It was a windswept Wednesday afternoon when I knew with certainty, that I was different. I was a teenager with undiagnosed dyslexia and yet I loved telling stories. But how to tell stories when writing was so difficult…  

Leaving education I became an architectural model maker. However, with decreasing opportunities I took up the offer of a position as prop maker / sculptor / model maker with a theming fabrication studio. Unfortunately, this company went under as I was developing my depth of knowledge in my new role, leaving me with a new challenge.  

Deciding that it would be better to forge a new direction, I started my own business, Bix B Productions; designing, building, painting and installing theatre sets, props and festival installations. And yet I was still feeling that I wasn’t reaching my true potential.  

In 2020 the pandemic hit, enforcing time for reflection. I came to realise that I needed to truly combine my story telling mind with my design and fabrication skills. I went back to education to earn a degree in Interior design.  I now finally understand that my dyslexia is a creative asset for visual storytelling helping me make stories of imagined worlds come alive. 

I’m a proud member of the TEA - Themed Entertainment Association. TEA is the international professional body of experience creators, covering theme parks, museums, corporate visitor centres, restaurants, branded experiences, retail spaces, resorts, hospitality and more.

Experience Is All Around Us…

Or more to the point everything effects how we engage, process and remember our experiences. For example the friendly or not so friendly smile of a barista, or how smoothly the payment went through, to the tone of light, the look and feel of the surrounding  décor. And not forgetting the high level, or lack of, obtrusive noise, to how comfortable the seats are whilst we sip our delicious, or not so delicious coffee, can all have an effect on the how we interpret that experience. Even, if only one element is not thought through, and implemented with due care and attention, it can dramatically change our experience.

Holistic Experience

When designing an immersive experience that is based on a expanded form of reality such as a fantasy world, historic recreation, or a fun over the top interpretation of the real world, the elements have to be thought through, and executed with even more care if the immersion is not to be broken. To create a holistic experience that the guest truly believes in and therefore fully engages with, the physical setting must be considered a vital part of the immersive design.

The physical design of an experience is more than just  “themed” décor.  From the brief I ask, what is the wish fulfilment of the guest, what are the actions that will enable the wish fulfilment, working through to what are the rules and laws that endorse these actions. This evolves into how do we structure the rules of the world in which our guests exists whilst in our immersive experience and finally the development of the story through which the guest is supported to explore this world. Though some of these points have less immediate relevance to the physical designs than others, they all feature in the successful realisation of an enthralling design.

More Than Just  “Themed” Décor

To create stimulating and engaging settings, a variation on the narrative ark sometimes called the interest curve is utilised. This is a description of how the peaks and valleys of an experience progressively rise, from a introduction of interest to a climax and a point of exit that ends higher than the introduction. This manifests itself in physical surroundings with such considerations as how the transition from the “real” world to the upcoming experience is to be reflected in the décor. For instance would natural and subdued tones be more appropriate at this transitional stage, increasing in depth to more saturated hues at the climax of the experience?

Interest Curve

Story Informs The Design

Humans have been telling stories though out history as a way to share our experiences. Guests are sometimes fully aware of a narrative throughout an experience and sometimes the clues to the story are far more subtle. However in each case I believe that the story informs the design in a fundamental way, providing an overarching support to the design process.