Pico Play is a global leader in planning, designing, developing and constructing world-class themed attractions and entertainment. With its ‘we do it all’ approach, the company delivers extraordinary and memorable experiences to millions of people around the globe.
Pico Play merges a customer-centric philosophy with innovative design and high-quality build to deliver exceptional results for both clients and guests.
Creating unforgettable experiences starts with data, insights, and planning. From the very beginning of a project, Pico Play is on hand to offer market and competitor analysis, feasibility studies, and business case development. Then, when it comes to the design phase, the company’s team of experts put themselves into the guests’ shoes to bring concept design, master planning, schematic design and construction drawings, creating an experience that will surprise and delight.
Finally, at the build stage, the firm has decades of experience in building, fabrication and project management. This means it can deliver projects on time and budget, with creative engineering, thematic construction, theatre design and consultancy, sculptures, props and scenic art, thematic ID fit-out, thematic facades, artwork and more.
With satisfied clients in Australia, China, Singapore, Vietnam, Japan, Dubai and more, Pico Play works across various sectors, including theme parks, zoos and aquariums, water parks, FECs, surf parks, and public spaces.
To learn more about this end-to-end service and explore how the firm’s expertise across planning, designing, and building can streamline projects, we speak to Darren McLean, executive director; Hadi Salahat, head of Pico Play Middle East; and Greg Holt, design director.
Pico Play: ‘We do it all’
Pico Play offers end-to-end services, from the first inception of a project to guests walking through the front gate.
“We are one of the only companies in the industry that genuinely do that with our in-house teams, from initial concept and business planning to operational planning and opening day,” says McLean.
This means the client has one company to deal with through the whole process, reducing the amount of contracting. “It also keeps continuity in the understanding of the project’s original intent, so it is realised in the final product.
“There are so many elements in a client’s initial vision that can get lost for various reasons. We try to understand what the client is trying to achieve and maintain the integrity of that vision all the way through. Often, our senior staff, like myself and Greg, have involvement the whole way through. We’re very hands-on managers, and we like to get involved in the nitty-gritty of the projects.”
Having in-depth knowledge and experience of all the different stages is a huge advantage, adds Holt:
“Because we’re well-versed in feasibility and market studies right through to build, we understand the whole process. So even when we’re designing, because we know how to build and we know how to respond to market and feasibility studies, we design with that intention right from the start.
“We don’t design something that’s going to be over budget or isn’t tailor-made for the demographic or target audience. From the beginning, we understand what it takes to get a business case study done. We know what it takes to do a market and feasibility study, and we ask all the right questions when we’re designing.
“We’re not just designing some blue-sky idea that may never get built. We’re designing to a demand.”
Streamlining projects
Themed entertainment projects have many different stakeholders. So, having one company involved all the way through can help streamline the process, keeping everyone connected with the vision.
“There are a lot of different stakeholders on every project,” says McLean. “The most obvious is the IP license source, the people providing their brands, characters, and stories for the project. But you’ve also got government approvals and government liaison. We often help our clients nurture those relationships with the government.
“You’ve got investors and might have other tenants or third-party operators in the park. It’s never just a two-party relationship; there are always many different stakeholders to consider.”
Holt says: “As head of design, I also have involvement in the business planning. We sit around the room with the business delivery team and the business planning guys, and we’re there right at the start, so we’re all on the same page. At an early point in the project, we understand where we can steer it and how big we can think.”
Having everything managed under one team also saves time, says Salahat:
“This is especially helpful in the Middle East, where projects are big and need to move fast. Our way of working makes things smoother, faster, and better for our clients.”
Dreaming big at Pico Play
While Pico Play has a head for the business planning aspects of a project, they are also not afraid to think big when it comes to the creative stage:
“It’s always a challenge where art meets science, and that’s essentially what it is. The creativity and the art meet the technical and engineering requirements of the project. We manage that through our talented team,” says McLean.
“We’ve got a broad set of skills across our design, fabrication, and project management teams who can bring those elements together. The goal is to maintain the integrity of the original concept and intent within regulations and practicalities and ensure these projects stand the test of time.”
“We’ve been in the game long enough now to be quite good at balancing creativity with cost, time pressures, and technical execution,” adds Holt. “Every project is unique, of course, but you can still be creative with a small budget. You have to think outside the box and think about how to do things differently.
The ultimate goal for both Pico Play and its clients is to please the customer. “So, if you’ve got a set amount of money, this is what you can do with it. This is the best option to get the biggest bang for your buck, no matter how big or small the budget is. That’s just one part of the whole process.
Design based on real insights
Again, this is where the team’s planning expertise comes in handy; understanding the target audience is vital, says Holt. “Culture is a significant factor. You don’t necessarily need a big project to create a good attraction. You just need to understand who you’re designing for.
“We’ve worked on so many different types of projects at all different scales. So, we’ve got the experience to know what’s possible for a given budget. We also partner with many equipment suppliers, whether for water parks or dry parks. That means we understand different budget levels for various types of equipment.”
You don’t necessarily need a big project to create a good attraction. You just need to understand who you’re designing for
The key is knowing what a specific project needs:
“If we’re designing for a company building a theme park in a rural area of Vietnam, their customer base isn’t used to Shanghai Disney or Universal Studios in Orlando. There’s an entirely different expectation. That’s where understanding the culture and the customer base pays off. It comes back to the market study: What is the immediate competition? What are those guests used to?”
Troubleshooting later in the project
Despite its full-service offer, the Pico Play team is sometimes invited to join a project after the design is already finished. “At that point, we often find the design looks great on paper. However, it may be complex or too expensive to build in real life. Sometimes, the materials or construction methods are not practical for the site or the weather in the region,” says Salahat.
Another common issue is that the design does not fully match the client’s budget or timeline. “So, we help find smart solutions, small changes that keep the creative idea strong but make the project easier to build and manage. Because we work with both design and construction teams, we can quickly adjust things and still deliver something fun, safe, and exciting for visitors.”
Pico Play, Holt says, doesn’t design anything that the team knows can’t be delivered within the client’s budget. “We’re pretty down-to-earth in that way. Many companies out there focus on blue-sky ideas, which look great and attract investors, but at some stage, it all comes crashing down because it’s simply impossible to build.
“We’ve had many cases where a client has a concept design, even right through to schematic design, and then we’re brought in to take over the design and build. That’s when they get a big reality check.
“Once they tell us their budget, we take them through a whole value engineering process, which brings things back down to earth—as gently as we can—so they realise they can’t get what they were promised for the money they have. In many cases, they’ve been sold something that just isn’t achievable.”
Designing with an operational lens
When Pico Play comes in later in the project, the team often picks up issues related to operational requirements, adds McLean:
“That’s something that’s frequently underestimated or overlooked during the earlier design phases. We bring in the practicalities of what it takes to operate attractions, both in front-of-house and back-of-house areas.”
“One example that comes to mind is how we always try to understand what it takes to staff and maintain these attractions. That’s the real essence of an operator’s mindset. Many of our team members have strong operational backgrounds, so that’s an integral part of the technical requirements.
“They work alongside the design teams, who are thinking creatively from a theming and immersion point of view, but they’re also asking, ‘Do you have enough turnstiles there?’ or ‘Where’s the access point for maintenance?’ or ‘How is the claim vehicle going to pull up and service that part?’
“These are the things that can get missed if you don’t have that operational lens early on.”
Pico Play on key trends
Exploring some of the key trends in the themed entertainment industry today, McLean says guests are looking for more opportunities to interact. “And by that, I mean two-way interaction.
“There have always been things to do, whether a water slide or a roller coaster, but without interaction, it’s a one-way experience. It doesn’t give you anything back.
“The moments when the environment interacts with you make it memorable and unique. So, we’re using traditional and modern techniques to create opportunities for the environment to respond.”
For example, something as simple as a discovery crate would ordinarily sit there as a prop. “But we could design it so the lid opens, and there’s an interactive element. Maybe there’s a creature inside, lighting or audio effects, or even some kind of achievement triggered by interacting with the crate.”
“We’re always looking for more ways for the environment to give something back to the guest and create a two-way interaction.”
Themed entertainment is growing fast, especially in the Middle East, adds Salahat:
“We are seeing more focus on creating experiences that tell stories, not just rides or games, but full journeys that connect with people emotionally.
“Another trend is mixing education with fun. Many new attractions are for families and school groups, so they include learning elements in a playful way. This is something we focus on a lot at Pico Play.”
There is also a big push for indoor attractions in the Middle East because of the hot weather in the region. “Clients want creative indoor spaces that are comfortable, fun, and can run all year round.
“Finally, there’s more interest in using technology, like interactive games, projection, and virtual reality, but always in a way that supports the story, not just for show.”
What’s next for Pico Play?
As the firm continues to grow, it is putting more emphasis on the planning arm of the business, says McLean:
“We focus on offering in-depth business planning that complements our core business of designing and building themed environments. This planning covers all aspects of the business, starting with understanding the audience and the unique position of the attraction within its local market. It also involves considering brand elements, the brand strategy behind the marketing, and the overall brand position.”
Pico Play can also help clients understand how the project and its owners plan to achieve a return on investment so they can continue to invest, renew, and reinvigorate the attraction. “These are all essential elements of business planning that we consistently offer our clients. When you look at the cost of business planning versus designing and building an attraction, it’s pretty cost-effective.
“We’ve built a strong business advisory team around key staff members like Francis Jackson, our business director and former Merlin operational manager, because we know how much value they bring.”
Company continues to grow
Pico Play is also experiencing significant growth as it continues to expand its presence in key markets worldwide. Last year, it opened a new location in Al-Kharj, Saudi Arabia, and the company has also launched a new website dedicated to its projects in the region.
“At Pico Play, we know that people today want more than just something to see; they want to feel part of the story,” says Salahat. “That’s why we are continually growing our team and skills to create immersive, interactive experiences that truly engage visitors.”
“Our additional factory in Saudi Arabia, alongside our factories in Vietnam and Malaysia, helps us build faster, respond quicker, and meet the needs of projects in the Middle East more easily.”
“We bring together designers, builders, artists, and technology experts worldwide to work as one team. This allows us to create spaces where guests can play, learn, explore, and feel part of something special.
“We are also working closely with local partners and hiring local talent to stay connected to the culture and deliver experiences that families here truly enjoy.”
Big idea + big plan = big success
Looking ahead, the Pico Play team is working on several exciting projects.
“While I can’t share all the details just yet, we’re particularly excited about a few surf park projects where the surf park is part of a larger entertainment offering. The surf park technology emerging in the industry is growing, and we’re eager to leverage that,” says McLean.
“Additionally, we’re thrilled about bringing our proprietary gameplay elements into these interactive experiences. For example, we now have our own RFID gameplay technology that allows guests to interact with various experiences. We’ve developed and proven these interactive elements and can offer them to other clients.
“While these experiences can be presented differently, the underlying technology and solutions remain the same.”
If he could give one piece of advice to developers creating a themed attraction, Holt says to ensure they do their homework right from the start:
“Ensure you have a solid database before picking up a pen to start designing. As designers, we always emphasise this. It goes back to our ‘we do it all’ approach. Even when we’re just putting in proposals, I’m constantly telling our clients that we don’t necessarily have to do the marketing feasibility study, but someone has to.
“Your design doesn’t mean much if you lack a solid foundation. Your design should be the solution to a question. It’s solving a problem. But if you don’t fully understand that problem, how can you provide an accurate answer?”
McLean adds:
“All attractions need big ideas and unique concepts. But a big idea is no good without a big plan. Ultimately, big ideas and a big plan lead to big success.”
