suggest that the experience will be intense and perhaps trilling.
3. Does the building have wide open space?
No, the attraction is quite long, but straight from inside. There are many small
rooms. Visitors are conducted in groups from one room to another. Inside the
rooms there are different dark episodes displays; represented by wax figures,
actors, animals and more.
4. Is it designed to accommodate large number of people?
No, the attraction cannot accommodate huge amount of visitors at once. Therefore
there are small group circulations every 25 minutes.
5. Is over ground or underground?
The attraction is mainly underground located.
6. Is it easy to find?
Very easy to find.
The visual messages inside the building:
Fake blade
Wax figures
Actors
Animal figures
Common horror wax masks
Old, broken or parts of children dolls
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Historical figures
Rides
1. What impression does the reception area give?
2. What is the luminosity of the building?
The inside is quite dark. In some areas there is flashing light, hard to observe the
surrounding.
3. Is the place clean?
The place was quite dusty and dirty. A visitor might thing that is part of the decor.
4. What sort of visual display is there on the walls?
Fake skulls in the walls, fake animals.
5. What kind of reading material is there?
In some areas there are signages on the wall for visitors to read.
6. How linear is the navigation within the building?
Very linear: visitor follows a tight corridor which leads from one room to another.
7. Is there a freedom of movement?
Very limited, almost none.
8. Is it a guided tour?
Yes.
9. How saturated is the visual information?
The visual display is very explicit. The attraction does not hesitate to show
detailed alaments of the human insides (on fake wax mannequin). Very saturated
dark display in terms of actors make up and clothing (fake blade, scarves, horror
masks on the actors’ faces)
10. What makes think that the display is authentic?
People are aware of the inauthenticity of the display. They however still provoke
mixed strong feelings.
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Hearing and smelling the environment:
1. Is the inside noisy?
Yes.
2. What kind of noise is there?
Human and animal screams, opening doors, whispers…
3. Is the noise recorded and then played?
Yes. There is a loud recorded noise on the background.
4. Is the noise authentic?
No. The voices are recorded in a studio by actors, or other sound effects.
5. How does the noise change?
The noise change in relation to the visual display in view.
6. What does the building smell like?
There is strong underground smell.
7. Is the smell pleasant or unpleasant?
Not particularly pleasant.
8. Does the smell reflect the type of dark side?
Yes.
9. Is the smell captured or is it everywhere?
It tends to be everywhere.
10. Does the smell fit with the visual information?
In some areas where there is a fire display, there is essence of fake smoke.
Touch:
Only some objects are displayed for visitors to touch.
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● Can the surrounding be touched?
The walls could be touched.
● Can the objects on display be touched?
Wax figures and other objects are not to be touched.
● Is touch being encouraged by the exhibitors?
Only in some areas.
Watching and Listening People:
1. How employees look like?
Dressed in historical clothing, ripped, dirty, bloody and untidy.
2. How they look at the visitor?
They give thrilling looks and smiles to the visitors.
3. How staff speaks to the public?
They act. Here they make socially unacceptable comments: eg. Actor to a visitor:
‘’You make me sick! Get on the ride now. I will send you somewhere…. You might
not return alive’’.
4. How the public acts within the building?
People tend to adopt the surrounding atmosphere. Many start to act themselves
pretending the be part of a horror movie victims. Occasionally they make jokes
and fun of the actors and the surroundings. Visitor comment towards another
visitor ’’ be careful someone will grab you from behind’’
Checklist:
Chislehurst Caves
Approaching the Building:
The building is easily reached by car or train. Large parking space on the outside.
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7. Does the building look purposely built for tourism purposes?
The underground seems real cave, however is has been digged by people.
8. What is the first impression?
The site looks family friendly. The entrance is bride, facing a clean home-made
food shop.
9. Does the building have wide surrounding space?
Yes (from both inside and outside)
10. Is it designed to accommodate queues?
No. No queue lines, but there is plenty of space for large groups of people.
11. Is over ground or underground?
The entrance is over-ground. The attraction is underground
12. Is it easy to find?
Yes. There are plenty of signages from the train station to the attraction site.
The visual messages inside the building:
Plain display. Not much design on the walls. There are several visual displays
along the path (wax figures, art work)
11. What impression does the reception area give?
Welcome and friendly. Day light allowance from the windows. Bright colours: red,
yellow-brown (from the wood furniture).
12. What is the luminosity of the building?
Medium. Natural light is available in the entrance area, supported by electric light
too. Inside the attraction there is limited or no light source. Visitors are given gas
lamps.
13. Is the place clean?
Yes.
14. What kind of reading material is there?
Caves functionality and history. This is displayed right after the entrance door in
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the reception area. There are some old pictures on the walls.
15. How linear is the navigation within the building?
The original construction is very articulated. In order to control visitors people are
only allowed is some areas of the caves. The visitors’ groups are strictly
accompanied by experienced guides at all times.
16. Is there a freedom of movement?
No due to the large scale of the attraction. People are worned not to go anywhere
alone as they might get lost. The construction does not have many infrastructure
facilities, fire exits of phones in the different tunnels (due to the authentic old
character of the construction.
17. Is it a guided tour?
Yes.
18. How saturated is the visual information?
Not much. The visual display on its own could have little dark impact. The guides
though use verbal dark stimulation (ghost stories, mysteries)
19. What makes think that the display is authentic?
The old character of the construction. Built 800 years ago for different to tourism
purposes.
Hearing and smelling the environment:
11. Is the inside noisy?
No.
12. What kind of noise is there?
Only the tour guide and those of visitor voices.
13. Is noise recorded and then played?
No.
14. Is the noise authentic?
N/a
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15. How does the noise change?
N/a
16. What does the building smell like?
Nothing, cold stone.
17. Is the smell pleasant or unpleasant?
n/a
18. Does the smell reflect the type of dark side?
Yes is mysterious.
19. Is the smell captured or is it everywhere?
n/a
20. Does the smell fit with the visual information?
n/a
Touch:
● Can the surrounding be touched?
The walls could be touched. The wax figures not.
● Can the objects on display be touched?
No.
● Is touch being encouraged by the exhibitors?
No.
Watching and Listening People:
5. How employees look like?
Casual clothing, natural looking.
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6. How they look at the visitor?
Politely.
7. How staff speaks to the public?
Politely, friendly.
8. How the public acts within the building?
Explorative mood. However they tend to listen to the guides’ instructions.
Checklist:
Clink Prison
Approaching the Building:
Walking distance from London Bridge station. The prison is located in the old river
side area. The entrance is small but visible.
13. Does the building look old or new?
The building looks very old from the outside.
14. What is the first impression when approaching the site?
The site seems to be similar to the dungeon sites. However once inside the
difference appears in several elements (more informative display, more freedom,
less actors interaction)
15. Does the building have wide surrounding space?
Not much, due to the prison original purpose of the buildeing.
16. Is it designed to accommodate queues?
No.
17. Is over ground or underground?
Single ground floor.
18. Is it easy to find?
Yes.
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The visual messages inside the building:
Many informative visual displays. Reading material, original objects in glass
boxes, torture tools (made by following historical literature descriptions), wax
figures.
20. What impression does the reception area give?
No reception area. The ticket office is facing the street.
21. What is the luminosity of the building?
Dark from inside. There are some flashing lights areas. The reading area is better
illuminated, however still dark.
22. Is the place clean?
It is dusty.
23. What sort of visual display is there on the walls?
Posters, Fake human skeletons, torture tools.
24. What kind of reading material is there?
Historical information about the Clink, the prisoners, the torture tools and their
use, the king of punishments and more.
25. How linear is the navigation within the building?
Fairly linear due to the prison purpose of the building. Visitors however have the
freedom to walk backwards if they wish and sit down as well, or spend more time
on the areas they like the most.
26. Is there a freedom of movement?
Yes.
27. Is it a guided tour?
No.
28. How darkly saturated is the visual information?
The darkness is displayed by use of fake representation of the human rests after
punishment. The prisoner’s conditions are recreated too.
29. What makes think that the display is authentic?
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The display behind glass boxes makes the visitor thing that the objects are
original. The torture tools seem preserved and are available to anyone to try. They
are recreated copies, therefore no preservation care is necessary.
Hearing and smelling the environment:
21. Is the inside noisy?
The initial part is quite noisy.
22. What kind of noise is there?
Human voices, perhaps the judges convictions.
23. Is the noise recorded and then played?
Yes.
24. Is the noise authentic (original record)?
No.
25. How does the noise change?
It goes quieted in the second and third room. Visitors are given the opportunity to
talk to each other, interact with the visual display, read and talk.
26. What does the building smell like?
Cold stone and dust.
27. Is the smell pleasant or unpleasant?
Not necessarily pleasant, this is however subjective.
28. Does the smell reflect the type of dark side?
Yes.
29. Is the smell captured or is it everywhere?
It is everywhere. It is not recreated on purpose, but fits with the attraction
character.
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30. Does the smell fit with the visual information?
No.
Touch:
● Can the surrounding be touched?
Yes.
● Can the objects on display be touched?
Yes.
● Is touch being encouraged by the exhibitors?
Yes, especially the torture tools.
Watching and Listening People:
9. How employees look like?
The ticket seller was the only person met during the tour. He was wearing a white
robe and make-up. He was perhaps representing the original Clink look.
10. How they look at the visitor?
He was not purely ticket sale orientated. He was not acting or faking the medieval
times.
11. How staff speaks to the public?
Purely normal to the contemporary society standards.
12. How the public acts within the building?
People inside tend to play with the torture tools, take pictures of themselves and
pretend to be prisoners for a quick photo shoot.
Checklist:
London Bridge Experience and London Tombs
Approaching the Building:
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The building entrance is not facing the London Bridge busy street, but the quiet
river street, therefore actors and attraction employees work daily on the main
street to recruit visitors for the attraction. The exit does face the main busy street.
19. Does the building look attractive?
The attraction is easy to miss as the building seems to be supporting the London
Bridge only. Additionally the back entrance does not help either. The exit is used
for promotional and decorative purposes as it faces the busy street.
20. What is the first impression of the building from inside.
The visitors are guided to the ticket office and then to the entrance of the
attraction. There are elements which suggest that it will be a dark experience,
with many fictional elements.
21. Does the building have wide surrounding space?
The Building lacks own surrounding space. The street side does not belong to
them; however the attraction promoters work on it daily. This causes several social
issues.
22. Is it designed to accommodate queues?
No, due to lack of space. Accumulating queues and visitors often block the street
path, causing issues for other people.
23. Is over ground or underground?
The attraction is mainly over ground. However the inside set makes visitor believe
that they go in deep underground (fake lift simulation). Many visitors never
release the fact that they stay on the same level. Instead some worry because of
the deep underground they have gone into.
24. Is it easy to find?
The entrance is confusing to find, if not guided. Along the way from the station to
the entrance however there are many signages, messages and posters guiding the
visitors.
The visual messages inside the building:
There are many visual messages and displays along the site. Computer generated
images of famous figures such as Sir John Rennie, Charles Dickens and Braveheart
himself; William Wallace.
30. What impression does the reception area give?
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The reception area is a small room between the gift shop and the actual entrance
of the attraction. It is dark, with several tables and chairs for waiting visitors to sit
down and wait for the tour to start. In the area there are some refreshing
machines and noises recorded and played out, in order to prepare the visitor for
the experience.
31. What is the luminosity of the building?
The luminosity is quite low in all areas. In the Tombs it is very low, characterised
by some flashing lights.
32. Is the place clean?
No, the place is quite dirty, which however fits the atmosphere of the attraction.
The reception area is however kept clean and mopped each morning. The toilets
are checked each hour by one of the actors.
33. What sort of visual display is there on the walls?
Multiple fake elements such as animals, human bones, snakes, spiders and other
objects sticking out the walls and the sealing.
34. What kind of reading material is there?
Little reading material in the reception area.
35. How linear is the navigation within the building?
Very linear. Visitors are allowed in groups and followed at all times by guides.
They adopt different historical personalities and act at all times. In the Tombs
visitors are asked to form a ‘human chain’ by holding each other and walk through
the curved corridor all together. There is no leading guide here, however there are
actors who interact with the visitors and aim to scare them, without touching the
visitors. They however tend to come very close to the human chain and make
‘zombie’ like sounds.
36. Is there a freedom of movement?
No. Once inside visitors are only asked to choose once; whether they want to
proceed towards the Tombs or whether they wish to exit the attraction building.
37. Is it a guided tour?
Yes. There are several different guides in charged for different areas of the
attraction.
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38. How saturated is the dark visual information?
The dark nature of the display is much more saturated in the Tombs rather than
the London Bridge Experience (first part of the attraction site). There are many
elements which make the display provoke mixed feelings among all visitors.
39. What makes think that the display is authentic or unauthentic?
The fake nature of the display and the actors’ costumes characterise the
unauthentic nature of the attraction display. They still provoke strong feelings and
experiences.
Hearing and smelling the environment:
31. Is the inside noisy?
Yes.
32. What kind of noise is there?
Human and animal screaming, fire sounds, banging.
33. Is the noise recorded and then played?
Yes.
34. Is the noise authentic (taken in real circumstances)?
No. recorded in studio environment.
35. How does the noise change?
Louder in the Tombs.
36. What does the building smell like?
Old underground heavy smell. In some areas there is a smoky odour.
37. Is the smell pleasant or unpleasant?
Unpleasant. Asthmatic people are advised not to enter the Tombs.
38. Does the smell reflect the type of dark side?
Yes, although the smell is not deliberately created in all the areas of the location.
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39. Is the smell captured or is it everywhere?
The smoke is captured. Not the unpleasant underground smell.
40. Does the smell fit with the visual information?
Yes.
Touch:
● Can the surrounding be touched?
Not in many areas.
● Can the objects on display be touched?
No.
● Is touch being encouraged by the exhibitors?
No.
Watching and Listening People:
13. How employees look like?
They ware medieval costumes and make up simulating fatal injuries and
bleedings. The actors In the Tombs ware masks too if they wish to look even
scarier.
14. How they look at the visitor?
They give visitors trilling looks and smiles.
15. How staff speaks to the public?
They perform at all times. Actors tend to say the same things to every group all
day long.
16. How the public acts within the building?
People tend to socialise and approach each other more openly. Visitors laugh or
act in order to comfort themselves and their raising emotions.
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Checklist:
Imperial War Museum
Approaching the Building:
The building is located in Elephant and Castel, easy to reach by train, tube, bus
and car area.
25. Does the building look built for tourism purpose?
The building does seem to be designed for this purpose. There are two big
cannons in the front of the construction symbolising the type of theme that the
place is concerned with.
26. What is the first impression of the building inside?
Very welcome atmosphere, good customer service and pleasant environment.
27. Does the building have wide surrounding space?
Yes. Wide surrounding the building park.
28. Is it designed to accommodate queues?
No, however the space is large enough to accommodate large number of visitors.
29. Is over ground or underground?
The museum is over ground (multi-storey building).
30. Is it easy to find?
Yes, easy to find and access.
The visual messages inside the building:
40. What impression does the reception area give?
The reception area is spacious, luminous and overall inviting.
41. What is the luminosity of the building?
Bright in the main ground floor area. Darker in the different exhibitions. Light
tend to go lower in the Holocaust Exhibition, Cold War and the first and second
war conflict zones.
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42. Is the place clean?
Yes.
43. What sort of visual display is there on the walls?
The walls are kept clean and clear. There are build shelves and glass box displays
in the different exhibitions.
44. What kind of reading material is there?
Documents, journals and newspapers, testimonials, letters (all original).
45. How linear is the navigation within the building?
Not linear at all in the ground floor. Becomes more straight and linear in the
different darker exhibitions; however the path is still highly customised.
46. Is there a freedom of movement?
Yes.
47. Is it a guided tour?
No. however there is assistance in each area.
48. How dark saturated is the visual information?
The visual information is managed in the different areas of the museum. The
darker by content and display areas are warned and separated from the main
areas.
49. What makes think that the display is authentic?
The pieces of the museum are backed up by references and place of origins,
therefore they are believed to be authentic (original).
Hearing and smelling the environment:
41. Is the inside noisy?
No. in some areas there is noise reproduction. This however is contained in the
relevant for the display areas.
42. What kind of noise is there?
Political records, machine recorded noises, victims and solder testimonials.
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43. Is the noise recorded and then played?
Yes in the relevant to the display areas.
44. Is the noise authentic?
Yes. All original records.
45. How does the noise change?
It goes quieter and lower in the darkest areas of the Holocaust exhibition. People
tend to keep their voices low and whisper. In the ground areas there are different
noises coming from people’s talking, the coffee shop and the gift shop.
46. What does the building smell like?
There is no smell. the building smells of fresh and clean.
47. Is the smell pleasant or unpleasant?
The smell is neutral an pleasant (subjective judgement).
48. Does the smell reflect the type of dark side?
Absence of recreated smell does fit the authentic nature of this type of dark
attraction.
49. Is the smell captured or is it everywhere?
There is recreation of smell in the submarine experience area. This is however
very well captured in tubes.
50. Does the smell fit with the visual information?
Yes. Visitor could smell the area that surrounds the submarine craft. Here
recreation is allowed as the display has a lighter character.
Touch:
● Can the surrounding be touched?
In some areas yes. Machines and vehicles are open to the public to explore from
outside and inside. Other areas are strictly not touchable. They are protected by
glasses.
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● Can the objects on display be touched?
Only some machines and interactive technological devises.
● Is touch being encouraged by the exhibitors?
In some parts.
Watching and Listening People:
17. How employees look like?
Wearing clean professional looking uniforms.
18. How they look at the visitor?
They are smiley, friendly and happy to help visitors.
19. How staff speaks to the public?
In a polite formal manner.
20. How the public acts within the building?
Politely. People tend to take the display seriously and not making jokes.
Checklist:
Chamber of Horror
Approaching the Building:
The building is centrally located in London. Easy to reach by tube, bus or car.
31. Does the building look made for tourism purposes?
The building was originally a planetarium, changed into a tourism attraction. It is
now famous for its wax figures of famous people.
32. What is the first impression of the building inside?
Glamorous. The Camber of Horror is within the wax figures exhibition. People
have the option to enter it following the stairs down or avoiding it by exiting.
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33. Does the building have wide surrounding space?
No.
34. Is it designed to accommodate queues?
Yes. There is a queue designed barrier separating walking people from queuing
people.
35. Is over ground or underground?
The chamber is located in the underground area of the attraction building.
36. Is it easy to find?
Yes. Visible from the high street.
The visual messages inside the building:
50. What impression does the reception area give?
Welcome, inviting and friendly.
51. What is the luminosity of the building?
Bright and shiny. The Chamber is dark and there are areas with flashing lights.
52. Is the place clean?
Yes.
53. What sort of visual display is there on the walls?
Some reading material on the walls. Overall they are kept empty.
54. What kind of reading material is there?
Historical material about Madame Tussauds, the French Guillotine and the
criminals on display.
55. How linear is the navigation within the building?
The Chamber is fairly linear, however people are allowed to stop and explore the
surrounding. There are no recreational or sitting places here.
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56. Is there a freedom of movement?
Limited, but yes
57. Is it a guided tour?
No.
58. How darkly saturated is the visual information?
The information becomes darker in conjunction with knowledge (if people know or
learn there about the criminals background, seeing them makes the experience
darker).
59. What makes think that the display is authentic?
The display is mainly unauthentic as it consists in wax figures representation of
real killers. Some objects are stated to be original (the guillotine with which Marie
Antoinette was executed).
Hearing and smelling the environment:
51. Is the inside noisy?
In some areas yes.
52. What kind of noise is there?
Loud noises of different origin.
53. Is the noise recorded and then played back?
Yes.
54. Is the noise authentic?
No.
55. How does the noise change?
It goes quitter in the prisoner display area.
56. What does the building smell like?
Neutral. Smokey in some areas of the chamber.
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57. Is the smell pleasant or unpleasant?
n/a
58. Does the smell reflect the type of dark side?
No.
59. Is the smell captured or is it everywhere?
n/a
60. Does the smell fit with the visual information?
No.
Touch:
● Can the surrounding be touched?
No.
● Can the objects on display be touched?
No.
● Is touch being encouraged by the exhibitors?
No.
Watching and Listening People:
21. How employees look like?
They ware clean professional looking uniforms.
22. How they look at the visitor?
Ina friendly welcome manner.
23. How staff speaks to the public?
Politely.
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24. Hoe the public acts within the building?
Visitors are interactive with one another and the objects on display.
Interview Topics
Open interpretation questions
IWM
Sarah Gilbert
● What king of feelings do you hope create into the visitors' minds when
they first walk into the building? The museum wants to create a
welcoming environment for visitors as soon as they enter the building;
this is achieved through staff, graphics, decorations and lighting. The
main atrium space containing the large exhibits was intended to provide
a strong visual impact for visitors when they first enter the museum.
How do you encourage such feelings? See above.
How does the visualization and lightening change further up the floors? I
don’t understand this question.
After a personal visit it was noticed that the light was decreasing going up
the floors. In the Holocaust exhibition, the light was low and heavy.
What was the idea behind the light setting? Light is used in two ways,
to create an appropriate atmosphere with in exhibition but also to
control environmental conditions for the exhibits on display. The
lighting in the Holocaust exhibition does both these things.
There were different smells captured in the different sides of the museum
(submarine experience). How does smell affect the visitor perception of
the display? Smell is used to bring an extra dimension to exhibitions.
Visitors learn and absorb information in different ways so this provided
another layer of interpretation.
Smell was absent in the holocaust exhibition or the cold war room. Was
there a reason for this absence? It is not appropriate.
Hearing was also encouraged. How does being able to hear testimonials
and noises enhance the visitor perception of the exhibition? Again this
is another method of interpretation. We find that our visitors are
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interested to hear first-hand accounts from people who actually
experienced the topic that we are presenting.
The noise was low and gentle, although not very happy. Was the noise kept
discrete for a reason? Which gallery are you referring to?
Touch was also encouraged. How being able to touch affects the visitor
perception of the surrounding place? What are you referring to?
In some areas there were interactive elements of the display. Interactivity
was very much available on the ground floor and on some digital screens
in the 'Cold War' exhibition, and sits were available in the Holocaust
exhibition. How does interactivity enhances the visitors' experiences?
Interactivity provides an alternative way for visitors to learn about a
subject. With screen based interactive it also often gives the museum
an opportunity to look at a theme in more detail. Younger audiences
respond particularly well to interactive elements but they are popular
with all age groups.
On the ground floor there is a lot of freedom of mobility, while this becomes
more restricted and linear in the Holocaust exhibition. Is there a
particular reason for this physical layout? Each exhibition is looked at
individually at the design stage. Depending on the narrative of the
exhibition we decide how best to present this to visitors, this will
determine whether we agree a linear route or a more free flowing
exhibition.
Would you describe the display as 'authentic'? I don’t understand what you
mean by this?
Would you suggest that the exhibition's content is politically influential?
Which exhibition?
Would you agree that the top floor is perceived as darker than the ground
floor exhibition, and such perception has been additionally encouraged
by senses stimulation (lower light, louder noises)? Do you mean the
Lord Ashcroft Gallery (top floor) and the main atrium (ground floor)?
And what do you mean by darker? Is this a reference to the lighting?
Does the product representation (the exhibition's design) aim to encourage
certain feelings such as: proud, fear, recognition, respect? With any
exhibition the design will prompt certain feelings. These are often not
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as defined as those you mention.
What does the museum aim to achieve? Our ambition is to be the world’s
leading authority on the interpretation of conflict and its impact,
particularly focusing on Britain, it’s former Empire and the
Commonwealth, from the First World War to the present. Our vision is
to enrich people’s understanding of the causes, course and
consequences of war and conflict.
What is the core mission of the museum? See above.
How do you measure your success? Success is measured in many ways eg
visitor figures, income, profile raising, media coverage, development of
museum audiences etc.
Thank you
1. What are the main features of a successful tourism side?
2. What are the elements that make the exhibition more vivid?
3. How does light saturation affect the display? What kind of feeling does it
want to create in the visitor’s perceptions? How low light affects the
visitor’s perceptions and emotions?
4. Is lower light more adaptable to darker displays?
5. Smell is a quite present element in many exhibitions and attractions
today. What is the role of smell in the display?
6. Touch is encouraged and present almost in every contemporary display.
How does touch affect the visitor’s perception of the place?
7. Being able to hear is also important. Noises are quite laud in Dark
Attractions, and low on the other hand in Dark museums or other darker
side. How does noise affects the character of the exhibition?
8. In some areas there were interactive elements of the display.
Interactivity was very much available on the ground floor and on some
digital screens in the 'Cold War' exhibition, and sits was available in the
Holocaust exhibition. How interactivity does enhances the visitors'
experiences?
9. What other intangible element add credibility to the display?
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