3d Visualisations by GSA’s Digital Design Studio are a highlight of the
new visitor centre
new visitor centre
A hi-tech visitor centre opens on 1 March at the
historic Bannockburn site in Stirling ahead of the 700th
anniversary of the battle on 23 and 24 June 2014.
historic Bannockburn site in Stirling ahead of the 700th
anniversary of the battle on 23 and 24 June 2014.
The ground-breaking Battle of Bannockburn
Visitor Centre is the first tourist attraction in the world to use fight
choreography and state-of-the-art motion capture techniques to immerse visitors
in a realistic and historically accurate medieval battle in 3D.
Visitor Centre is the first tourist attraction in the world to use fight
choreography and state-of-the-art motion capture techniques to immerse visitors
in a realistic and historically accurate medieval battle in 3D.
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Scotland, the organisations responsible for promoting and conserving Scotland’s
heritage, have been working together to transform the site of one of the most
significant battles in the nation’s history.
Interpretation designers Bright White Ltd worked
with an Academic Advisory Panel of some of the UK’s top historians and leading
3D modellers at the Centre for Digital Documentation and Visualisation (a
partnership between the Digital Design Studio of The Glasgow School of Art and
Historic Scotland) to bring the battle to life for 21st century
audiences.
with an Academic Advisory Panel of some of the UK’s top historians and leading
3D modellers at the Centre for Digital Documentation and Visualisation (a
partnership between the Digital Design Studio of The Glasgow School of Art and
Historic Scotland) to bring the battle to life for 21st century
audiences.
the
the Clanranald Trust for Scotland in 3D, providing a degree of realism that
could not be achieved using traditional filming methods. The Clanranald Trust
have provided combat fighting for over 180 movies including Gladiator,
Snow White and the Huntsman and Robin Hood. They used replica weapons in real
fight sequences and then through digital enhancement, swords and lances are
shown striking and penetrating armour and flesh.
From 01/03/14 the events of 1314 and the
reality of medieval warfare is presented to visitors in full-on, life-size 3D.
Robert the Bruce and King Edward II feature as visitors witness the two sides
preparing for battle. Iconic moments in the Bannockburn
story dramatically play out, including when Bruce encounters Sir
Henry De Bohun with his axe on the first day of the battle. Visitors also
‘meet’ life-sized digital characters who were involved in the two-day
battle including a Scottish spy, an English Knight and a Welsh Archer.
reality of medieval warfare is presented to visitors in full-on, life-size 3D.
Robert the Bruce and King Edward II feature as visitors witness the two sides
preparing for battle. Iconic moments in the Bannockburn
story dramatically play out, including when Bruce encounters Sir
Henry De Bohun with his axe on the first day of the battle. Visitors also
‘meet’ life-sized digital characters who were involved in the two-day
battle including a Scottish spy, an English Knight and a Welsh Archer.
The 3D Bruce is based on the iconic 1960s
Pilkington Jackson monument at the Bannockburn site. For The Bruce,
Jackson modelled his head on measurements of his skull following the
re-discovery of his remains in Dunfermline Abbey in 1818. The statue was
meticulously researched to enable the new Centre to present a consistent image
of the Scots King throughout the site. His voice is portrayed by Scottish actor
James Cosmo, known for past roles in Highlander, Braveheart and most recently,
Game of Thrones.
Pilkington Jackson monument at the Bannockburn site. For The Bruce,
Jackson modelled his head on measurements of his skull following the
re-discovery of his remains in Dunfermline Abbey in 1818. The statue was
meticulously researched to enable the new Centre to present a consistent image
of the Scots King throughout the site. His voice is portrayed by Scottish actor
James Cosmo, known for past roles in Highlander, Braveheart and most recently,
Game of Thrones.
The prepare for battle experience gets the visitor
familiar with the make-up of the armies before they are given the chance to
lead a division of soldiers from Robert the Bruce and Edward II’s armies in the
innovative Battle Game – a dramatic battle simulation.
familiar with the make-up of the armies before they are given the chance to
lead a division of soldiers from Robert the Bruce and Edward II’s armies in the
innovative Battle Game – a dramatic battle simulation.
Visitors take control of an army division which
appears on a massive 3D map of the Stirling landscape, giving a birds-eye view
of the battle. At the visitors call archers attack, shiltrons stand strong,
cavalry advance, all with the aim to destroy the opposing army, protecting
their King, and on Edward II’s side, to relieve Stirling Castle.
appears on a massive 3D map of the Stirling landscape, giving a birds-eye view
of the battle. At the visitors call archers attack, shiltrons stand strong,
cavalry advance, all with the aim to destroy the opposing army, protecting
their King, and on Edward II’s side, to relieve Stirling Castle.
Bright White conceptualised the Battle Game
and assembled an expert team to build it, starting with games console
company D3T Ltd as software developers. An authentic representation of the
terrain of Stirling was possible because of aircraft-borne laser scanning of
the Stirling area, combined with data compiled by Dr Richard Tipping of
Stirling University who conducted the first ever environmental reconstruction
of the 1314 landscape. Experts in 3D technology from the Centre for Digital
Documentation and Visualisation then filled in detailing to create a
stunning visual of both Stirling’s 14th and 21st century landscapes.
and assembled an expert team to build it, starting with games console
company D3T Ltd as software developers. An authentic representation of the
terrain of Stirling was possible because of aircraft-borne laser scanning of
the Stirling area, combined with data compiled by Dr Richard Tipping of
Stirling University who conducted the first ever environmental reconstruction
of the 1314 landscape. Experts in 3D technology from the Centre for Digital
Documentation and Visualisation then filled in detailing to create a
stunning visual of both Stirling’s 14th and 21st century landscapes.
Each experience of the Battle Game differs on the
tactical decisions made by the visitor using the landscape, manpower and
weaponry available to their division. As troops move over the map and
casualties are suffered, the bar beside a division goes down. Once all men in a
division are wiped out, the visitor is out of action.
tactical decisions made by the visitor using the landscape, manpower and
weaponry available to their division. As troops move over the map and
casualties are suffered, the bar beside a division goes down. Once all men in a
division are wiped out, the visitor is out of action.
Visitors on the Scots side need to decide whether
to take the battle to the English, like Bruce, or concentrate on defending the
castle. Archery and longbow divisions are effective against a schiltron of
spearmen, whereas a heavy cavalry division can be stopped dead. The English
must attempt to avoid traps set by the Scots, and elements of the landscape
that Bruce used to his advantage, like dense marshland and burns.
to take the battle to the English, like Bruce, or concentrate on defending the
castle. Archery and longbow divisions are effective against a schiltron of
spearmen, whereas a heavy cavalry division can be stopped dead. The English
must attempt to avoid traps set by the Scots, and elements of the landscape
that Bruce used to his advantage, like dense marshland and burns.
Battlemasters Ned Sampson, 48 from Kent, David
Weinczok, 24 from Nova Scotia, and Amy Cassells, 24 from Glasgow are the
controls of the Game, on hand to flesh out historical details, and throw in
tips and advice before declaring the successful side, summarising the results
of the action with an overview of how the battle played out in 1314, and
revealing the 21st-century version of the landscape and locations of conflict.
Weinczok, 24 from Nova Scotia, and Amy Cassells, 24 from Glasgow are the
controls of the Game, on hand to flesh out historical details, and throw in
tips and advice before declaring the successful side, summarising the results
of the action with an overview of how the battle played out in 1314, and
revealing the 21st-century version of the landscape and locations of conflict.
Battlemaster Ned Sampson has experience in combat fighting in movie
productions, including with the Clanranald Trust on Robin Hood. Describing
standing in a real-life battle to re-living this in 3D at the new Centre, he
said: “The mental and visual stimulation that audiences experience is as close
as you can get to the real thing. You can leave the new Battle of Bannockburn
Visitor Centre and describe the events of 1314 based on experience rather than
just historical fact. As the Battle Game heats up and there is little time to
manoeuvre, you can feel the adrenalin, pressure and fear involved in a real
medieval battle.”
Chris Walker, Managing Director at Bright White Ltd
said: “After four years of testing, seeing the new Battle of Bannockburn
Visitor Centre come to life is incredibly exciting. I love the look on test
visitors’ faces when they are told that we are going to split them into two
groups representing the armies, and get them to fight each other. What works so
well is that we tell them, ‘the more you absorb in the first part of the visit,
the better you’ll do in battle’, and suddenly everybody is engaged, gleaning as
much as they can from the displays. It’s an exciting way to learn about the
battle, what Robert Bruce faced, and how remarkable his victory was.”
said: “After four years of testing, seeing the new Battle of Bannockburn
Visitor Centre come to life is incredibly exciting. I love the look on test
visitors’ faces when they are told that we are going to split them into two
groups representing the armies, and get them to fight each other. What works so
well is that we tell them, ‘the more you absorb in the first part of the visit,
the better you’ll do in battle’, and suddenly everybody is engaged, gleaning as
much as they can from the displays. It’s an exciting way to learn about the
battle, what Robert Bruce faced, and how remarkable his victory was.”
David McAllister, Battle of Bannockburn Project
Director at the National Trust for Scotland said: “After a visit to the new
Battle of Bannockburn experience, people can walk away not just with extra
knowledge, but with the experience and emotions of medieval battle. Visitors
witness first-hand the pressure of making decisions that affect an entire army,
an experience which will stay with them.”
Director at the National Trust for Scotland said: “After a visit to the new
Battle of Bannockburn experience, people can walk away not just with extra
knowledge, but with the experience and emotions of medieval battle. Visitors
witness first-hand the pressure of making decisions that affect an entire army,
an experience which will stay with them.”
Experience the future – to learn about the past.
Tickets are on sale now for the new Battle of Bannockburn Visitor Centre,
opening 1 March. Entry is limited and by timed slots only. Ticket costs are
between £8 for a child/concession and £30 for a family ticket for 2 adults and
up to 4 children. Trust members go free. Secure yours now by enlisting at www.battleofbannockburn.com.
Tickets are on sale now for the new Battle of Bannockburn Visitor Centre,
opening 1 March. Entry is limited and by timed slots only. Ticket costs are
between £8 for a child/concession and £30 for a family ticket for 2 adults and
up to 4 children. Trust members go free. Secure yours now by enlisting at www.battleofbannockburn.com.
The £9.1m Battle of Bannockburn Project is funded
by generous support from the Scottish Government and the Heritage Lottery
Fund.
by generous support from the Scottish Government and the Heritage Lottery
Fund.
ENDS
For more information and images: contact Heather Macpherson at the
National Trust for Scotland on 07544539283 or hmacpherson@nts.org.uk
National Trust for Scotland on 07544539283 or hmacpherson@nts.org.uk
For further information of the work of the Digital Design Studio at The
Glasgow School of Art contact:
Glasgow School of Art contact:
Lesley Booth
0779 941 4474 / press@gsa.ac.uk
Notes for Editors
The Battle of Bannockburn Project
A new look for 2014: The Battle of Bannockburn
project is an exciting partnership between the National Trust for Scotland and
Historic Scotland, funded by the Scottish Government and the Heritage Lottery
Fund. An innovative new visitor centre and sensitive landscaping will change
the way visitors experience Bannockburn, making it a truly world-class site for
this defining moment in Scotland’s history.
project is an exciting partnership between the National Trust for Scotland and
Historic Scotland, funded by the Scottish Government and the Heritage Lottery
Fund. An innovative new visitor centre and sensitive landscaping will change
the way visitors experience Bannockburn, making it a truly world-class site for
this defining moment in Scotland’s history.
The new Battle of Bannockburn Visitor Centre will
use state of the art installations to interpret and explain the circumstances
that led up to this pivotal event in our history and its consequences. The
Scottish Government has committed £5 million through Historic Scotland, and
£4.1 million has been awarded by the Heritage Lottery Fund.
use state of the art installations to interpret and explain the circumstances
that led up to this pivotal event in our history and its consequences. The
Scottish Government has committed £5 million through Historic Scotland, and
£4.1 million has been awarded by the Heritage Lottery Fund.
The design team includes:
·
Architectural Team – Reiach and Hall with Sinclair
Knight Merz (Engineer), Turner and Townsend (QS) and KJ Tait (M&E
Engineers)
Knight Merz (Engineer), Turner and Townsend (QS) and KJ Tait (M&E
Engineers)
·
Interpretation: Concept and Design – Bright White
Ltd
Ltd
·
Landscape Architects – Ian White Associates
·
3D Media Research, Development and Realisation –
Centre for Digital Documentation and Visualisation (a partnership between
the Digital Design Studio of The Glasgow School of Art and Historic Scotland).
Centre for Digital Documentation and Visualisation (a partnership between
the Digital Design Studio of The Glasgow School of Art and Historic Scotland).
About the Digital Design Studio
The Glasgow School of Art (GSA) is internationally recognised as one of Europe’s
foremost higher education institutions for creative education and research in
fine art, design and architecture. The Digital
Design Studio (DDS) is a world leading research and postgraduate centre
of the GSA specialising in 3D digital visualisation and interaction
technologies. It combines academic,
research and commercial activities. The experts at the Digital Design Studio
are currently creating the 3D scans for the widely admired Scottish Ten as a
partner in the CDDV. Other areas of DDS research include ground-breaking
medical visualisation, Marine Visualisation and Auralisation and
sound. www.gsa.ac.uk/research/research-centres/digital–design–studio/
foremost higher education institutions for creative education and research in
fine art, design and architecture. The Digital
Design Studio (DDS) is a world leading research and postgraduate centre
of the GSA specialising in 3D digital visualisation and interaction
technologies. It combines academic,
research and commercial activities. The experts at the Digital Design Studio
are currently creating the 3D scans for the widely admired Scottish Ten as a
partner in the CDDV. Other areas of DDS research include ground-breaking
medical visualisation, Marine Visualisation and Auralisation and
sound. www.gsa.ac.uk/research/research-centres/digital–design–studio/