Interactive spaces that sell, explain, and inspire.

An interactive 3D experience is a spatial representation that people can explore directly in their browser. Instead of just viewing individual images or a predetermined camera path, users can experience a space from different perspectives, recognize connections, and open relevant information directly at the appropriate location.

We do not create mere virtual tours. The 3D scene is given a clear task within the Customer Journey: it can provide orientation, generate anticipation, explain a complex offer, simplify planning, or specifically lead people to a booking, inquiry, or visit.

Interactive 3D scenes help people understand spatial relationships faster. Proportions, paths, distances, location, atmosphere, and the connection of different areas are often easier to grasp in a spatial representation than through individual photos or long descriptions.

The real benefit is not simply “having something in 3D.” A good 3D scene reduces uncertainty. Guests know what to expect. Customers understand a design better. Visitors find their way more easily. Service providers can plan more concretely. Decision-makers gain a common visual basis for discussions.

Interactive 3D experiences are especially helpful when people see an offer but don't fully understand it spatially. Typical problems include: a hotel area appears confusing on the website; a room is hard to assess from individual photos; an architectural design is only visible from predetermined angles; a wedding venue requires multiple visits because important planning questions remain open; entrances, stages, and service areas are difficult to assign at an event venue; a museum wants to offer additional perspectives and information without overshadowing the original; a property or commercial area is too complex for a static site plan.

The 3D scene creates a common spatial basis where such questions can be answered more understandably.

A video guides people through a predetermined story. Viewpoint, sequence, pace, and dramaturgy are defined by the production. This is particularly powerful when conveying emotion, attitude, or a clear narrative.

An interactive 3D scene gives users more control. They can decide for themselves which area to view, which perspective to take, and which information is currently relevant to them. Video and 3D therefore do not replace each other. Video creates atmosphere and emotional guidance. 3D conveys a sense of space, orientation, and context.

A classic 360-degree tour usually connects several fixed camera positions. Users can look around from these standpoints and then jump to the next point.

An interactive 3D scene conveys the space as a cohesive spatial experience. This can make paths, distances, levels, and relationships between different areas more understandable. Depending on the project, freer movement is possible, while information points, guided stations, or additional scenes can be integrated into the experience.

A 3D scene becomes a gimmick if it's only used because it looks modern. Without a clear purpose, a brief wow effect is created, but no sustainable benefit.

That's why we don't start by asking what technical functions are possible. First, we clarify what uncertainty the customer has and what next step the scene should facilitate. Only then does it become clear whether, for example, orientation, a guided exploration, a comparative view, a booking link, or additional information makes sense.

In most use cases, an interactive 3D experience is not meant to replace a real visit. It should prepare, enhance, or extend it.

A hotel room should create excitement for the stay. A museum application should deepen the understanding of the original. A wedding venue should simplify planning. A showroom should provide a relevant preview. A property should better pre-qualify interested parties before an in-person viewing takes place.

The digital experience thus takes on a supportive function. It does not make the real place unnecessary but helps people understand its value sooner and experience it more consciously on-site.

Interactive 3D scenes can be used at several points in the Customer Journey.

Before a decision, they generate interest, orientation, and anticipation. During the decision phase, they answer spatial questions and reduce uncertainties. On-site, they can offer additional information and orientation on touchscreens or mobile devices. After a visit, they can make content accessible again, deepen memories, or lead to further offers.

The scene is therefore not just an element on a website. It can connect multiple touchpoints. Learn more in the Customer Journey system.

Both are possible. Users can explore a location independently or be guided through a curated story via selected stations.

Free exploration is suitable when different users have different questions. A guided tour makes sense when specific areas, arguments, or stories need to be conveyed in a comprehensible sequence. Both forms can be combined: A user first follows a recommended route and then continues to explore independently.

StorySplat supports guided viewpoints, contextual Hotspots, and coherent spatial narratives for this purpose.

Hotspots are clickable information points within a 3D scene. They appear exactly where a question arises.

In a hotel room, a Hotspot can point to room amenities, a booking option, or the view. In a museum, it can provide background knowledge about an exhibit. On an event site, it can explain entrances, stages, or restroom facilities. In a showroom, it can open product details or a shop link.

Hotspots can contain text, external links, and embedded videos, among other things. This transforms a spatial representation into a controllable information and action layer.

Yes. Videos, images, and other media can be used at appropriate points within the spatial experience.

For example, a hotel can show a short glimpse of a treatment at the spa door. A museum can provide archive material, a reconstruction, or an interview next to an exhibit. An architectural project can show additional renderings or material variants on a building section.

The advantage lies in the context: The information does not appear detached on a subpage, but exactly where it is spatially relevant.

Yes. Audio can be used for orientation, emotional depth, or communication. Examples include background music, spoken explanations at specific stations, or spatially assigned sounds.

In a museum, a curator can explain an object. At a historical site, a voice can describe a former use. In a hotel, a calm soundscape can support the atmosphere of a wellness area. Audio should not be played automatically everywhere, but used deliberately and sparingly.

StorySplat supports background music, narration at guided stations, and spatially assigned audio sources.

Yes. Multiple rooms, buildings, or partial areas can be connected to form a cohesive experience.

A hotel can link the outdoor area, lobby, rooms, restaurant, and spa. A museum can connect different exhibition rooms or exhibits. A community can bring together its town center, sights, and local museum in a spatial story. A real estate project can connect exterior views, interiors, and the surroundings.

StorySplat allows transitions between linked scenes. This means even larger or spatially separated areas can be narrated together.

Measurement tools can help users better assess proportions and distances. This is useful for wedding venues, real estate, showrooms, exhibitions, or event spaces, for example.

Wedding couples and service providers can check how much space is available for tables or a stage. Interested parties can get a better feel for room dimensions. Architects can illustrate specific dimensions directly during a discussion.

However, accuracy depends on the quality and scaling of the underlying data. For binding construction, safety, or execution decisions, reviewed plans and professional measurements remain decisive. StorySplat can provide saved measurements and a measuring tool within the published experience.

Yes. Depending on the source material, additional 3D objects, furnishings, signage, or planned elements can be integrated into a scene.

A wedding venue can show different seating arrangements. A showroom can display product variations within the space. A real estate project can visualize potential furnishings. An event venue can show where stages, tents, or service areas are planned before setup.

StorySplat supports placing additional 3D models within a scene.

Yes. Comparison views are suitable for changes, planning variants, and different states of a location.

Possible applications include: construction progress at different times, renovated and original state of a property, different seating arrangements of an event location, summer and winter situations of a tourist spot, historical and current views of a square, different exhibition or furnishing concepts.

StorySplat offers a Compare Mode for interactive before-and-after and variant comparisons.

Yes. An interactive 3D experience can lead users directly to the appropriate next step.

A hotel room can be linked to its respective booking page. A product in the showroom can lead to the online shop. A wedding venue can offer a viewing or consultation after exploration. A property can lead directly to an exposé, contact, or appointment scheduling.

It is important not to overload the scene with calls to action. The CTA should appear where users have gained enough orientation and trust for the next step.

Depending on the chosen setup, usage data can show which areas are viewed most frequently and how people navigate through the scene.

This allows companies to identify which rooms, building sections, exhibits, or information points are particularly relevant. These insights can inform website texts, consultations, campaigns, or further development of the experience.

StorySplat offers scene analyses and session replays in relevant plans. Public and private publication forms are also available.

StorySplat is a platform through which interactive spatial scenes can be published, enhanced, shared, and embedded into websites.

However, we do not use such technical possibilities as an end in themselves. Our task is to develop an understandable experience from spatial source material: with clear user guidance, the right information, a suitable story, and a meaningful connection to websites, bookings, sales, or on-site experiences.

StorySplat enables, among other things, direct web embeds, share links, mobile touch control, guided stations, and interactive information elements.

Hotels and resorts can showcase their range of offerings as a cohesive experience. Instead of presenting rooms, restaurants, spa areas, gardens, and leisure activities on separate subpages, guests can spatially understand the connection between these areas.

Possible applications include: interactive hotel and resort maps, freely explorable rooms and suites, orientation between lobby, rooms, spa, and restaurant, information on activities and family offers, presentation of conference and event rooms, direct linking of suitable rooms and packages, mobile orientation after arrival.

The scene thus helps before booking and during the stay. We show more examples in the 3Dom for Tourism section.

Good photos remain important because they can effectively stage atmosphere, details, and emotional moments. However, individual pictures don't always answer how rooms are connected, how large a room feels, or where a specific area is located on the property.

A 3D scene therefore does not replace hotel photography. It complements it with a sense of space and context. Photos show particularly beautiful moments. Video creates anticipation. The 3D scene helps guests understand the entire offering and find their way around.

A 3D scene can support direct bookings by reducing uncertainties before booking and connecting relevant rooms or offers directly to the appropriate booking page.

For example, a guest can explore a room spatially, assess the view, and then select exactly that category. On larger properties, they can understand which location suits their needs.

However, a higher number of direct bookings cannot be guaranteed by the 3D scene alone. The booking process, price, availability, brand trust, and the rest of the website also remain crucial.

Especially in larger complexes, orientation provides a strong benefit. Guests want to know where accommodations, restaurants, pools, play areas, parking lots, attractions, and service points are located.

A spatial overview can show which areas belong together even before booking. After arrival, the same experience can serve as a guide on a smartphone or via QR codes.

For amusement parks, attractions, age or height restrictions, gastronomy, relaxation areas, and pathways can also be integrated. The 3D scene should not reveal every surprise, but rather create anticipation and make the stay more understandable.

A 3D scene does not have to show every room and every detail completely. The key is what uncertainty needs to be eliminated and what decision needs to be made easier.

A hotel can show selected rooms, central areas, or an overview of the property. Particularly surprising experiences can be deliberately held back. The Experience provides enough orientation without completely revealing the stay.

The best solution is often not a complete digital replica, but a curated selection of relevant areas.

Yes. A tourist destination can highlight different experiences, paths, and offers at different times of the year.

A resort can show ski slopes, saunas, and winter activities in winter, while hiking trails, outdoor pools, and gardens are relevant in summer. An event venue can present various seasonal setups. Comparison views or updated scenes can make such changes visible.

This keeps the Experience current and prevents it from becoming a one-time project that loses relevance after one season.

For existing properties, interested parties can independently explore rooms, connections, and pathways. This gives them a better sense, before a viewing, whether the location, floor plan, and spatial effect generally meet their requirements.

The 3D scene can be linked with further information, for example: room designations and areas, equipment details, floor plans and exposés, possible uses, surroundings and infrastructure, contact persons and viewing appointments, variations of furnishing or use.

Personal viewings remain relevant for important decisions. However, they start with a better understanding. Concrete examples can be found in the 3Dom area for construction and real estate projects.

Yes. Existing architectural models or visualized plans can be translated into browser-based, freely explorable scenes, depending on the source material.

This allows clients, buyers, investors, or other stakeholders to view a design independently and from their own perspectives. Instead of just watching a linear camera tour, they can specifically explore the areas relevant to their decision.

This transforms a presentation into a collaborative working and communication tool.

An architectural flythrough can impressively stage a design but remains tied to predetermined viewpoints and a fixed sequence.

A freely explorable scene gives the client more control. During a discussion, you can directly navigate to a relevant part of the building. After the meeting, the design can be reviewed again via a link. Stakeholders can refer to the same spatial basis and formulate their questions more precisely.

The flythrough says: “This is how you should see the project.” The interactive scene allows: “See for yourself what is important to you.”

No. For real estate, venues, or construction projects, personal viewings and coordination often remain important.

However, the 3D scene can reduce unnecessary or premature appointments. Interested parties can check beforehand whether the property generally fits. Service providers can prepare planning questions. Decision-makers can get a shared understanding even if not everyone can be on-site at the same time.

This doesn't eliminate personal appointments but prepares them better and uses them more effectively.

For districts, business parks, campus areas, or large venues, individual interior shots are not enough. People first need to understand how buildings, paths, entrances, open spaces, and uses are connected.

An interactive overview can show the entire area and then lead into individual sections. Information points can explain building functions, available spaces, access routes, parking facilities, or planned developments.

This creates a connection between overview and detail that a static site plan can only convey to a limited extent.

A construction project can be spatially recorded at various times and presented as a traceable development.

Investors, clients, project partners, or the public can thus see which areas have already been completed and how the project is changing. Comparative views or chronologically ordered scenes make progress more understandable than an unordered collection of individual construction site photos.

The application can thus serve both communication and long-term project documentation. However, it does not replace professional inspection, acceptance, or documentation requirements.

Measurements within a 3D scene can provide valuable orientation for discussions and initial planning. However, their binding nature depends on the measurement method, scaling, and quality of the source data.

For furniture arrangements, seating variations, or initial area checks, they can be very helpful. For construction execution, statics, escape routes, fire protection, or contractually relevant dimensions, tested planning documents and professional surveys must still be used.

This clear distinction prevents deriving an unintended technical guarantee from a helpful planning tool.

Depending on the project and publication concept, scenes can be shared publicly, privately, or only via specifically authorized access.

This is relevant for architectural designs, internal planning statuses, exclusive real estate, or wedding planning, for example. Before starting a project, clarify who needs access, whether public embedding is intended, and which information should be visible within the scene.

StorySplat supports public and private scenes. The specific embedding and sharing logic must be chosen to match the respective project.

No. The goal is not to digitize an exhibition so completely that an on-site visit becomes unnecessary.

A 3D scene should strengthen the original. It can prepare visitors for an exhibition area, provide orientation in the building, show hard-to-access perspectives, or open additional information on a touchscreen.

The real location, the original exhibit, and the atmosphere of the museum remain central. The digital layer helps people experience these more consciously and understandably. Learn more under digital museum experiences.

In the museum, a 3D scene can be used on touchscreens, media stations, or mobile devices.

Visitors can, for example, view a sensitive object from additional perspectives, magnify details that are hard to discern from a distance, compare earlier states of a room, open supplementary videos or archival images, follow a spatial story, discover connections between multiple exhibits, and retrieve information at a self-selected depth.

The digital application thus expands communication without coming between the visitor and the original.

A poorly designed touchscreen can indeed pull attention away from the original. Therefore, the application should not show as many functions as possible, but rather fulfill a clear communication task.

The digital layer should lead visitors back to the exhibit: It draws attention to a detail, explains a context, or shows a perspective not accessible at the original. Afterward, the gaze returns to the real object.

The goal is not a parallel digital entertainment program, but more closeness, understanding, and attention for the original.

Some objects cannot be viewed up close or from all sides due to conservation, spatial, or security reasons.

An interactive presentation can make additional perspectives accessible. Visitors can, for example, explore the back of a sculpture, the interior of a historical object, or details of a high-mounted installation.

Additional texts, audio contributions, images, and videos can explain why certain areas are not directly accessible and what story lies behind the visible details.

Before the visit, a 3D scene can spark interest, provide orientation, and reduce inhibitions. Visitors can see what areas to expect, how the building is structured, and which exhibition might be particularly relevant to them.

After the visit, the scene can make selected content accessible again. Visitors can find an exhibit again, open further information, or share the experience with others.

It is important not to reveal the entire exhibition beforehand. The digital experience should generate curiosity and later allow for deeper engagement.

A spatial preview can help people better prepare for a visit. Paths, entrances, elevators, quiet zones, or spatial transitions can be communicated more clearly.

Digital additional information can also offer various levels of mediation, for example, short explanations, in-depth texts, audio, or subtitles.

However, a 3D scene alone is not automatically accessible. For an inclusive experience, clear navigation, textual alternatives, understandable operation, and suitable on-site offerings must also be considered.

A spatial capture can document an exhibition or a place in a specific state. This is particularly interesting when an installation exists for a limited time, a building is changed, or a historical condition will no longer be accessible later.

The scene can then be used for archiving, research, education, communication, or future review.

It does not replace conservational or scientific documentation. It complements it with a spatially and emotionally comprehensible perspective.

For art and culture projects, 3D scenes are particularly useful when the space itself is part of the work or experience.

This can be the case for installations, stage sets, historical venues, walk-in artworks, temporary exhibitions, or site-specific projects. A spatial experience can then convey context and make a past production comprehensible.

If, on the other hand, the performance, the artist's personality, or the musical moment is the main focus, video and cinematic documentation are often the stronger media.

A wedding venue can not only show beautiful spaces to interested parties but also support future planning.

Couples can explore different areas and discuss with the venue, planners, or service providers where the ceremony, dinner, music, bar, or photo area could be. Possible seating arrangements or setups can be visualized. Distances can be checked for orientation.

This can reduce unnecessary on-site appointments and make the remaining appointments more concrete. The emotional visit remains important but starts with better-prepared questions. We show more applications under interactive locations.

A digital showroom should not replace the entire exhibition. It can show a selected area as an interactive preview, creating a desire for a real visit.

Users can see products in a spatial context, open information, and access selected items in the shop. Materials, seating comfort, advice, and the real product impact remain reasons for an on-site visit.

The digital showroom therefore serves as a teaser, orientation, and connection between the website, online shop, and brick-and-mortar experience.

A spatial overview can make a town center, a region, or a historical ensemble more understandable.

Local businesses, sights, event venues, gastronomy, public facilities, and historical information can become accessible via spatially anchored points. Communities can thus combine orientation and regional visibility.

The connection to local museums and cultural sites is particularly interesting. A story can begin in the digital town model and then deliberately lead to the real museum, monument, or historical site.

An interactive map can make an event site understandable even before the event.

Visitors can spatially locate entrances, stages, camping areas, catering, restrooms, parking, first aid, and other services. Organizers and partners can use the same basis for coordination and communication.

Even an initially empty area can be supplemented with planned structures. This makes it visible how the future event site should function, before stages, tents, or barriers are actually set up.

No. It is often more sensible to start with a selected area or a specific use case.

A hotel can initially show a special suite and the area overview. A museum can start with a single exhibit or exhibition room. A furniture store can present a curated theme world. A municipality can initially connect the market square and central sights.

A clearly defined entry point is often stronger than a large scene without a clear purpose. The experience can be gradually expanded later.

Yes. An interactive 3D experience can be based on a real-world capture or existing digital planning data, depending on the project.

Real places are particularly suitable for hotels, museums, real estate, showrooms, event venues, and historical buildings. Digital models are suitable for architectural designs, planned neighborhoods, events not yet set up, or variations of a future use.

Which basis makes sense depends on whether an existing state should be authentically shown or a future idea made understandable.

No. The 3D experiences are developed for browser use and can be opened via a link or as part of a website.

Depending on the application, they can be used on smartphones, tablets, desktop computers, presentation screens, or touchscreens. For typical use cases, no additional app or VR headset is required.

However, operation must still be adapted to the respective device. Complex desktop controls should not be transferred unchecked to a small smartphone screen.

Yes. A 3D scene can be embedded in an existing website or landing page, or opened via its own link.

Which form is better depends on the usage context. Direct embedding keeps visitors within the page. A dedicated full-screen view offers more space for extensive experiences. In newsletters, social media, presentations, or on printed materials, a link or QR code can lead to the scene.

StorySplat supports share links and website embeds via a player or iFrame.

Yes. A browser-based 3D experience can be prepared for touch operation and mobile devices.

This requires adapting the entry, navigation, text sizes, Hotspots, loading behavior, and scene complexity to smaller screens. Not every desktop experience automatically works equally well on mobile.

Therefore, it should be clarified during conception whether the most important usage moment takes place on a smartphone, desktop, during a sales pitch, or on a touchscreen.

An extensive 3D scene requires more data than a normal text section or a single image. Therefore, file size, loading time, and integration must be carefully planned.

For example, the experience can be loaded only after a deliberate user action, announced with a preview image, or opened on a separate subpage. The complexity of the scene should also match its actual benefit.

The goal is not to load as much spatial data as possible, but to provide an experience that starts quickly enough and reliably fulfills its purpose.

A purely visual, freely navigable 3D scene cannot cover all requirements and needs of every user.

Therefore, important information should also be offered outside the scene as structured text, clear navigation, or alternative media. Controls need understandable labels, sufficient contrast, and appropriate touch areas. Audio content should be supplemented with text or subtitles.

The 3D scene is thus an additional layer of experience and orientation. It must not be the only way to essential information or actions.

The internal effort depends on the scope and type of the project. Initially, information is primarily needed about which target audience will use the scene, which questions should be answered, and which next step should be supported.

For real locations, access points, capture times, and visible areas must be coordinated. For architectural projects, suitable models or visualizations are required. For Hotspots and narratives, relevant texts, media, and links must be selected.

We structure these decisions so that not every single function has to be coordinated in isolation.

The duration depends on the size, source material, desired user guidance, and number of information or interaction layers.

A single scene with a few Hotspots is significantly less complex than a connected experience comprising multiple buildings, guided tours, media, comparison views, and individual website integrations.

After an initial analysis, the project can be divided into a sensible starting point and subsequent expansion stages. This allows the most important use case to be implemented first, without having to build in every possible function from the outset.

Costs depend on the specific scope, not solely on the size of a file or the length of a tour.

Relevant factors include: size and complexity of the location, real-world capture or existing 3D model, number of rooms and scenes, desired user guidance, Hotspots, media and audio content, measurement, comparison, or Staging functions, website integration, public or protected deployment, and subsequent updates and support.

Therefore, we first clarify what task the experience should fulfill. Then, a suitable and prioritized scope can be offered – best discussed directly in the project.

Yes. Information, links, guided stations, and other content elements can be updated depending on the setup. Additional rooms or new states can also be added as an expansion.

However, if the real location changes significantly, a new capture may be necessary. A replaced piece of furniture is different from a completely rebuilt part of a building.

During conception, it should therefore be clarified which content changes frequently and which spatial components remain stable long-term.

Success depends on the purpose of the respective experience.

For a hotel, calls to specific rooms and subsequent booking steps can be relevant. For a property, qualified inquiries or better prepared viewings can be considered. For a museum, touchscreen usage, accessed in-depth information, or visitor feedback are important. For an event, orientation and the use of specific information points are key.

The crucial question is not just: “How many people opened the scene?” But: “Did the scene help people understand something faster, orient themselves better, or take the next useful step?”

A 3D scene is not automatically the best solution for every location or offering.

If spatial feel, paths, location, or spatial relationships do not play a role in the decision, a video, a photo series, or a clear website section can be more effective. A highly changeable location can also be unsuitable if the maintenance effort does not justify long-term benefits.

We therefore only recommend a 3D-Experience if the space itself carries important information and the interactive representation answers a specific question better than simpler media.