In early April, {CORRESPONDANCES DIGITALES] spoke at theIBSIC – Image Beyond the Screen International Conferencean annual international event dedicated to the video-mapping industry, organized by Rencontres Audiovisuelles in Lille. With this contribution, we wanted to mark a major change in this field: sound and light shows (or video-mapping) are increasingly invading the walls of heritage sites, and this is generating changes in models that are particularly structuring from an artistic, technological and economic point of view for players in this sector. This article offers some thoughts on the subject.
Over the past twenty years, sound and light shows projected onto the facades of emblematic monuments have enjoyed exponential growth: for the summer of 2023 alone, more than 110 shows were listed in France (up 30% on 2022). Until now, such events have been offered free of charge to local residents and tourists, financed by local authorities to attract tourists and promote cultural activities (for example, Chartres en Lumière has a budget of €800,000 to €1 million). Now, the artistic quality of these shows is increasingly recognized, and the willingness of heritage sites to host these projects is growing. This transition marks a change in model, whether technological, artistic or economic: from local authority funding offered free of charge to spectators, to a co-financing approach that can now be monetized with these audiences.
In this article, we look back at this transformation, exploring the impact of indoor mapping on the economic dynamics of the cultural sector. Through an in-depth analysis of different contexts – from public spaces and heritage sites to museums and arts centers – we will highlight the varied implications of this artistic and technological transition.
1. The emergence of seasonal nocturnal routes in public spaces
Sound and light shows are true night-time attractions, helping to develop tourism and extend stays in a region. According to a study by Inspire Metz, one euro spent by the city on the Constellations festival (June to September) represents €4 in spin-offs for local players(2019 study). Faced with this situation, more and more local authorities are looking to “seasonalize” over a longer period the sound and light shows or itineraries they are likely to offer their residents and tourists. This increases the costs of running and maintaining these projects, and requires the public to make a contribution.
The course Metamorph’Eau’ses tour in Châlons-en-Champagne illustrates this trend. Every summer, the city offers boat tours of its canals, day and night. At night, the canals are illuminated by a sound and light show, encouraging visitors to extend their stay and discover the city by night. To be able to deploy such a project in this town of 45,000 inhabitants (budget of 2.5 million euros smoothed over 5 years), the public had to be asked to contribute, with a rate of 18 euros per person (free or reduced for children). As a result, 21,000 visitors discovered Châlons-en-Champagne by boat (a third of all boat tours take place at night).
Another significant example isOceana Luminaa night-time tour of the Arsenal des Mers cultural site in Rochefort. Launched in 2021, this show welcomed 17,000 visitors in 2022, for a fee of 12 euros per person. Designed by Moment Factory, this 3.6 million euro project is now managed by a private operator, Week’n Go, on behalf of the agglomeration community.
The introduction of season-long itineraries bears witness to the growing recognition of the added value of these immersive experiences in promoting local tourism and enhancing cultural heritage. However, this development also raises questions about cultural accessibility and the management of public spaces. As some events become ticketed, it is essential to ensure that this does not limit access to culture for low-income local populations. While offering new opportunities to promote tourism and enhance heritage, it also highlights the need for a balanced approach that reconciles the necessary long-term viability of such projects with cultural accessibility.
2. Heritage sites, from events to (semi)permanent mapping
Some heritage sites are inspired by these public-space initiatives to offer their own event-based sound and light shows, offering a new perspective on their history and architecture. These night-time events can also encourage the combined sale of tickets for daytime and night-time visits, enriching the visitor experience and contributing to the enhancement of cultural heritage.
The project “L‘Odyssée sonore“ developed for the Théâtre Antique d’Orange by Edeis, in collaboration with two partners, offers a unique immersive experience. The tour combines artificial intelligence-generated mapping with 360° sound effects. For 45 minutes, visitors are plunged into the world of Roman mythology, with references to divinities, muses and monsters, as well as a prelude to the birth of the world. Images are projected onto 5,000 m2 of walls, floors and terraces, evolving live as visitors move along, while sound is broadcast through 360° headphones. Launched in May, the project includes 60 scheduled dates, with 4 to 6 sessions per evening, accommodating a maximum of 250 to 300 people per session, or some 80,000 visitors expected in the first year, at a price of 22 euros for individuals.
With higher design and operating costs than traditional sound and light shows, these experiences become economically viable when they are (semi-)permanently integrated into the programming of venues, or conceived as touring events.
For example, after the success of “La Nuit aux Invalides” outdoor show in partnership with Amaclio from 2012, Cultival is co-producing with the Musée de l’Armée and Moment Factory the creation of a night-time show to highlight the interior of the Dôme des Invalides. Aura Invalides thus perpetuates an immersive nocturnal visit experience that will now be offered over several years.
Another example, this time of roaming and hybridization, is the Luminiscenceexperience, currently on show at the Eglise Saint-Eustache in Paris. This project is a perfect example of a hybrid approach, in which regular concerts are organized to broaden the audience and take full advantage of the effects of light and sound. This initiative has already attracted 100,000 visitors to its previous exhibition at Bordeaux Cathedral, with screenings planned in Lille and Rouen in September and October 2024. Designed for three-month operating cycles, the Luminiscence show has been developed in such a way as to facilitate its readaptation to other venues, underlining the importance of anticipating necessary adaptations from the earliest stages of the project.
The emergence of event-based sound and light shows at heritage sites illustrates the convergence of tradition and innovation in the field of immersive cultural experiences. These projects testify to the ability of cultural institutions to adapt to new public expectations, while at the same time enhancing their historical and architectural heritage through business models that are less event-driven, but integrated into the permanent programming of the sites.
This trend raises questions about preserving the authenticity of historic sites. Indeed, the transformation of these sites into tourist attractions can sometimes alter their character and heritage value, reducing them to mere backdrops for commercial events. What’s more, the relatively high prices charged for these shows can exclude certain audiences, limiting cultural accessibility. It is therefore essential, once again, to strike a balance between the economic enhancement and cultural preservation of heritage sites. Advantages/disadvantages that can also be found in cultural institutions.
3. Cultural institutions, from service to co-production
In today’s cultural landscape, many institutions are undergoing a significant transformation of their exhibition spaces, focusing on the integration of audiovisual and digital content to offer innovative artistic experiences. This evolution aims to immerse visitors in multi-sensory journeys, going beyond traditional tours to create captivating and memorable experiences.
These new in situ experiences are made possible by close collaboration with creative studios and agencies specializing in audiovisual content design. This approach enables cultural institutions to benefit from the external expertise and creativity of professionals to enrich their offerings. A concrete example of this approach is Pressoria, an interpretation center dedicated to viticulture, which offers a multi-sensory journey to discover the wines of Champagne. In partnership with English museography agency Casson Mann and audiovisual production studio Drôle de Trame, this journey offers complete immersion in the world of wine, enhancing visitors’ understanding and appreciation.
These collaborations are often characterized by co-production logics, where cultural institutions work closely with creative studios to host immersive experiences. For example, the Grand Palais Immersif engages in co-productions such as the exhibition Eternelle Mucha with the Mucha Foundation in Prague, which attracted 162,000 visitors to its exhibition in Paris. What’s more, these institutions play an active part in distributing these experiences to other venues, thus enhancing their influence and appeal.
This trend is part of a drive to differentiate and enhance the appeal of cultural institutions, in a competitive environment where alternative experiences, such as theme parks and immersive events, are gaining in popularity. A striking example of this trend is the long-term partnership between the Musée d’Orsay and the Korean studio d’strict, which resulted in the launch of a special immersive ARTE MUSEUM x Musée d’Orsay exhibition in the company’s three Korean centers.
The growing integration of audiovisual and digital content into immersive cultural experiences is indicative of a new direction in today’s cultural landscape. These collaborations between cultural institutions, creative studios and specialized agencies are paving the way for new business models, where co-production and distribution of immersive experiences are becoming common practice. However, these developments are also posing challenges in terms of financial sustainability, as institutions are becoming more and more focused on commercial profitability. It is therefore crucial that institutions continue to explore and adapt their economic strategies to ensure the sustainability, diversity and quality of immersive cultural experiences.
4. Multi-purpose spaces, from event programming to welcoming the general cultural public
Multi-purpose spaces such as shopping malls, convention halls and brownfield sites are increasingly being transformed into ephemeral cultural destinations. This temporary conversion aims to revitalize these venues, broaden their audience and make them major attractions for visitors in search of enriching cultural experiences.
These places, once not dedicated to culture, are reinventing themselves to host immersive projects, whether on a temporary or permanent basis. A notable example is Hangar Y in Meudon, which recently hosted an immersive exhibition entitled “Transformed”, featuring an LED structure created by Art Explora. This exhibition, originally conceived for video-projection, has been adapted for presentation in the LED structure, enabling its mobility and dissemination in various locations, such as a catamaran which will host the digital exhibition in April.
Another significant example is the hybrid exhibition “Le Petit Prince”, created by Tempora and first shown at La Sucrière in Lyon, a former sugar factory used as a warehouse until 1993. Using multimedia installations and archive films, this hybrid touring exhibition focuses on the personal journey of the author of Terre des hommes, Pilote de guerre and Vol de nuit. After attracting more than 250,000 visitors to Saint-Exupéry’s birthplace in Lyon, this exhibition has been shown at several locations in Europe, ensuring a return on investment from its touring.
However, a semi-permanent or permanent immersive experience presents unique challenges, requiring constant adaptation to changing visitor needs and logistical constraints. Each new location transformed into a cultural destination brings its own challenges and opportunities, contributing to an ever-changing cultural landscape. One example of this dynamic is the operator Viparis, which is seeking to diversify the audiences for its sites, intensify their uses and develop virtuous economic models, notably by integrating mapping into the Jam Capsule (Porte de Versailles) and the Cité de l’Histoire (La Défense).
This approach reflects a hybridity aimed at combining the tourist and commercial vocation of the sites with the ambition of transforming them into cultural and leisure destinations for the general public.
This article explores the various strategies for implementing indoor mapping in the contemporary cultural landscape, highlighting the challenges and prospects associated with each context. In public spaces, we observed a significant transition from sound and light shows to the implementation of seasonal itineraries, reflecting a growing recognition of the added value of these immersive experiences for local tourism and the enhancement of urban heritage. In heritage sites, we examined the emergence of event-based shows and permanent mapping, illustrating the convergence between tradition and innovation in the enhancement of cultural heritage. In cultural institutions, the shift from service to co-production highlights new opportunities for collaboration between institutions, creative studios and specialized agencies to enrich immersive cultural offerings. Finally, in multi-purpose spaces, the transition from event programming to welcoming the general cultural public testifies to a growing desire to create dynamic and inclusive cultural environments within cities.
Overall, these strategies for implementing indoor mapping offer promising prospects for diversifying and democratizing access to culture. These challenges call for a balanced approach that reconciles economic sustainability, diversity of artistic themes, quality of experience and heritage preservation.
Antoine ROLAND / Baudouin DUCHANGE
