Making the case for VR in libraries 

Earlier this year, The Space launched its Digital Spaces in Libraries programme – a forward-thinking initiative bringing a range of digital experiences to library audiences in Bradford, Cambridgeshire, Coventry, Leeds, Manchester, Newham, Nottinghamshire, Somerset and Sunderland.

As the programme’s project manager, it’s been uplifting to see how this project, featuring a touring collection of current 360 VR titles, familiarisation sessions in VR180 immersive filmmaking along with the creation of new 180 community VR content, has landed. It has shown there’s a real appetite from libraries to do more with digital. 

One of the most exciting outcomes is the number of new people who have visited their local library for a VR event. The vast majority of library services reported fresh faces through their doors – a genuine marker of success.

Liam Garnett, senior librarian at Leeds Libraries, agrees: “It gave me a greater appreciation of the range of people who have an interest in VR. With different types of experiences like mindfulness, gaming, poetry, history, you can find something for everyone.” 

Learning curves and ripple effects 

Delivering the first cycle of Digital Spaces has taught us a lot. One big lesson has been recognising how stretched library staff are. They are managing enormous demands, often with few resources. Despite that, they’ve been adaptable, curious and excited to offer something new. 

The VR Tour employs a touring set of 15 headsets, each pre-loaded with licensed content including:

• Wallace and Gromit in The Grand Getaway – Aardman’s narrative VR adventure
• The Philharmonia’s Lark Ascending – where users sit in the middle of an orchestra
• PhaseSpace – mindfulness VR
• Monoliths – Pilot Theatre’s immersive VR experience
• BBC’s 1943 Berlin Blitz 360 – featuringoriginal archive recordings from a wartime bombing raid

For the first cycle of the tour, the headsets spent just over two weeks at each library service, with a few days’ break in between to allow for transport, kit checks and onboarding with staff. This extra training and familiarisation time made all the difference. It built confidence, not just in using the kit, but in talking about the content.

“It’s been a massive learning curve, but one which has been really positive for the staff team. The training was brilliant, and I think we’ve all become confident at using the headsets in terms of setting them up and helping people use them,” explains Helen Ackroyd, libraries and culture manager at Inspire: Culture, Learning and Libraries in Nottinghamshire.

The training has had a ripple effect. One trained librarian can upskill others, a cascading model of peer-to-peer learning that’s central to the Libraries Digital Network. With more training resources, how-to guides and marketing assets coming for the next cycle, we’re building a toolkit designed to last.

Adapting for greater impact

The second cycle of the tour, which begins in Coventry in September, has been shaped entirely by what was learned from the first. Last time, the tour was built mostly around logistical convenience. This time, we’ve been able to curate it more carefully, aligning with key events in the libraries’ calendars and what works best for them. 

The VR content is also being refreshed. While Wallace and Gromit in The Grand Getaway has, unsurprisingly, been a crowd-pleaser, it requires more hands-on help from staff. We’re adding more meditative and observational experiences. We’ll be introducing Laika, an immersive virtual reality and CG animation from BAFTA and Academy Award-winning director Asif Kapadia.

Also premiering in cycle two is a collection of community-focused immersive films captured during VR180 masterclasses delivered by Neon8 to six of the library services. These short films will feature a variety of ‘people in places’ from around the country, forming the beginnings of an immersive digital community archive. They will be available via a new app, allowing libraries and their audiences to watch and share each other’s work and have a peek into places and communities they might not ordinarily get to see, as well as seeing their own communities reflected. 

Navigating licensing for VR

Continuity is a major goal for many libraries. Some have tried to build their VR offer, but have run into licensing and practical issues. The project has involved much behind-the-scenes work with our partners Virtual Umbrella. Together, we’ve helped libraries navigate kit procurement, setup and licensing to ensure they’re covered legally and technically. 

“We had to develop a licensing model based on the number of headsets rather than the usual location-based model,” explains Bertie Millis, COO of Virtual Umbrella. “This allowed us the flexibility to operate from numerous locations.

“We then proposed this licensing model directly to artists as well as VR content distributors. Most have been really open to using this model with us. We also had to figure out a way of taking all of the content and presenting it to end users in an easy, navigable way.”

This is where an organisation like The Space plays an essential role – as a bridge that makes VR and digital scalable across the library network. Libraries don’t have the capacity to do it alone, but our model is proving that it can be done. And there’s a clear case for supporting its continuation. 

Welcoming a world of creativity in libraries

This project was never just about VR. It’s about reinvigorating libraries as digital creative hubs. It’s about getting people through the library door and giving them something they can’t get anywhere else. Whether that’s cutting-edge tech, creative digital content or just a warm and welcoming space to explore, libraries are proving themselves ready for the digital age. And for all of us, that’s a future worth investing in.