What can we expect it to look like?

A new universal theme park near Bedford, the first in Europe, was announced to many tasks earlier this week.

Known to open in 2031, the construction is to start at the 476 Acres site, where the attractions are likely to present James Bond, Paddington and the Lord of the Rings.

But from deciding how many loops include in a roller coaster, to make sure that even the trees mix in sewing sheets with the design of an area, building a dream world is a landscape task.

To discover what planning is the emotion and what kind of things we could expect when the new Universal Park finally arrives, BBC News spoke with some experts in Russian mountains of real life.

Of course, any good theme park needs some good walks, but it may be euphemism to say that it is a difficult task.

While “at least two or three iconic walks” are needed, these do not necessarily need to be the fastest, highest or most innovative to highlight, explains Andy Sinclair-Harris, creative director of Katapult, who has designed attractions for Legoland and Alton Towers.

“What is more important is the depth of the storytelling,” he says, so that he is completely immersed in the experience of the trip.

A good example, he says, is a Russian mountain with Harry Potter called the Magic Motorcycle Adventure of Hagrid, located in the magical world of Harry Potter in the Orlando Resort of Universal. Passengers sit on replicas of Hagrid and Zoom’s motorcycle through recreations of configurations of the popular films.

“There is nothing particularly new or absolutely surprising on that trip, apart from the fact that it tells an incredibly well story,” he adds.

If the rumors that will be a trip back to the future in Universal’s UK Venture are true, those behind it will make sure that the Delorean time machine is included, he says.

Duration The part of the rain of ideas of the construction of a resort, the trips are often “developed as narration tools” in a “specific genre or world,” says Joseph Bright, Scuffy Dog CEO, which provides a creative management of projects for theme parks.

While an iconic trip could help “anchor” a park area “, it never develops in isolation”, rather “cohesion is critical [and] Each element … must serve the history of broader guests. “

Dennis Speigel, founder of International Theme Park Services, says that meticulous planning enters the most immersive walks.

He adds that the size of a roller coaster is partly issued by the number of guests that their designers expect to raise aboard: “between 1,500 and 2,000 per hour” in popular parks.

Usually, that means a roller coaster that has more than 3000 feet (914 m) long, with the first fall “somewhere in the range of 150 feet (45 m)”.

Mr. Speigel says that, although an upcoming roller mountain in Six Flags Qiddiya in Saudi Arabia is ready to break the records when he sends passengers to approximately 150 mph around the tracks, most of the Russian mountains today reach between 70 and 90 mph in their first fall.

Once the largest walks are planned, theme parks designers consider what he describes as “flat walks”, which serve less exciting crowds.

“Those are your narrower walks that lead people around and around, like a guy or a monster,” he says. “[They’re] Steps that can often be bought on the shelf of a manufacturer. “

When you step on a theme park, you are probably thinking about the walks you will be doing, but you may think about how you get there.

Duration The design phase must let your imagination go crazy, says Sinclair-Harris. “The budget is one thing, but when you have its first initial discussions, you should not be moderate for anything,” he says.

The “history” or its park is crucial, he adds. “It is to know the story, the characters and be faithful to that world.”

Of course, discussions on details such as possible driving dimensions and manufacturers soon continue, as well as a master plan, which configures how attractions, roads and comforts would fit in space, often determinates that it will end up rising.

The conception of an artist from the Universal Park of the United Kingdom represents a huge lake in the middle of what seems to be different thematic areas. Far from beautiful, it can allow multitudes to ventilate multiple trips without congestion that forms around one.

In Alton Towers, the Vlogger theme park and the Charlotte Branford fan, known as a roller coaster girl, believes that it means that other visitors often choose to go to the left around the lake (for the Wicker Man’s Paseo), or directly the Smiler (towards the Smiler tries to avoid the crowd.

It is here in the back of the parks designed in this way, that you will often find a show with established times “to try to prevent people from running towards the back of the park to reach a great attraction,” says Justin Garvanovic, founder of the European Design Club.

“Without realizing, they are trying to make you do more or less what you want you to do when you are in the park.”

Another proven and proven design is the “hub and speake” seen in Disneyland Resorts, says Robbie Jones, Katapult insight director.

“In a sense, you have that central meeting point … like the castle in the magical kingdom … with different lands such as radios on a wheel, irradia.”

The new Epic Universe theme park in Universal in Orlando will follow a version of this, which will allow him to venture in different lands through Portales.

Then, the stories behind the Russian mountains are intertwined with the history of the design of the theme park itself.

Then come the final touches: to maintain your sense of being in a futuristic or fantasy world while you are there.

Trees, artificial rock or even other buildings are often used to obscure antistnetic but necessary objects, says Sinclair-Harris. “If you are in an incredible world with castles and dragons, seeing a phone post eliminates you from that story.”

Even the audio that develops, the aroma of a park and the tail lines are consulted because “they play a role in that illusion,” says Bright.

As Mr. Garvanovic says, “there are tons of subtle things in the background” in a well thought out theme park.

The success sign, perhaps, is when you barely notice it.