Faith in Fake: Using Thematic Design in Simulated Environments to Create Escapist Experiences
The University of Derby Faculty of Arts, Design & Technology
School of Technology
Faith in Fake: Using Thematic Design in Simulated Environments to Create Escapist Experiences
By Adam David Price
Student ID Number: 100072889
2011 / 2012
A dissertation submitted for the Independent Study module and in-part fulfilment of the requirements for the BA (Hons) Architectural Venue Design in the Built Environment.
Š University of Derby The views expressed in this report are not necessarily those of the University of Derby
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Faith in Fake: Using Thematic Design in Simulated Environments to Create Escapist Experiences
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Faith in Fake: Using Thematic Design in Simulated Environments to Create Escapist Experiences
“In truth, happiness can only mean: to escape.” ~ Theodor W. Adorno, 1903 – 1969.
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Faith in Fake: Using Thematic Design in Simulated Environments to Create Escapist Experiences
Acknowledgements Throughout writing this study and my time spent on this degree as a whole I have been privileged to have had the continuous guidance and dedication of Dr Boris Ceranic and Eleni Tracada, and for that I will always be thankful to them.
I also wish to thank John Wardley for his kindness and willingness to participate in this study; his input has greatly influenced its outcome.
Most importantly, I would like to thank my Mum and Dad and the rest of my family, who I regularly enjoy escaping with. I will always be grateful for their unconditional love and support which has meant so much, especially during my time at university.
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Abstract This is a theoretical based study which relies on qualitative research findings to explore and investigate the use of Thematic Design in modern simulated environments within the leisure and entertainment sectors. It discovers how and why Thematic Design is being used within simulated environments to create escapist user experiences in a rapidly increasing experiential-led society. Three case studies where Thematic Design has been utilized within simulated environments are visited and analysed to determine the critical success factors of the technique. The findings are validated by theory triangulation of secondary resources and further primary research findings including a detailed interview with John Wardley – famed consultant to the theme park industry. The study concludes by examining whether the technique of Thematic Design is popular and successful enough to warrant more attention and investigation by contemporary designers.
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List of Tables * All tables created by author Table 4.1: Numerical Rankings for Jorvik Viking Centre Table 4.2: Numerical Rankings for Hex: The Legend of the Towers Table 4.3: Numerical Rankings for Cadbury World
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List of Figures Cover Image: Part of the interior theming in Hex: The Legend of the Towers (Ride attraction at Alton Towers) <http://old.towerstimes.co.uk/attractions/towers/hex.htm> Figure 2.1: Juxtaposition of real elements and detailed Thematic Design in Disney’s Magic Kingdom. <http://zephyrspix.com/galleries/images/08_disneys_mk_jungle_cruise_18.jpg Figure 2.2: Lifelike Audio Animatronic Animals emerge from the water and river banks on Disney’s Jungle Cruise. <http://jungleis101.blogspot.co.uk/2008/09/disneyland-1987-whoa-nelliejungle.html> Figure 2.3: No disappointment on the Jungle Cruise where alligators are among the many moving animals that are guaranteed to be seen. <http://etckt.com/2009/07/18/jungle-cruise-pics/> Figure 4.1: A replica of an on-going excavation in JVC, made to look like the real thing, using Thematic Design. (Photo taken by Author, 2012) Figure 4.2: The animatronic figures perform tasks and interact with the visitors as the “time capsules” pass by. (Photo taken by Author, 2012) Figure 4.3: Everything within the environment JVC is a purpose built reproduction. (Photo taken by Author, 2012) Figure 4.5: View of the attraction exit and the purpose-built green backbuilding which houses the ride simulator and simulated environment at Hex. <http://porsmond.bravepages.com/Alton/Alton11/Alton.html> Figure 4.6: Entry to the attraction is through a real part of the towers. <http://www.thealtontowersguide.com/#/hex/4547608031> A.D PRICE 2011 / 2012
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Figure 4.7: True Story: The Chained Oak does exist and can still be seen in the grounds of the towers and has lost many more branches, however no more deaths have occurred. <http://ludchurchmyblog.wordpress.com/places-further-afield/the-chainedoak/> Figure 4.8: Thematic Design elements in action as the ride simulation starts. <http://www.towersalmanac.com/areas/rides.php?id=19> Figure 4.9: The rooms are populated with moving holograms, saving the need for real actors to repeat themselves while performing to a many people passing by. (Photo taken by Author, 2012) Figure 4.10: Spot the robot: wax characters are found within the recreated street scene on the way to John Cadbury’s shop (Photo taken by Author, 2012). Figure 4.11: The themed characters in Aztec Jungle are “still-life’s” and do not move. The feeling is very much walking through a frozen moment in time (Photo taken by Author, 2012). Figure 4.12: The theming in some areas looked tired and dated (Photo taken by Author, 2012). Figure 4.13: The moving seats in the simulated environment at Cadbury World (Photo taken by Author, 2012). Figure 4.14: As well as visual information, themed backlit display boards convey written information to visitors (Photo taken by Author, 2012). Figure 5.1: Bad food? O’Loughlin says she would be astonished if the food in newly opened African-themed restaurant Shaka Zulu in Camden was any good, despite not having visited yet. <http://petedeco.com/interiors/shaka-zulu/> A.D PRICE 2011 / 2012
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Fig 5.2: Wow factor: A reproduction of Hogwarts at Universal Orlando dominates the skyline. <http://www.oneyeartrip.com/2010/07/exploring-wizarding-world-ofharry.html> Figure 5.3: The Titanic Experience presents recreated simulations of various on-board rooms with themed elements like projections, seen here, to provide an immersive educational experience. <http://www.zimbio.com/pictures/UTt77uRmSUU/Belfast+Titanic+Centenary/F EyqQUYMqQT>
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Glossary of Abbreviations JVC ~ Jorvik Viking Centre MMC ~ Modern Methods of Construction
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Contents Introductory Quote by Theodor W. Adorno
I
Acknowledgments and Thanks
II
Abstract
III
List of Tables
IV
List of Figures
V
Glossary of Abbreviations
VIII
Contents List
IX
Chapter 1
Introduction
1
1.1 Background
2
1.2 The True Meaning of Thematic Design
2
1.3 What is a Simulated Environment?
4
1.4 Aims and Objectives
6
1.5 Scope of Work and Limitations
7
1.6 Dissertation Structure
8
Is That Real? The Art of the Simulated Fake
10
2.1 Introduction
11
2.2 A World of Simulation
12
2.3 Layers upon Layers
14
2.4 The State of Hyperrealism
16
2.5 Summary
23
Methodology Rationale and Scope
25
3.1 Primary Research Rationale and Scope
26
3.2 Secondary Research Rationale and Scope
27
3.3 Case Study Selection Criteria
27
3.31 Observational Criteria
29
Chapter 2
Chapter 3
3.4 SWOT Analysis and Limitations
30
3.5 Selected Research Analysis Method
32
3.51 Primary Research Selection
33
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Chapter 4
Chapter 5
Case Study Analysis
36
4.1 Introduction and Background
37
4.2 Jorvik Viking Centre
37
4.3 Hex: The Legend of the Towers
46
4.4 Cadbury World
55
4.5 Interview Answers
61
4.6 Summary
62
Thematic Design: Discussion
63
5.1 Popular Criticisms
64
5.2 21st Century Influences
66
5.21 Animation and The Experience Economy 67 5.22 Technological Advancements
Chapter 6
68
5.3 A Growing Demand for Escapism?
71
5.4 Industry Success
72
Conclusion and Recommendations
75
6.1 Research Findings Summary
76
6.11 Relation to Study Objectives
76
6.2 Limitations
77
6.3 Concluding Statements
77
6.4 Guidance and Best Practise
79
6.5 Personal Reflection and Future Research
80
References
81
Bibliography
86
Appendices
89 Appendix A Supervisor Meeting Logs Appendix B Interview Dialogue with John Wardley Appendix C Article by Peter Alexander
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Chapter 1:
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Introduction
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1.1 Background
Today, Disneyworld pulls in an astonishing 50+ million visitors per year (Disney Tackles Major Theme Park Problem: Lines, 2010) while its French counterpart Disneyland, Europeâ&#x20AC;&#x2122;s leading tourist destination, drew more visitors in 2011 than both the Louvre and Eiffel Tower combined, as it approached its 20th year since opening in 1992 (Disneyland Paris Turns 20, with Mixed Results 2012). Easily the finest and most popular examples of theme park entertainment it was Walt Disney who took Thematic Design to new heights, mastering the technique of combining it with his cartoon creations to create truly magical experiences for his guests. However, this study does not focus entirely on Disney, or his theme parks; it instead looks at how Thematic Design within simulated environments like Disneyworld is evolving post-Disney, and how it is being influenced in contemporary culture.
1.2 The True Meaning of Thematic Design
Thematic Design has been around for generations. From the earliest Ancient Greek theatre in 472 BCE to the bright lights of Las Vegas, Thematic Design has continually evolved through generations and has become a recurrent and permanent fixture in the entertaining of billions of people worldwide.
Thematic Design is the technique of using a multitude of design elements to design something which conjures or follows a bold or underlying theme. These elements can include things like props, special effects, lighting and themed architecture (Alexander, 2005). The main aim of the technique is to successfully utilize these different theatrical design elements to create a positive user experience.
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In the entertainment and leisure industries, the elements of Thematic Design are often employed within venue design to create an immersive “show” which provides this user experience.
“You are not creating a ‘place' as architects do…you are creating sets, and populating them with actors, as in a film. In a theme entertainment project, the role of the actors is played by the visitors (called guests) and employees (called “the cast”). You enhance these actors' performances with props, special effects, lighting and theme architecture…the sum total of the experience is called “the show.” The “show” is everything the guest sees, hears and experiences during his or her visit. The architecture can be seen as the “stage” upon which the “show” is performed.” (Alexander, 2005)
[To read the article from where the above quote was taken, please see Appendix C]
A “theme”, which should not be confused with a “motif”, ties in with the concept of a space, place or environment; the concept being the driving idea or intention behind the design and the theme being the main subject of the concept. In many instances, Thematic Design is employed as the main technique to help convey a narrative or story within a space that is directly linked to the concept and the “show” that the space is providing. Conveying this story or narrative to the users or the audience using a main theme is usually the driver behind successfully generating a desired user experience.
Example: A themed exhibition within a visitor centre situated on an iconic coastline in a historic port, which was once a popular target for pirates.
Concept: Promoting and educating the rich historical significance of the area to visitors and tourists. Theme: Pirate / Piracy A.D PRICE 2011 / 2012
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Motifs: Buccaneer, Nautical, Sailing, Seafaring Desired User Experience: allow visitors to learn about life back when pirates were operating in the area by communicating visual information of historical pirate activity using Thematic Design. Role of Thematic Design: To use design principles and theatrical elements to communicate a story about the history of local piracy, ultimately creating an interactive pirate-themed experience that is both educational and entertaining.
Metaphors
and
analogies
including
“visual
themes,
familiar
iconic
representations or parallel situations in physical reality”, (Beilharz and Reffat, 2004) may be included in the Thematic Design to help ensure the story is easy to follow.
1.3 What is a Simulated Environment?
To Simulate is as the Oxford English dictionary describes “to imitate or reproduce the appearance, character, or conditions of” (Pearsall, 2002, p. 1338).
Simulation is widely known as a practice used to imitate a happening or a scenario which aims to evoke a reaction from the participant(s). Simulations in this context are called simulators and are mainly associated with training, education and testing purposes. They are “used when the real system cannot be engaged, because it may not be accessible, or it may be dangerous or unacceptable to engage, or it is being designed but not yet built, or it may simply not exist” (Sokolowski, 2009). If we were to take the example of training astronauts for a space shuttle launch mission then the purpose of the simulator here would be to imitate the conditions of the launch for the astronauts, in effect acting as both a preparatory simulation and a testing device before the real mission (Topor,
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2002). Essentially, the simulator reproduces or copies the effects felt in a real launch mission for training and performance monitoring.
In addition to simulators there is another variant of simulation whose intent is not to train but focuses purely on the experiential factor of imitation / reproduction (Topor, 2002). It is important to clarify that it is this context of simulation that will be utilized and investigated for this study. In detail, this context of simulation is concerned with the experiencing of a purpose-built reproduction, and would be found in a space, place or environment often used for leisure and entertainment values. To emphasize these experiences, most simulated environments employ the techniques of Thematic Design to immerse the users in the theme of the concept within the environment. The simulations can be replicas or reproductions of real life places, stories, imaginary places, events, situations or even memories of something which do not exist anymore.
Like simulators, simulated environments are aided mostly by computer and mechanical intervention and have become increasingly popular because they allow people the experience of a scenario without the need for them to physically pursue in it in real life; they allow people to encounter something that they may not otherwise be able to encounter due to the reasons given by Sokolowski but also due restrictions which can include cost, age, time, state of health and disability.
In some cases, the simulated reproduction or replica of an environment can give better experiences than the real life environment itself, but we will come back to this later.
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1.4 Aim and Objectives
Aim
Explore and investigate the use of Thematic Design in simulated environments within the leisure and entertainment sectors. To further aim to discover how using Thematic Design to help convey information whilst providing theatrical shows in these environments can create immersive and escapist user experiences.
Objectives of the Study
1. To research and understand the nature and use of Thematic Design in cases where it helps communicate / recreate stories or narratives.
2. To determine the psychological effects of Thematic Design in simulated environments and how it contributes to creating experiences which generate feelings of escapism and hyperreality. To also include why there is a genuine need for users need to live and feel these simulated experiences.
3. To examine, observe and draw findings from a detailed interview and the visiting of three mini case studies that use Thematic Design within simulated environments to give contrasting theatrical experiences that provide escapism.
4. To evaluate and draw lucid conclusions related to critical success factors of Thematic Design from case study findings and analysis, ultimately determining whether the technique of Thematic Design is popular and successful
enough
to
warrant
more
attention
and
investigation
by
contemporary designers.
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1.5 Scope of Work and Limitations
The forecasted scope of the study is identified as being of medium strength. Despite numerous publications and articles on the success and failure of different themed venues, information on Thematic Design as a design technique is fairly limited. This may come down to a large proportion of people believing it is not a formal art or a process but merely a plain and simple novelty. Most relevant secondary research on Thematic Design has been discovered in books, online journals, company websites and blogs where, in some cases, there are vast archives of articles and essays where the topic is discussed more in depth. The quality and scope of primary research will be aided by the undertaking of a detailed interview with an industry professional and the visiting of three mini case studies. Literature on simulation and simulated environments is fairly extensive having been a popular subject of post-modern contemporary thought for quite some time. In particular, the thoughts and theories of Umberto Eco and Jean Baudrillard will be essential reading due to the quality of their description, explanation and critical analysis of simulation and reproductions in question. Their books, Travels in Hyperreality and Simulacra and Simulation, respectively, therefore, have been selected to form both the foundations and indeed the bulk of a review of the subject area.
Despite Thematic Design having a strong connection with film architecture, theatre, set and stage design a decision has been made to exclude these disciplines from the areas of research since the intention of this study is to focus on venue / attraction design.
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1.6 Dissertation Structure
- Background - Aims and Objectives - Scope
- Literature Review of Simulation and Simulated Environments
- Type of Methodology to be used - Reasoning for Types of Research to be used - Reasoning for Case Study Selection - Research Strengths, Weaknesses, Opportunities and Threats - Type of Research Analysis to be used - Declaring of Final Research Selection, Ready to be Conducted
- Findings from Jorvik Viking Centre - Analysis of Jorvik Viking Centre - Ranking of Success Factors - Findings from Hex: The Legend of the Towers - Analaysis of Hex: The Legend of the Towers - Ranking of Success Factors - Findings from Cadbury World - Analysis of Cadbury World - Ranking of Success Factors - Findings of Interview - Analysis of Most Important Interview Findings
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- Summary
- Discussion - Criticisms of Thematic Design - Modern Evolution of Thematic Design - Thematic Design and Experiential Design - Why people need Escapism - Recent Success Stories
- Summary of Study Findings - Success of the Case Studies - Conclusion of Why Designers Need to Become More Aware of Thematic Design - Guidance - Reflection
END
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Chapter 2:
Is That Real? The Art of the Simulated Fake
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2.1 Introduction
The main questions to be answered in this review include: what are the fundamentals and impacts of simulation, why simulated environments have become more prominent in contemporary culture; why reality is continually being substituted for convincing fakery and the likelihood and forecasted effect of continued growth and usage in future generations. It is also important to gain a sound understanding of the way simulation and the process of copying things is viewed in today’s society and how it has been debated over many years so the current theories and analysis behind it can be confidently employed in the rest of the study.
The review consists of a critical analysis of the main literature findings on the topic of simulation from the main books and articles which have been discovered. It is ranked and structured in order of significance; beginning with an analysis of contemporary critical thought including the examining of the theories of Jean Baudrillard, which extends to cover also the topic of Hyperrealism. Hyperrealism is the theoretical link between Baudrillard’s theories and that of Italian writer and literary critic Umberto Ecos’, and the review continues with an analysis of Eco’s travels throughout America as he observes a series of interesting master classes in simulated environments and fakery. The summary centres on the way the literature findings relate to the rest of the study including why the simulation of past, present and future experiences within simulated environments are being used more often and how Thematic Design is a big driver behind the success of these experiences.
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2.2 A World of Simulation
The subject of simulation is one that has been debated by many contemporary cultural theorists. In his most notable literature on the subject, Simulacra and Simulations, Jean Baudrillard, arguably the one of the most influential theorists of simulation, begins his first essay within the book, “The Precession of Simulacra”, by borrowing a story from Jorge Luis Borges in what he describes as “the finest allegory of simulation” (Baudrillard, 1983, p.1). The story tells of royal mapmakers who create a map of their empire so big and exact that it covers the territory at a scale of 1:1, forming a flawless replica of the empire. As time passes the map begins to age and decay and the citizens of the empire begin to mourn it (believing that the map – actually the simulacrum of the empire – is that of the real empire) while beneath the map, the real empire has also decayed and since become a wasteland. All that remains is a substitute reality; the tattered map is the simulacrum of reality.
Baudrillard believes that the modern world has become made up entirely of simulacra and what is (or was once) real is now unidentifiable. Using the story by Borges he argues that “the territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory – Precession of Simulacra – it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map” (1983, p2). He goes on to state “…it is here, everywhere, in the metropolis, among the whites, in a world completely catalogued and analysed and then artificially revived as though real, in a world of simulation: of the hallucination of truth, of blackmail by the real, of the murder and historical (hysterical) retrospection of every symbolic form…” (1983, p. 16). He makes clear that he sees today’s culture as a constant cycle of mass cloning and reproduction; a fake society that is fed by false representation and multiple copies of things that existed but are now unidentifiable and untraceable. Reproductions based on precedent reproductions based on
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further precedent reproductions mean that reality has become so far removed from its rightful place that no one can really tell if the simulations are a fair and accurate representation anymore. Baudrillard’s theories and beliefs on the matter are echoed in seemingly every piece of literature written on the topic.
“According to contemporary critical thought, the world has become composed solely of simulations. Theses simulations exist in layers and therefore cannot be traced back to their original subjects. In this way simulations have become based on other simulations, therefore the element of the real that they originally represent is unknowable. It is simulation that mediates reality. These multiple simulations give rise to the notion of simulacra. Simulacra refer to the layers of simulation present in the world.” (Topor, 2002) “Baudrillard has built his whole post-1970s theory of media effects and culture around his own notion of the simulacrum. He argues that in a post-modern culture dominated by TV, films, news media, and the Internet, the whole idea of a true or a false copy of something has been destroyed: all we have now are simulations of reality, which aren't any more or less "real" than the reality they simulate”. (Mann, Baudrillard: A Very Short Introduction) “We take “maps” of reality like television, film, etc. as more real than our actual lives - these "simulacra" precede our lives. Our television "friends" (e.g. sit-com characters) might seem more alive to us than their flesh-and-blood equivalents ("did you see what Jerry/Rachel/Frasier did last night?")”. We communicate by e-mail, and relate to video game characters like Lara Croft better than our own friends and family. We drive on freeways to shopping malls full of identical chain stores and products, watch television shows about film directors and actors go to films about television production, vote for ex-Hollywood actors for president (is he really an actor? Or a politician? It doesn't matter). In fact, we get nervous and edgy if we're away too long from our computers, our e-mail accounts, our cell phones”. (Mann, Baudrillard: A Very Short Introduction)
Unlike the contrasting views of Susan Sontag in her book On Photography, who comes to assert that the notion of reality has been merely complicated by the profusion of images of it (Sontag, 2008), Baudrillard will come to deduce that the real has not been complicated but in fact replaced and no longer exists.
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The earliest ideologies of simulation can be traced back to the era of Plato and Aristotle (Halliwell, 1987). Plato, who used them in his Allegory of the Cave, described how shadows on a cave wall fooled chained prisoners into believing they were real people (Jowett, 1908). If the prisoners were released and showed the objects that cast these shadows they would not be able to identify and relate to them; the shadows on the wall would seem more real than what they were seeing. For Aristotle, it was the subject of mimesis – now regularly used when describing simulation – which he claimed came natural to human beings and was the reason that the real became apparent to us (Topor, 2002). For Plato and Aristotle, simulation shared a direct link with the real which made it identifiable, unlike Baudrillard who concluded the real is no longer identifiable due to the countless layers of simulation present.
2.3 Layers and Layers
It became apparent to Baudrillard that a system was needed to help identify the different states of simulacra which make up the layers. He went on to create the three Orders of Simulacra which “chart the increasing circulation of signs, their domination and then replacement of the real” (Horrocks and Jevtic 1996, p. 103). It meant that the higher the order, the harder it is to trace the origin of the simulacra; with the highest order (the third) meaning that total simulacra is achieved. The orders are as follows: the first order is concerned with counterfeits and false imagery, whereby a sign ceases to refer to what it is supposed to refer to. Instead, it refers to produced signifieds i.e. meanings like status, wealth, prestige. It is an automaton which plays with reality; an obvious but theatrical fake (Horrocks and Jevtic, 1996, p. 105). Essentially the focus is pinned on the sign itself; it has more significance than the real it represents. The second order is dominated by the production of the fake imagery. Signs in this instance are repetitive, systematic and make individuals the same. They refer to the serial differentiation between the produced signifieds - not to reality. In A.D PRICE 2011 / 2012
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this order, what was the automaton has now become the robot and relies on a more convincing representation from mechanical efficiency instead of theatrics. Although it is still not real, it can exist without need of human input in reality. The third and final order is dominated completely by total simulation and signifies the complete collapse of the difference between the true and the false; the real and the imaginary. This order no longer provides equivalents or reproductions for the real – it reduplicates and generates it. In this order we see the transformation from robot into complete clone. Although not a human the simulacra could easily fool a human into believing it was a human and would go unnoticed if told otherwise (Horrocks and Jevtic, 1996, p. 109).
Baudrillard bases his theories and observations of simulacra and simulations mostly on the study of semiotics. If we apply his views within the context of this study, using simulation to reproduce an experience created by Thematic Design, we come to realise there are slight differentiations, although the principles of simulating reality remain the same.
As we see more and more built environments producing simulations of real things it becomes clear to grasp how Baudrillard’s arguments can be equally applied to the fields of both architecture and interior design. In such a competitive industry and with clients’ and designers’ ambitions of going that extra mile to make environments stand out from the rest of the competition there is truth in the fact that the very fabric of the reality is being continually adjusted and tweaked to gain that valuable unique selling point over competitors. Tropical rainforest simulations have been done to death but before they lost their credibility they were constantly being rigged with the latest theatrical and mechanical technology / gadgetry which conjured fake imagery and false representation, especially to children, of what a rainforest truly was. Essentially the environments quickly became full scale secondorder operations.
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Of course if one were to experience a third order simulation they would naturally, according to Baudrillard, become unable to distinguish upon observation between what is real and what is fake. In the context of experiencing simulated reality one would surely favour the argument of Susan Sontag in terms of the simulation simply being confused with reality. Some would surely view it as an insult to their intelligence if you explained to them they would not be able to tell apart for themselves what is real and what is a very convincing replica? But when we stop for a moment and contemplate how far technological innovation has come in our generation, and the quality of authenticity demonstrated by many third-order simulacra on offer today, we cannot rule out claims that we all could soon find ourselves unable to consciously distinguish between real and fake environments; that the quality of simulacra within them would become more powerful than our own consciousness. In support of Buadrillard’s views it seems likely we are preparing for a complete third-order simulacra society which would ultimately dominate our lives and propel us into an era of mass hyperrealism.
“The very definition of real becomes that of which it is possible to give an equivalent reproduction. The real is not just what can be reproduced, but what is always already reproduced. This is the hyperreal – the more real than real”. (Horrocks and Jevtic, 1996, p. 109)
2.4 The State of Hyperrealism
An early description of Hyperrealism in contemporary culture is given by acclaimed Italian theorist Umberto Eco in his book Travels in Hyperreality. The book – which he views as a medium to “show how we are surrounded by “messages,” products of political power, of economic power, of the entertainment industry, and (to say) that we must know how to analyze and criticize them” (Eco, 1995, Preface, p. ix) – takes us on a personal journey of Eco’s travels throughout America to gain a direct insight into the many different simulated environments that he has encountered, with a particular
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focus on the subliminal messages contained within re-productions of artificial environments using thematic design.
What links Baudrillard and Eco is their similar theories on the philosophical juxtaposition of the real and the hyperreal within the context of semiotics and messages. Just as Baudrillard explained in his orders of simulacra, Eco too refers to the fakery in the simulated environments he has encountered as automata and robots of “mechanical” form (Eco 1995, Pg 4-5). And just as Baudrillard came to assert that simulation conceals the fact that the real is no longer real, Eco concurs with the following supporting statement when describing the detail of the artifice and fakery seen in a replica model of the White House’s Oval Office, “…for historical information to be absorbed, it has to assume the aspect of a reincarnation. To speak of things that one wants to connote as real, these things must seem real. The “completely real” becomes identified with the “completely fake”. Absolute unreality is offered as real presence”. (Eco, 1995, p. 7)
Very early on, Eco identifies America’s hungry demand for realism where reproductions are only credible if they are iconic and pose a perfect likeness; “a “real” copy of the reality being represented” (Eco, 1995, p. 4). America’s imagination constantly demands “the real thing, and to attain it, (they) must fabricate the absolute fake” (Eco, 1995, p. 8). After describing a seemingly strange story about how Superman flies to his Fortress to escape reality and reflect on his actions, he there on refers to environments and locations which harbour fakes, imitations and reproductions as Fortresses of Solitude; places which are engulfed with the essence of hyperrealism. He begins with what he describes as “the most amazing fortress of solitude” (Eco, 1995, p. 6): the Lyndon B. Johnson Library in Austin, Texas; “…an ingenious example of narrative art, wax museum, cave of robots.” (Eco, 1995, p. 6) where he explains that the extent of the quantity and quality of reproduction contained within the Museum of the former president suggests there is a recurrent taste within the average American for the preservation and celebration of the past
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which must be immortally duplicated as a full scale authentic copy; a behaviour he later refers to as “past-izing”, (Eco, 1995, p. 9).
We continue his critical culture tour to various Fortresses including a reconstruction of a nineteenth-century mine – complete with miners and horses – and the Museum of Magic and Witchcraft; a marvellous visual spectacle of obvious theatrical design, but a skilful and informative reconstruction all the same. Further along the way we observe many waxwork museums comprising vast menageries of famous scenes, works of art or historical nature, populated with reconstructed objects and wax characters, each of equally detailed craftsmanship. These environments as Eco puts it, “combine historical reconstruction with religious celebration, glorification of movie celebrities, and themes of famous fairytales and adventure stories; they dwell on the horrible, the bloody; their concern with authenticity reaches the point of reconstructive neurosis”, (Eco, 1995, p. 13).
But, for both Baudrillard and Eco, Disneyland and Disneyworld are the finest examples of hyperreal environments, where all the entangled orders of simulation present us with a gift-wrapped version of a perfect reality. No sooner than you cross the gated threshold you are immersed in a world of colour and animation. Your favourite cartoon and movie characters greet you upon entry to shake your hand; the Main Street is lined with houses and shops; some of the architecture seems both impossible and inviting, thrilling robots and animals react to your movement; magical waterfalls cascade and enchanted castles perch on rocky mountaintops in the distance. Everything is bigger, brighter, and cleaner and the people – who are smiling, and look happier – walk briskly with excitement and anticipation. Fake or not, Disney is a colossal visual accomplishment that captures the imaginations of thousands of people everyday. For Eco, Disney is more hyperrealistic than waxwork environments and museums because the latter still tries to make us believe that what we are seeing is a “real” reproduction of absolute reality while, on the other hand,
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Disney is a “real fake” and does not try to conceal that a large proportion of it is artificial. In fact it confesses that "within its magic enclosure it is fantasy that is absolutely reproduced" (Eco, 1995). Real objects like rocks, trees, grass and water are juxtaposed with objects of authentic imitation. In producing the illusion of reality but at the same time confessing it, it allows the visitor to accept it, and then admire its perfection, which ultimately stimulates a desire for it (see Figure 2.1 below).
Figure 2.1: Juxtaposition of real elements and detailed Thematic Design in Disney’s Magic Kingdom. <http://zephyrspix.com/galleries/images/08_disneys_mk_jungle_cruise_18.jpg >
When Disneyland first opened in 1955 it did not boast popular rides and attractions but instead focussed on bringing to life a simulated environment hosting Disney’s iconic characters in their animated environments. In doing so, Walt Disney pioneered something that had never been seen before; a new form of attraction with emphasis on the park itself (Fells, 2011). Like many modern theme parks the Thematic Design at Disney is as much a part of the
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entertainment as its rides, shows, shops and stalls, which set the theme park apart from amusement parks and fairs (Gottdiener, 2001). Upon leaving the park gates, Eco notes, one can become fully aware of how disappointing the real world can be. When he experienced the simulated riverboat ride at Disneyland he was treated to the sight of animatronic wild animals in their “habitat”, yet when he negotiated the real Mississippi where he was told it was possible to see alligators, and none were to be seen, he is left disappointed like many (Sanes, 2011). He comments on “feeling homesick for Disneyland, where the wild animals don’t have to be coaxed. Disneyland tells us that technology can give us more reality than nature can.” (Eco, 1995, Pg 44) (See Figure 2.2 and Figure 2.3)
Figure 2.2: Lifelike Audio Animatronic Animals emerge from the water and river banks on Disney’s Jungle Cruise. <http://jungleis101.blogspot.co.uk/2008/09/disneyland-1987-whoa-nelliejungle.html>
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Figure 2.3: No disappointment on the Jungle Cruise where alligators are among the many moving animals that are guaranteed to be seen. <http://etckt.com/2009/07/18/jungle-cruise-pics/>
Eco has penned the pages in this book with the intent of underlining the important fact that Disney and the many other artificial environments offer not simply a reproduction of reality but more of an idyllic, sugar-coated, romanticized version of it, where the visitors are safeguarded from any potential disappointment.
But, In perhaps his most interesting observation of Disney, Eco recalls how he discovered a underlying capitalist strategy: "The Main Street facades are presented to us as toy houses and invite us to enter them, but their interior is always a disguised supermarket, where you buy obsessively, believing that you are still playing," he explains (Eco, 1995). He goes further to conclude that Disney is "An allegory of the consumer society, a place of absolute A.D PRICE 2011 / 2012
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iconism, Disneyland is also as place of total passivity. Its visitors must agree to behave like robots." (Eco, 1995)
It becomes evident that there can lurk a sales pitch beneath any simulated environment and many visitors are either unaware or choose to ignore its existence, as they willingly pay the admission fee to gain entry, and come out believing they are still “playing” as they impulse buy from the many gift and memorabilia shops. Environments which offer simulated experiences unparalleled to real life experiences offer the opportunity to owners to make added revenue from the associated themed mementos and souvenirs which act as physical reminders. Many environments owned by a company or brand will make sales from persons eager to let others know that they have been to or seen some iconic place known by the majority. Many times the items found in gift shops just after the climax of a visit to a simulated environment are in fact simulations themselves; convincing faked miniatures of objects the visitor has encountered during the experience. Eco notes this occurrence when describing his observation of the Museum of the City of New York: “At the exit, along with postcards and illustrated history books, they sell reproductions of historical documents, from the bill of the sale of Manhattan to the Declaration of Independence. These are described as “looking and feeling old,” because in addition to the tactile illusion, the facsimile is also scented with old spice. Almost real.” (Eco, 1995, p. 11).
Eco has won well deserved acclaim with Travels in Hyperreality due to the accuracy of his theories, beliefs and observations. It has been noted as quite an extraordinary feat that his beliefs and criticisms of America came to be declared true and definite, decades after the book was first published. Even at present, “America is in the midst of a building boom of simulated and fantasy environments far more elaborate than anything Eco described, which are giving us a fictionalized landscape and a culture, that has many of the qualities of theme parks.” (Sanes, 2011).
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Along with Eco’s diagnosis of the American culture demanding realism, the art, nature and historical based reproductions and fakes which Eco described many years ago have long evolved and we are now surrounded by largerthan-life, overstated versions; the most excessive and famous example of this scenario being Las Vegas, of which is almost entirely themed and simulated. Cities are fast becoming known more for their reproductions, fake portrayals and simulated environments rather than their own character and heritage. They are populated with vast themed shopping malls comprising of imitation architecture and faked landscaping, radical fashion outlets with matching artifice, museums with interaction based simulations, themed entertainment venues with outlandish installations and enormous stage sets and 3D cinema experiences which surround viewers in an immersive style experience, boasting the latest demonstration of special effects technology including scent injection systems and pyrotechnics. They all have one thing in common: they succeed in feeding a new contemporary hunger for fresh and innovative types of authentic themed based simulated environments that whisper the third order of simulation – the art of the “real” fake.
2.5 Summary
If we were to take the most significant findings from the review in question, the analysis of Jean Baudrillard’s orders of simulacra showed how each order was made up of theatrical, mechanical and clone-like elements which are the foundations of Thematic Design. The analysis also provided a clear understanding of how there appears to be a hierarchy of simulation, and that the continuous production and circulation of third order simulacra is threatening to dominate our lives. Ultimately, a society comprising largely of juxtaposed, hyperreal puzzle pieces looks likely to materialize.
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was interesting to note, in the case of Disney, how confessing certain elements of artifice to be fake allowed visitors to accept and admire the craftsmanship of the fake, rather than criticise it. Through his anecdotal account, Eco also taught us that Mother Nature ensures that all natural real life environments and experiences will be susceptible to visitor disappointment or not live up to expectations. On the other hand, technology assured us that simulated and faked environments can be impervious to user dissatisfaction and disenchantment; however, they frequently come disguised as hybrid sales or marketing pitches. These findings have and will continue to largely contribute to the development of both the review itself and that of the main study. As well as acting as a catalyst for the development of the study and analysis of further literature, the findings will continue to fuel the further development and analysis of primary and secondary research later in the study.
As well helping to answer the important questions outlined in the introduction, the analysis of contemporary critical thought has shed light on the important theories concerned with the topic under review, but still begs the question: Is simulating reality using Thematic Design a good thing or a bad thing? And does it truly deserve and warrant more investigation by contemporary designers? The main study will aim to answer this question by undertaking and analysing primary and secondary resources including the investigation of a number of contrasting case studies.
Lastly, it was important to note that while contemplating the characteristics of simulation the discovery of several essays relating to the theories of Baudrillard indicated a direct link to the topic of mimesis, particularly in nature. This is an area of study which should be acknowledged and pursued in future research.
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Chapter 3:
Methodology Rationale and Scope
This study is of a theoretical and contextual nature and will rely on acquiring qualitative research findings. To achieve the study objectives, a combination of primary and secondary research sources will be obtained (see appropriate sections).
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3.1 Primary Research Rationale and Scope
The following two research techniques will employed as the main primary research methodology:
- The Visiting of Three Mini Case Studies Why? The visiting of three contrasting case studies allows for an in-depth and personal account of the how the subject in question has been applied in real world environments. This ensures the findings will be reliable. Detailed observations can be made and the opportunity to see the physical environment first hand means that it can be more easily and properly marked against the selected criteria in-situ. This improves the accuracy of the findings and results from the analysis. The scope of this methodology is high because of it allows the personal creation of relevant criterion that is directly applicable to the areas of the study, rather than using secondary criterion which may be unrelated. There is also no limitation as to what types of case study can be used, so long as they are visited.
- A Detailed Q&A Interview Why? The conducting of an interview between a professional in the subject area is invaluable to the validity of the study overall success of the study. The findings from the interview will be used to support the case study findings secondary research. Questions can be tailored to target areas of uncertainty and can fill in any gaps within the research that may be present or may arise in the later stages of the study after other research has been conducted. Establishing a link between an interview participant who has a wealth of industry experience guarantees proper qualitative research findings and may help influence and sway the direction of the study, helping to illuminate areas that may not have been fully understood.
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The scope of such an interview is also high, like the case study scope, due to being able to guide the conversation towards certain questions and target areas by asking directly. Direct and detailed responses from an experienced interview correspondent make this methodology extremely suitable for collecting research specific to the study subjects.
3.2 Secondary Research Rationale and Scope
Secondary research methodology will involve the finding and reading of a melange of articles, journals, reports, essays and personal accounts. Smaller sources such as blogs, anecdotal stories, company processes and philosophies will also be utilized where relevant. These will aide, support and further influence the primary research findings making the analysis and discussion more accurate and precise
For the subject of simulation (discussed in the previous chapter), further secondary research has been very extensive and well fitted to the direction of the study, however, information and research sources on the subject of Thematic Design are fairly limited and are in most cases lacking in detail. This is why the primary research has been aimed and focussed at the subject in particular and centres on discovering the information required to achieve the main aim and objectives of the study.
3.3 Case Study Selection Criteria
Strategic selection has to be made when deciding which places are to be used as case studies. The criteria used to select the case studies will be as follows:
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- The case studies must be simulated indoor attractions, in an enclosed environment. Why? The use of Thematic Design within simulated environments is the main subject of the study. Limiting the type of case studies to indoor attractions in a closed and controlled environment narrows the criteria making the analysis of the findings more specific and relative, giving better control. In addition, an enclosed environment has a larger potential than an open-air or open-ended environment to create a fully immersive experience meaning that the likelihood of an experience providing a sense of escapism is heightened, which is also subject to the study aim and objectives.
- The case studies must utilize multiple elements of Thematic Design in an immersive way to help convey a story and fully surround users in the theming. Why? Since the study focuses on how Thematic Design can help communicate narratives through theming to give an experience the case studies should demonstrate a successful example of how this has been achieved in order to analyse the success, limitation and weakness factors in the overall execution.
- The case studies must generate unique and contrasting theatrical experiences. Why? We know that Thematic Design aims to create experiences but what is it that makes them unique? Whether the experience derives from an existing place or environment, an imaginative story, a historical feat or even the core values of a brand or company it must give something excitingly diverse, boasting a unique selling point, since there are many themed experiences to be had elsewhere. While the case studies must be similar in their use of Thematic Design the experiences given should be dissimilar, making for more interesting and comparable analysis. Assessing multiple experiences will also help determine the potential and limitations for variability of Thematic Design.
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- The quality of the Thematic Design should be very convincing and demonstrate the ability to provide a sense of user escapism and hyperreal entertainment. Why? It is important that the Thematic Design is convincing in order to provide a real sense of escapism. The quality of the theming will also help improve the way it conveys the story to the users in the environment. This criterion is an important factor in the success of escapist-style entertainment.
3.31 Observational Criteria
The case studies will become the majority of the primary research findings and aim to answer some of the questions asked in the study objectives. Therefore a set of criteria is needed to assess the case studies when visiting and making observations. The aim of the criteria is to uncover the critical success factors of the case studies which will be analysed and validated by theory triangulation within the next chapter. Once validated, the findings will be used to inform the study conclusions.
The following inter-related criterions outline what the case studies will be marked against when visiting and making observations. Together they will ensure solid and well-informed findings ready to be analysed.
Each of the following four criterions will be ranked on a scale of 1 â&#x20AC;&#x201C; 5 with 5 being excellent and 1 being poor:
- The quality of the simulation within the environment. What is being simulated? Are there multiple simulations? Is it effective and how has it subtly or boldly been incorporated into the environment? How has the simulation helped create and influence the theatrical experience? A.D PRICE 2011 / 2012
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- The use of Thematic Design to help convey the story. How have the elements of Thematic Design been used in creative and theatrical ways to better tell the story?
- The sum experience created by the Thematic Design in the environment. Is the experience theatrical and enjoyable? Does it make you want to come again / tell your friends? What was gained from the experience? Are you better off now than before you got involved?
- The authenticity and detail of the Thematic Design. Does it succeed in creating a sense of escapism and / or hyperreality? Is the Thematic Design authentic? Do you feel like you have been transported to another world? Does it convince you you are somewhere else when in fact you are not?
3.4 SWOT Analysis
Strengths The main strengths of the methodology are the primary research sources which ensure strong reliability, validity and accuracy. The ability to undertake first-hand and tailor the case study criterion and interview questions to prompt the desired information is the key strong point and will ensure the questions outlined in the study objectives can be answered.
Weaknesses Pinning the pressure on visiting case studies and pre-anticipating an interview with someone is fairly risky. With case study visits, permission must be granted well in advance from the persons in charge and a certain date and
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time pre-planned and agreed. The visit must also be convenient for both parties and may be constrained by time during busy periods. It will also be challenging to find a correspondent for the interview who will be both willing and able to provide detailed and suitable information.
Opportunities During case study visits there may be opportunities to talk informally with staff members and visitors about the environment and its design. During interview and discussion with industry professionals there may be times when persons recommend and pass on other lines of inquiry that did not come to light at first, prompting further investigation that may improve the overall advancement of the study. This applies also when reading and viewing secondary research sources. Establishing professional links with persons from either the case studies or interview mean that further participation from them could be likely which would be of great help if there were any burning questions that needed answering in the post-conduction and post-writing stages.
Threats / Limitations The biggest and major threat to the methodology is being unsuccessful in finding an experienced interview correspondent who is willing to be questioned. Failure to do so is not critical to the study but would significantly help back up the case study research findings and provoke deeper analysis. It is anticipated that at least three mini case study visits can be visited but the main limitation includes the restricting of other potential case studies that are too far away or expensive to travel to. This would mean that perhaps some of the finest case study examples which would greatly benefit the study can not be used because it is not feasible. However, there will still be opportunity to use secondary sourced reports and documentation on these examples as supporting research.
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3.5 Selected Research Analysis Method
The primary research findings will inform the majority of the information to be analysed however the study will not solely rely upon it; the theoretical nature of the study means that considerable analysis will come from that of secondary resources.
The main method used to analyse the primary and secondary findings will be that of theory triangulation and will employ different theories, extracted from the interview answers and other tested and successful secondary sources, which will validate the main findings of the research and prove that the closing arguments and statements are viable As opposed to data triangulation (time, space and person specific), investigator triangulation (multiple observers) and methodological triangulation (combination of methods) (Tracada, 2012) theory triangulation is the best suited to analyse this research due to the nature of the study and the type of research undertaken.
Ethical consideration has been given in the planning of the primary research and an ethics form has been completed in accordance with the University regulations. Emails and phone calls to potential case studies will be written in an open ended nature and will not put pressure on or try to force companies and individuals to help. Potential interview correspondents will be informed that their participation will be for purely educational purposes and that their answers and feedback will be recorded and written up but will only be used for the purpose of the study and can be withdrawn upon request.
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3.51 Primary Research Selection
The following places have been chosen as the primary research case studies and will be visited, observed and their design success factors marked against the observational criteria to become the main body of the primary research findings. They have been selected based on their ability to match the selection criteria and the feasibility of visiting. The interview findings will become the remainder of the primary research findings and will provide the bulk of the theories to be triangulated.
Jorvik Viking Centre, York, England. Why? A popular attraction in the city of York, Jorvik Viking Centre is an interactive museum dedicated to the learning of the rich Viking-age city history. In association with York Archaeological Trust it was built across the street from where numerous Viking-age settlements were excavated. It combines both contexts of simulation by featuring a simulated ride which takes visitors through a entirely re-created portion of York, as it was during the Viking-age. Its website labels it as a â&#x20AC;&#x153;groundbreaking visitor experience that enables you to experience life in Viking-Age York.â&#x20AC;? <http://www.jorvik-viking-centre.co.uk/about-jorvik/>
Hex: The Legend of the Towers, Alton Towers Theme Park Resort, Staffordshire, England. Why? Hex is one of the many ride attractions at Alton Towers Theme Park. It also uses a motion simulator (ride) within a simulated environment (a furnished replica of a period style vaulted room). The attraction itself is actually located within the historic grade II listed Towers that dominate the theme park landscape. It features a conceptual take on a true story and is executed in a very clever way, ensuring it has remained a popular favourite amongst the newer rides at Alton Towers. <http://www.altontowers.com/theme-park/fun-rides/hex/> A.D PRICE 2011 / 2012
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Cadbury World, Birmingham, England. Why? Cadbury World, owned by the Cadbury Company, is an attraction created on the site of its Birmingham manufacturing plant and tells the story of how it makes its chocolate, from processing the cocoa beans right through to manufacturing and packaging of the many chocolate products it produces. The attraction comprises of 14 different interactive zones each of which represents an important stage in the telling of the story. Two of the zones include simulations but it is the first five zones in particular that tie in perfectly with the selection criteria as it uses popular techniques of Thematic Design within the simulated environments to tell the sub-story of how John Cadbury established himself as he processed cocoa beans to make his famous chocolate bar. <http://www.cadburyworld.co.uk/cadburyworld/experience/Pages/Enjoy.aspx>
Interview with John Wardley Why? John Wardley is a consultant who specialises in concept design and development for the theme park and other mass tourism and leisure industries. Wardley is leading consultant in the UK who specialises in concept design and development for the theme park, tourism and leisure industries having been the mastermind behind the concept design for many of the rides (including Hex: The Legend of the Towers) at Alton Towers and Chessington World of adventures. He has subsequently created award-winning rides and attractions for theme parks around the world having started out in his early days working in the film industry, creating the special effects for five of the James Bond films. Wardleyâ&#x20AC;&#x2122;s rich knowledge and experience gives him a deep understanding of Thematic Design, the entertainment industry and the current demands of the British Public, therefore he is a very suitable and useful correspondent in the context of this study. (Biography cited from <http://www.john-wardley.demon.co.uk/>) A.D PRICE 2011 / 2012
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[All selected case studies were able to be visited with the research carried out and an appropriate interview was managed to be undertaken with John Wardley which yielded very detailed and informative answers.]
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Chapter 4:
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Case Study Analysis
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4.1 Introduction and Background
This chapter is concerned with the reviewing and analysis of the primary research findings. It will explain what was discovered when visiting and observing the case studies and look at the answers from the interview. The observational criteria given in the previous chapter will be used to determine the critical success factors of the case studies as they are analysed.
4.2 Jorvik Viking Centre
Date visited: 16.01.2012 Duration of visit: 4 hours
Findings
A large, dimly lit, open plan room with a raised transparent glass floor presents itself after descending the stairs from the admissions lobby at ground level. In this room the visitors are introduced to and educated about the Jorvik Viking story. The main feature of the room is a scale replica of the foundations of a Viking house (see Figure 4.1); this is the first time we see Thematic Design within the environment. Completely reproduced, it is a custom piece made to look like an ongoing excavation and sits in a void between the base of the building and the raised glass floor, allowing visitors to walk over it and peer down inside it. The room follows onto the entrance of the ride station where the simulation takes place.
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Figure 4.1: A replica of an on-going excavation in JVC, made to look like the real thing, using Thematic Design. (Photo taken by Author, 2012)
The simulated environment involves a ride which uses multiple 6-seater cars, or time “capsules”, as JVC refers to them, which move around a full scale reproduction of a portion of York as it was in the Viking-age. The cars move on a suspended ceiling track above and rotate on a pivot to face different areas of the ride. As cars leave the station they progress toward a wall-projected display which introduces the concept of the simulation, in this case, journeying through time, back to Viking-age York or “Jorvik” as it was called. It tells the riders what they are about to encounter and that it is a real scaled and accurate replica of what York was like to live in, in Viking times.
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The car continues around a sharp corner and the main simulated environment is fully seen for the first time. Upon first sight, it is an astonishing feat of Thematic Design. Every inch of the environment is themed to the exact appearance of the Viking-age aesthetic. Lifelike animatronic humans, fully moving and talking, line the path of the ride and are carrying out their jobs just as they would be doing in the real Viking village (see Figure 4.2). A blacksmith can be seen hammering some iron while further on a group of fisherman are seen further on. They chip in with dialogue at key moments, talking to one another and also to the visitors. The detail extends to that of a couple bickering by a market stall as they argue over what to have for tea (see Figure 4.3). To add to the authenticity, all communication from the animatronics has been recorded in Norse â&#x20AC;&#x201C; the language of the Vikings, and is pointed out and translated in the audio commentary that is played through car-mounted speakers.
The Thematic Design includes the creation of themed architecture stocked with hundreds of custom made props and equipment to give the best possible realism. Cutlery, jewellery, Rotting food and human waste are just some of the uniquely produced reproductions that are found along the ride. As well as this, smells and scents are blown out of vents in key areas of the ride to mimic smells like burnt metal, food and waste etc. Hidden speakers also react to the movement of the cars to play certain noises or sounds on approach.
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Figure 4.2: The animatronic figures perform tasks and interact with the visitors as the â&#x20AC;&#x153;time capsulesâ&#x20AC;? pass by. (Photo taken by Author, 2012)
Figure 4.3: Everything within the environment JVC is a purpose built reproduction. (Photo taken by Author, 2012) A.D PRICE 2011 / 2012
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Analysis
- The quality of the simulation within the environment
Simulating a Vikingâ&#x20AC;&#x201C;age old village is a feat that would have to be done to the highest specification to do itself justice. What is remarkable about the simulation at JVC is that every Viking object and item that has been reproduced or replicated in the environment has been done so by examining their real life counterparts which were excavated from the nearby ground, giving a true and exact appearance of how they looked hundreds of years ago. Each artefact excavated from the many archaeological digs that took place over the years in and around York is photographed, catalogued and taken away for testing. 3D models of the artefacts were then modelled on CAD software. Combined with historical documentation, studying the composition of the objects and pieces allowed broken and damaged objects to be reconfigured to how they once were (see Figure 4.4). The forms and shapes informed the characteristics of the reproduced themed objects and the details were able to be mapped onto the surface of the reproductions in some cases. The simulation has heightened the theatrical experience by immersing users in such an environment; everywhere one looks there is something to be seen and something that is happening, ensuring there is never an awkward moment of silence or tediousness. The simulated environment at JVC really is a treat for the eyes (and ears, and nose!).
Ultimately, the quality of this simulation is highly successful and commendable and its accuracy allows visitors an educational and entertaining simulated experience where in most cases, it would appear especially to young children that they were moving through a real Viking-age village.
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Figure 4.4: All the tools, equipment, clothing and architecture in the environment have been accurately recreated in a precise re-modelling process based on the findings from real excavation work. (Photo taken by Author, 2012)
- The use of Thematic Design to help convey the story.
The most prominent technique of Thematic Design used to help convey the story in the simulated environment at JVC is the audio-narrative playback which is played out of speakers either side of each seat in the ride car. The audio, which is available as an adult or children’s version, is played at ear height, loud enough to be heard but not so much that it dominates over other peoples’ audio playback and the other noises and sounds to be heard on the ride. The playback itself is, for the adults, a man who introduces himself as a local of the village who will take us on a tour. This is the same scenario for the children’s version which uses a young boy who “lives” in the village. They describe life in the village, telling us about the things we are seeing in the
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simulated environment and what was common for people living in the Vikingage, relating to the ways in which they used to do things and how different things are for us now in this generation. Using the idea of having local residents of the village tell the story is a clever and more intimate way of communication as opposed to a generic cliché narrator. It allows the information to be told in a fun, informal way that sticks in the mind as opposed to a plain and unoriginal way that risks not fully encapsulating the visitors’ attention.
The themed architectures are the main features within the Thematic Design of the environment. Various life size Viking houses, huts and outbuildings have been created, some of which the ride actually passes through, enhancing the conveying of the story as visitors get to see the inside of homes that the Vikings lived in, what they were made of and how they were built. The animatronic figures also play a big role in the communicating of the story of Viking life. They have the ability to “talk” to the visitors using hidden speakers and use anecdotes and remarks to explain their own stories as residents in the village. These provide more personal insights into the lives of the residents and what Viking life was for different people of different backgrounds. The use of animatronics on an overall scale has worked extremely well in this case study and is a delight for both children and adults, proving a creative, albeit expensive addition to helping convey the story of the environment.
- The sum experience created by the Thematic Design in the environment.
The lighting is carefully done so not to expose themed objects that were harder to replicate and make convincing than simpler ones. It also succeeds in creating certain moods and atmospheres while giving an indication of how well or poorly lit certain areas of the village appeared in the Viking-age.
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The successful mixture of light and dark areas create an ambience within the environment that best suits the theme and subtle touches such as imitation candle light add to the appeal and realism of the overall experience. Smell and scent permeation together with sound sensors trigger the other important senses instead of relying on a purely visual experience. Together they too add to the realism of the simulation and therefore improve the visitor experience. As mentioned earlier, recreating a Viking village is something that must be done justice. The vast melange of props, scenery and objects that were created for the environment heighten the experience by populating the environment as it would have been during the Viking-age, giving it a life-like and homely feel, rather than using a reduced amount of objects to place here and there that would create a lesser experience which would not look right. Together, all these elements of Thematic Design have been incorporated within the simulated environment to create a very enjoyable and theatrical experience which would appeal to all ages. It is both fun and educational and succeeds in simulating an extremely realistic simulation of what Viking life was like in Jorvik. It is also worth noting here that some of the staff, acting as entertainers, do actually dress up in Viking attire and wield fake weapons to heighten the realism of the experience for younger (and braver) children.
- The authenticity and detail of the Thematic Design.
The skill and craftsmanship that is present within the simulation, together with the same amount of detail for each of the hundreds of objects that fill the environment is outstanding. One example is the detail of the animatronic figures, who are actually a kind of hybrid waxwork (imagine the type of quality of the waxworks at Madame Tussauds but able to move and wave at you). The detail on the figures goes as far as eyelashes, rotten teeth and skin imperfections. The mechanical automation is clearly very advanced, able to
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“breathe” life into the waxworks, making their eyes blink and their mouths move to synchronised audio enabling them to “talk”. All in all the Thematic Design within the environment has easily demonstrated the ability to provide a sense of escapism, important to the concept, where visitors genuinely feel like they have gone back in time to Jorvik as it was in the Viking-age. The essence of hyperreal does stick out as many people on the ride actually found it hard to contemplate the quality of the authenticity of the fakery on offer here.
Table 4.1: Numerical Rankings for Jorvik Viking Centre Criterion
Ranking (1-5)
The quality of the simulation within 5 (Excellent) the environment
The use of Thematic Design to help 5 (Excellent) convey the story
The sum experience created by the 4 (Very Good) Thematic Design in the environment
The authenticity and detail of the 5 (Excellent) Thematic Design
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4.3 Hex: The Legend of the Towers
Date visited: 03.06.2011 Duration of visit: 30 mins ~ The majority of knowledge and information on this attraction has been sourced and provided through the past visits to Alton Towers Theme Park and the interview session with John Wardley (see Appendix B).
Findings
What makes Hex at Alton Towers so appealing is that the attraction takes place within the actual towers themselves, most of which are derelict and empty. Being an extremely rare opportunity to combine such architecture with a ride attraction has clearly been given tremendous creative thought and consideration for the impact this would have on the Grade II listed architecture.
The simulated experience within the attraction, in this case a simulated environment contained within a motion simulator, is actually located in a separate back building, custom-made to host the simulator. It has been built to sit next to the existing architecture, obscured from view at ground level. As guests move out of the attraction they are de-routed back through a real section of the towers then out into the courtyard and gardens. They come out believing that the whole experience occurred within the towers. What fools them is the fact that the first half and last bit of the attraction did actually occur in real parts of the towers and that the transition between real historic architecture and the custom-made ride simulator is so seamless and unsuspecting from the inside. This trickery essential as the concept and the storyline requires guests to believe they are in the real towers themselves.
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Figure 4.5: View of the attraction exit and the purpose-built green backbuilding which houses the ride simulator and simulated environment at Hex. <http://porsmond.bravepages.com/Alton/Alton11/Alton.html>
Guests entering Hex climb the steps at the entrance to pass through two enormous timber doors and into a tall, dark hallway lit only by candle light (see Figure 4.5). The immediate switch between light saturation and the presence of coldness and dampness in the air while walking through the queue line informs guests that Hex is rather a more daunting and sinister experience compared to some of the other more light-hearted and cheerful attractions to be had out in the warmth of sun.
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Figure 4.6: Entry to the attraction is through a real part of the towers. <http://www.thealtontowersguide.com/#/hex/4547608031>
Retro television sets mounted on pedestals repeat a short video giving an insight into the ongoing restoration of the towers and give an introduction to the story and the concept. Glowing in the flickering light, the grandeur of the real gothic interior architecture, complete with vaulted ceiling, mixed with thematic elements such as purpose built statues and props is rather intimidating, but strategically triggers a sense of thrill and anticipation about what lurks further on. Guests then enter through motion controlled doors into room, with a projection screen fixed to a feature wall, as a group of approximately 30 persons. This is where the story is told by means of a video projection “pre-show” as a narrator reads over the film clip and lasts about 2 minutes. The story is depicted as a legend based on real folklore that occurred during the towers’ history when it was owned by the 15th Earl of Shrewsbury in 1821.
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The story tells how the Earl was “cursed” by an old beggar-woman on his way back to the towers after he cruelly dismissed her when she asked him to spare a farthing coin. The curse meant that for every branch of an old oak tree located in the grounds that fell, a member of the Earl’s family would die. Later that night, a storm broke out which struck off a branch from the tree and sure enough, a member of the Earl’s family did in fact mysteriously die. That is where the true story ends, since the rest has been created to follow on from that. It goes on to say how the Earl chained up the rest of the tree in a bid to stop further deaths and became obsessed with fallen branch that he took it to the towers and sealed it in a secret vault where he experimented on it, trying to break the curse. <http://www.youtube.com/watch?v=cHrPA5--QZs>
Figure 4.7: True Story: The Chained Oak does exist and can still be seen in the grounds of the towers and has lost many more branches, however no more deaths have occurred.
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<http://ludchurchmyblog.wordpress.com/places-further-afield/the-chainedoak/>
After the pre-show video ends, another set of doors open into another large and darkened vaulted room with grand, ornate pillars (refer to cover image). The room comprises of many well disguised theatrical elements and thematic techniques, designed to tie in with the story, and come into action as the entrance to the Earlâ&#x20AC;&#x2122;s secret vault is revealed. This lasts about three minutes before a final set of doors open and a pathway to the vault is revealed. It is at this point where the transition between the real towers and the purpose-built building occurs. Guests are ushered into the vault which appears to them as another ornately decorated room with the fallen branch from the story in the centre with rows of seats either side. The vault is a simulated environment within the ride simulator; a sit-down ride of which the outer shell is shaped as a container-like box which spins and rotates, simulating the feeling the room spinning upside down and out of control. This is to represent the magical attributes of the â&#x20AC;&#x153;curseâ&#x20AC;? cast by the beggar-woman in the story.
Of course, to enhance the believability of the vault really spinning out of control, it is important that the guests cannot tell they have walked into an obvious ride simulator, and so the interior of the container has used themed architecture to create the appearance and aesthetic of the interior of a normal room; a simulated environment of what the vault would have looked like. The entire interior of the container is made up of thematic and theatrical elements. Some of the elements will become responsive as the ride is moving, such as smoke machines and strobe lighting (Figure 4.8).
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Analysis
- The quality of the simulation within the environment
The ride simulator is extremely clever and effective in simulating the experience of the vault spinning upside down and out of control. Furthermore, the transition between real and simulated environments is extremely subtle and unnoticeable. Although it is obvious to some guests that the spinning room is some sort of simulator, the fact that many guests do not understand what is happening and come away not knowing or understanding how the illusion was done is testament to the quality and brilliance of the simulation and is the foundation for the theatrical elements to come into play while the ride is moving. What is also commendable about the simulation within Hex is its uniqueness. In the interview with John Wardley (refer to Appendix B) he comments on how, unlike many ride simulators, the simulated environment in Hex is more stimulating and engaging. “…it (Hex) actually requires you to engage your brain and think. So it came as a bit of a surprise when it first opened. But as the years went by and people expect less and less of Hex, they actually enjoy it more and more. So its popularity ratings have been steadily increasing over the years” (refer to Appendix B).
The uniqueness of the simulation overall is something that is arguably unparalleled any where else in the world at present. Because of the opportunity to integrate the attraction within such beautiful gothic architecture while also linking the story and concept, the experience is something that you cannot get anywhere else.
“I think Hex is very unique. (In the simulation) We play a diabolical trick on people to make them believe that they’re seeing a real piece of historic English architecture and then we trick them further. I don’t know if that’s ever been done anywhere else in the world, certainly not in a theme park. Disney have never had the luxury of a real piece A.D PRICE 2011 / 2012
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of history that they can use as a portal to enter a fake environment.â&#x20AC;? (John Wardley, 2012, Appendix B)
- The use of Thematic Design to help convey the story.
Thematic Design elements are heavily used in this ride attraction and are employed in a variety of ways to help convey the story about the cursed Earl of Shrewsbury. The television sets in the queue line communicate the background of the story while the pre-show video projection and voiceover of the narrator reveal the main story. Strobe lighting, air blowers, sounds and the spraying of water are utilized in room the where the revealing of the vault takes place (see cover image). The vault itself is where the most Thematic Design is apparent as it has been employed to simulate the aesthetics of the vault. All the interior architecture and furnishings are themed replicas and props that have been made especially, while the branch from the oak tree in the centre is also faked, presumably with glass reinforced plastic, with a convincing tree-like surface texture (Figure 4.8). Having the replica branch and a replica vault was an integral part of the concept and story. Where using a real branch and using a real vault made from concrete would not be possible or feasible, Thematic Design is able to produce light-weight objects and shells that can be given a variety of convincing surface treatments, rapidly reducing the cost and being quicker to construct.
- The sum experience created by the Thematic Design in the environment.
The sum experience created by the Thematic Design is a very theatrical and enjoyable one. It succeeds on being even more enjoyable aided by the uniqueness and quality of the simulation. As the ride simulation takes place, thematic techniques such as the recessed smoke machines and mixture of lighting effects come into action and help give a magical and mysterious effect to the branch in the centre of the room (see Figure 4.8). When all these elements happen together it is not overpowering A.D PRICE 2011 / 2012
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nor does it make guests feel dizzy or nauseous; they in fact harmonise with each other and rouse the senses, adding to the excitement and anticipation as the ride gets underway. The themed architecture is done well and pays attention to the aesthetics of the period in which the story is set. It is believable and executed in an immersive way that encapsulates the guests, again stimulating anticipation.
Figure 4.8: Thematic Design elements in action as the ride simulation starts. <http://www.towersalmanac.com/areas/rides.php?id=19>
- The authenticity and detail of the Thematic Design.
To say the entire environment where the simulation takes place is themed entirely to look like the period style vault room, the authenticity is commendable. The Thematic Design is clearly very advanced and has been done with care and precision; the attention to detail where it is needed is very impressive and does in fact make one question if it some of it is real or not.
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“People are never quite certain whether that architecture they’re in is real or fake and when you go into the vault itself the replication of the interior architecture is so good that most people think that, although some people realise there’s something a bit fishy, they’re not actually certain that they’ve actually left the real Alton Towers or the towers building and have in fact entered a very modern building tucked away at the back.” (John Wardley, 2012, Appendix B)
Table 4.2: Numerical Rankings for Hex: The Legend of the Towers Criterion
Ranking (1-5)
The quality of the simulation within 5 (Excellent) the environment
The use of Thematic Design to help 4 (Very Good) convey the story
The sum experience created by the 4 (Very Good) Thematic Design in the environment
The authenticity and detail of the 3 (Good) Thematic Design
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4.4 Cadbury World
Date visited: 06.04.2012 Duration of visit: 3 hours
Findings
Zone 1 to 5 of the Cadbury World attraction tells the story of how John Cadbury started producing his famous Dairy Milk chocolate. The start of the attraction beings with a simulated environment; a tropical Aztec rainforest â&#x20AC;&#x201C; the home of the cocoa bean â&#x20AC;&#x201C; made entirely using Thematic Design, and tells the story of how the Aztecs began to realise its potential and started harvesting it. Further on, the attraction shows visitors how the beans were transported to Europe where they were processed and sold to the wealthy to enjoy as drinking chocolate. This is achieved with hologram projection as prerecorded moving imagery of real people is scaled down onto a set or scene like the example in Figure 4.9.
Figure 4.9: The rooms are populated with moving holograms, saving the need for real actors to repeat themselves while performing to a many people passing by. (Photo taken by Author, 2012) A.D PRICE 2011 / 2012
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A full-scale replica of the street and shop were John Cadbury first established himself as a seller of teas and drinking chocolate is found in zone 3 (see Figure 4.10). Again, the environment is entirely made up of theming and thematic elements as John Cadbury himself appears as a projection on the wall to tell his story. Visitors then enter a room of the street where he appears once more, alongside his two sons, who help tell how Cadbury started experimenting with the cocoa to make solid chocolate. This is also done by using projected moving imagery.
Figure 4.10: Spot the robot: wax characters are found within the recreated street scene on the way to John Cadbury’s shop (Photo taken by Author, 2012).
Lastly, visitors move into a final room and sit on rows of low seating. This is where thematic design is employed to help better communicate the actual process of making chocolate, using the cocoa bean, cocoa butter and milk, amongst other ingredients. As another video projection is played onto a large screen, parts of the room start to come “alive” as they respond to the type of action being carried out in the chocolate making process. For example, when the video shows how the cocoa beans are shaken and filtered, the seats actually shake, side to side, evoking quite a mixed reaction from a group of A.D PRICE 2011 / 2012
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diverse age ranges (see Figure 4.13). The movement again happens when liquid chocolate is shown being shaken to remove all its air bubbles. This is the same for actions such as baking the cocoa beans (electric heaters are switched on around the room) and pressing the chocolate to make it flat (oversized rotating rollers are lowered from the ceiling as though they are about squash the visitors. This proved to be a fun and entertaining experience for all ages and raised lots of smiles. Again, thematic design with mechanical elements has been used to make a fun experience out of something educational.
Analysis
- The quality of the simulation within the environment
The simulation of the Aztec rainforest is done well but does not reach the standard seen at JVC. The majority of the simulation is made up of artificially crafted tree and foliage while a faux rock path leads the route through the environment. Waxwork figures of the Aztec people are seen in and amongst the theming but this time they are still and expressionless (see figure 4.11). While it was quite interesting nonetheless, the simulation of the chocolatemaking process felt less encapsulating and used a few types of mechanical theming to simulate some of the motions involved. It is evident this is not meant to be so much as an immersive experience but does lend itself the element of surprise. Overall it was disappointing to note, at the time of the visit, that the Thematic Design across both simulations looked very tired and worn-out indicating that it may not have been replaced or repaired properly since it first opened in 1990. This of course, along with some technological failures along the way, depreciated the quality of the simulation, taking away from the overall experience.
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Figure 4.11: The themed characters in Aztec Jungle are “still-life’s” and do not move. The feeling is very much walking through a frozen moment in time (Photo taken by Author, 2012).
Figure 4.12: The theming in some areas looked tired and dated (Photo taken by Author, 2012).
Figure 4.13: The moving seats (Photo taken by Author, 2012). A.D PRICE 2011 / 2012
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- The use of Thematic Design to help convey the story.
The use of mechanical elements using physical feelings to better demonstrate how certain actions are performed during the chocolate-making process proved very entertaining for all ages. Engaging the visitors in this way not only won their divided attention but managed to educate the story in a more involving fashion. As well as the imagery and video projections, themed display boards show information about the Aztecs and the cocoa bean line the path in the rainforest simulation providing an insight into the Aztec civilization and the discovery of the bean which is suitable reading for both children and adults (see Figure 4.14).
Figure 4.14: As well as visual information, themed backlit display boards convey written information to visitors (Photo taken by Author, 2012).
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- The sum experience created by the Thematic Design in the environment.
As previously mentioned, thematic elements within the chocolate making simulation make for a fun and entertaining experience with the added element of surprise, but as far as theatrical elements within the rainforest simulation there are no real surprises or theatrical encounters to be had apart from interpreting the tropical environment that the Aztecs lived in. The general feel is to walk around and observe the environment on offer while reading the information presented, and then letting oneâ&#x20AC;&#x2122;s imagination to take control.
- The authenticity and detail of the Thematic Design.
The authenticity of the Thematic Design across all of the first 5 zones is of a disappointing standard due a few poorly timed mechanical failures and some obvious wear and tear in some areas. However, it does still achieve a slight sense of escapism particularly in the rainforest simulation where tropical sounds, mechanical room climate control and water are present amongst the environment, alluding to a feeling of realism as one passes through. But, it goes without saying that the attention to detail is of much less quality than the previous case studies and does not evoke any real sense of hyperreal to the younger generations.
Despite the theming looking rather worn-out, overall, considering this is a venture conceived by the Cadbury company themselves with their own investment, it is a creditable experience that does what it says on the tin; to tell the Cadbury story in a fun and educational way.
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Table 4.3: Numerical Rankings for Cadbury World Criterion
Ranking (1-5)
The quality of the simulation within 3 (Good) the environment
The use of Thematic Design to help 3 (Good) convey the story
The sum experience created by the 3 (Good) Thematic Design in the environment
The authenticity and detail of the 2 (Disappointing) Thematic Design
4.5 Interview Answers
Please refer to Appendix B for the interview dialogue sheets containing the questions and answers.
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4.6 Summary
JVC is a mass visual accomplishment worthy of attention from even the most sceptical critics of Thematic Design. It is highly praiseworthy simulated environment which pushes the boundaries of Thematic Design to a whole new level â&#x20AC;&#x201C; the level of the hyperreal, and has set a 21st century benchmark, ultimately raising the bar for Thematic Design and steering it away from its tired and clichĂŠd reputation.
Hex: The Legend of the Towers is a simulated experience worthy of international recognition. Its unique character given by the period gothic architecture, both externally and internally and the seamless transition between real and fake environments make it a must-see experience for all. Further to this, the Thematic Design has been executed in a dramatic and stimulating way and does a successful job in heightening the theatrical elements of experience while helping to convey the folklore legend.
Cadbury is one of the first companies to use Thematic Design within multiple simulated environments to tell the story and history of the company. The experience on offer has been received extremely well by the public and its increased success since opening has inspired many other companies to adopt the same technique.
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Chapter 5:
Thematic Design: Discussion
This chapter is seeks to probe into the current feasibility and effectiveness of Thematic Design within simulated environments in the wider context while triangulating the theories of John Wardley and other secondary. It goes on to relate to the discussion the combination of primary research findings with the analysis of secondary research findings.
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5.1 Popular Criticisms
When Thematic Design could only be found in the theme park and theatre environments it was not picked on, but celebrated by many as the thing to do to escape from mundane routines. Nowadays the latter is still true, but over the years as many companies and individuals have applied thematic techniques seen in the theme park and theatre industries to their restaurant, nightclub, retail and leisure businesses on much smaller budgets it is easy to see why the reputation of Thematic Design has taken such a pounding by critics and sceptics across all industries. Perhaps the heaviest hit is the restaurant industry as many restaurateurs are choosing to turn their eateries into themed environments that reflect the style and nature of the cuisine they are serving. Unfortunately, some are guilty of having pushed the boundaries a little too far; focussing more on the theming than the food they are serving, providing ammunition for sceptics to pan the idea of the themed restaurant. Last year Marina O’Loughlin, restaurant critic for the Guardian newspaper, found it hard to come to terms with the “bizarreness” of the latest examples in her article on Themed Eateries (O’Loughlin, 2010). “Have you ever had a decent dinner in a themed restaurant?” she asks readers. Her previous themed experiences within restaurants - “From the purgatory endured by taking children to the Rainforest Café (sub-TGI's food heavily reliant on the deep fryer and dodgy animatronics that actually put the fear of Armageddon into the kids) to the hilariously awful Dans le Noir” - have had such a negative effect that she now expects all others to follow the same suit, alluding to the fact that the quality of thought put into the design of the theming is more than that is put into the quality of the food being served.
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Figure 5.1: Bad food? O’Loughlin says she would be astonished if the food in newly opened African-themed restaurant Shaka Zulu in Camden was any good, despite not having visited yet. (O’Loughlin, 2010) <http://petedeco.com/interiors/shaka-zulu/>
O’Loughlin points to overseas where she does a good job at attacking some of the more obscure and outrageous examples of themed restaurants which include Marton, a toilet-themed diner, Chain Cool, a prison-themed restaurant, Ninja Akasaka, a ninja-themed restaurant and The Hobbit House, unsurprisingly run by a Lord of the Rings enthusiast. She goes on to state how, as a restaurant and food critic, she cannot comprehend why some of these plain weird dining venues are not only still running but are in fact becoming increasingly popular.
“Nowadays, there's something about theming that just screams impossibly naff. The maddest thing is how many of these extraordinary gaffs not only survive, but thrive (see the aforementioned Dans le Noir (Clerkenwell) and Manchester's Hellfire Club, whose menu items include Creature of the Swamp and Cannibal Holocaust, "served with a selection of garnish vegetables and potatoes or chunky chips").” (O’Loughlin, 2010)
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John Wardley (refer to Appendix B) is able to lend a machete to her thicket of bewilderment as he alludes to the reason why people love going to theme parks; “people enjoy leaving the everyday world and indulging in unique and extraordinary experiences, so long as it is done in a safe and healthy manner”. But he goes on to admit that many themed places suffer the fate of a short lifespan, explaining that “After you’ve been there a few times the razzmatazz begins to wear a bit thin. So it’s alright once or maybe twice but these sorts of facilities tend to last a couple of years and then disappear” (refer to Appendix B).
However, it is important to note that in a society where many things that would have once shocked or confused people of an older generation these things are now viewed as entirely normal to the majority. Different people have widely differing personal tastes and fantasies. There are and unpredicted gaps continuingly developing within niche markets that are being exploited as people cash in on other people’s personal and unique taste, which is ultimately increasing the opportunity for not just restaurants but all entertainment and leisure venues to use Thematic Design.
5.2 21st Century Influences
As Thematic Design has evolved, fluctuations in trends and fashions have greatly affected its usage in different ways. Perhaps the most recent and positive influence has been the emergence of animation within contemporary culture. This influence, among many others, is part of many rapid expansion drivers that are helping to fuel the further evolution of Thematic Design.
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5.21 Animation and The Experience Economy
The process of animating things beyond what there were initially conceived to function as is something that is being seen more and more in today’s society, particularly for leading industry players in an ever increasingly image and brand-conscious world.
The subject of animation is one that has been deeply investigated by Kristin Feireiss in her book Form Follows Fun. She explains how the need for deeper connections between people and space has become a catalyst for animation, needed to fuel an experience-led economy; “Today, everything and everyone is exposed to animation and there seems to be no escape: a bank is no longer a bank, but an experiential finance department store” (Feireiss, 2004, p. 12). Her views are preceded and supported by various articles and publications relating to the coining of the term “The Experience Economy” which was first described by B. Joseph Pine II and James H. Gilmore in 1998 <http://en.wikipedia.org/wiki/The_Experience_Economy>. It was thought that the Experience Economy would follow on from the previous “Service Economy” as they argued more businesses would be striving to conduct memorable events for customers, in the hope that the experience of the service would become the “product” (for which they would be able to justify charging added value for its uniqueness) (Pine B, J II and Gilmore J, H. 1999). Of course, this predication soon developed into a reality and this is how animation has naturally permeated the fields of architecture, interiors and urban planning as the design of spaces and places became the platforms used to host and generate the experiences. Creative design techniques have been summoned in the retail sector because today, many market research analysts will recommend experience-orientated retail stores because the ambience within store has become the principal motivation for consumer choices; “If the ambience lives up to the expectations, customers stay longer, customer numbers grow and sales increase. At the same time, a distinction is made between pure supply consumption and A.D PRICE 2011 / 2012
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experiential consumption”. (Feireiss, 2004, p. 34). This is supported by findings in the Journal of Consumer Research where "The Experiential Aspects of Consumption: Consumer Fantasies, Feelings, and Fun" which examined connections between emotional experiences and products and services (Morris and Hirschman, 1982, pp. 132 – 140).
The phenomena has been so successful that something of a trend has been born, meaning that for a place or brand to be deemed contemporary, you offer an experience (Feireiss, 2004, p. 12). In other words, offering experiences has become fashionable, and more importantly, desired by many. So, naturally, with this contemporary hunger for experiences, many companies have been looking towards ways of creating experiences, and this how Thematic Design, whose aim has always been to create experiences, has steadily been brought into play and continually developed by creative’s aiming to generate playful and escapist experiences like those seen in theme parks. Wardley (refer to Appendix B) is fully supportive of Thematic Design branching out and being used in other types of simulated environments within buildings, providing it enhances - not detracts - from the whatever the function of the building is, explaining it does not have a place within a public building with a serious function, such as an art gallery or museum.
5.22 Technological Advancements
Wardley’s view (refer to Appendix B) on technological advancement is interesting; “Advances in technology don’t really help Thematic Design. It’s really the media that you use to create the show or the (simulation) that has advanced in technology. And then the thematics are wrapped around that”. So, rather, it is the medium used to create the theming that are subject to technological improvement, such as innovations in construction processes and materials.
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“There aren’t advances in the way the theming is done; it’s the nuts and bolts of whatever the heart of that attraction is that is advanced.” (John Wardley, 2012, see Appendix B).
Traditional Thematic Design has always relied on quality craftsmanship and good prop and scenery making skills to create the physical elements of the theming. But with modern developments in the processing and manufacturing of artificial elements used within simulated environments this means that less time and money is needed for manual craft and labour, giving a quicker and more feasible turn-around during the construction and implementation phases. As well as this, rapid advances in material and mechanical technology have allowed for more realism and interaction with Thematic Design, at a more economical cost. They are becoming more widely available to clients with smaller budgets and providing better immersion in environments which increases their believability, ultimately heightening the ability to provide a better sense of escapism. Furthermore, the 21st century advancements in building technology such as MMC have dramatically raised the efficiency and feasibility of more sizaeble themed projects, such as those found within leading theme parks like Disneyworld. Fig 5.2 (see overleaf) shows Universal Orlando Resorts’ latest addition; the monumental achievement of The Wizzarding World of Harry Potter.
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Fig 5.2: Wow factor: A reproduction of Hogwarts at Universal Orlando dominates the skyline. <http://www.oneyeartrip.com/2010/07/exploring-wizarding-world-ofharry.html>
It is without doubt the technological advancements which helping to revive Thematic Design’s tarnished and sometimes parodied reputation of being “naff” and cliché, leading many to re-assess its potential as an attractive and contemporary theatrical and interactive solution when creating experience-led environments. Wardley (refer to Appendix B) believes it is a case of “gradual, steady advancements”, building on existing technology and experimenting with the how different technologies can be combined, like using dynamic simulations with 3D projection systems.
“There’s going to be more audio visual systems, more innovative transit systems, in order to take people on some kind of story or adventure”. (John Wardley, 2012, Appendix B)
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5.3 A Growing Demand for Escapism?
In this age many of us are living increasingly demanding work-orientated lifestyles. For some the 40 hour-week is unheard of as very often businesspeople and professionals commit to work-based tasks and duties that extend far beyond the typical 9-5 working hours. Of course, there are times when things take their toll and the mind needs to rest or be free to wander. Much like the way our bodies need to rest and rejuvenate after a heavy workout, there seems to be every truth in the sense that this applies to our minds also. Perhaps this is the reason for - like the leisure boom of the 90’s leading to a “pursuit for happiness”, described in the Architects’ Journal (1988) - a further increase in demand within the entertainment industry as people seek to escape the often mundane realities of the everyday world. Wardley (refer to Appendix B) believes there has “always been a demand for escapism” and that its place within the entertainment industry is neither growing nor shrinking; “The entertainment industry has a mission and that is to help people escape into another world and I don’t think that’s changed at all.” So if there has always been a supply of demand for escapism in theme parks theatre and now in shopping malls and cultural attractions then how has this affected the psychological aspects of people when experiencing them, and in particular, the using of Thematic Design to help provide the escapism.
As explored in chapter two, some escapist environments such as third-order simulations can verge on the hyperreal, where it is not possible for some people to tell the difference between what is real and what isn’t. Is it possible that too much fakery and artifice in simulated environments using Thematic Design is having negative effect on people? Wardley (refer to Appendix B) thinks not. “It can be a good thing in the right hands, I think if people realise their mission is just to entertain and not to do anything else and then there’s nothing wrong with that but in the wrong hands it is of course not a good thing”. Like the views expressed by Umberto Eco in Chapter 2 he too refers to A.D PRICE 2011 / 2012
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the sense of hyperreality demonstrated at Disney’s Adventureland, “You go on the Jungle Cruise and it’s quite difficult to work out whether the animals are real or not”. Of course for many simulated environments the hyperreal element is the whole point of using Thematic Design in the first place; to purposefully make it impossible to tell if it is fake and provide ultimate realism for whatever it is simulating, hence providing enough immersion for the user gain the sense of escapism. Psychologically, to some extent, people know they are about to engage in a simulated environment because they have been told they are about to or have know that it is impossible to experience that environment in the place they currently are. The only thing that matters is the believability once they cross the threshold, which will then allow their brain to be “transported into another world” (refer to Appendix B). There are many psychological aspects that can help enhance the believability of these simulations; namely the targeting and heightening of the human senses. Wardley (refer to Appendix B) believes that the more senses that Thematic Design can trigger, the better the experience will be; “…it’s not just a case of sights and sounds…you could go as far as smells and touch and that sort of thing”. This is something that JVC has succeeded in doing which has helped to make it one of the most immersive thematic experiences in the country.
5.4 Industry Success
Now that many successful experiences in the style of the theme park have been have become fixed cogs on the wheels of the leisure and entertainment industries, a new form of architecture has emerged based on the merging of selling and amusement (Feireiss, 2004, p, 14). Feireiss explains this trend “has also emerged in entirely different types of buildings, such as museums, tourist architecture, public pools, “car cities” or banks, all of which integrate the experiential function” (2004, p. 14)
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Despite claims from Neil Postman, in his book Amusing Ourselves to Death, that cultural activity has been broken down as a result of commercial illusionism, it can be argued that many modern success stories have actually encouraged more people to visit and partake in cultural offerings by redelivering them in a more fun and interactive way using Thematic Design. The birth of new words such as infotainment and edutainment are proof that a contemporary movement towards mixing entertainment with information and vice versa has been established (Feireiss, 2004, p. 48). With Thematic Design’s abilities to offer an immersive “show” containing a story or narrative it is no wonder why it has been used successfully within cultural attractions like JVC, and most recently, on the eve of its 100th anniversary, the new Titanic Experience in Belfast which uses the techniques of Thematic Design to interactively re-tell the tale of the ill-fated ship within multiple simulated environments <http://www.titanicbelfast.com/Navigation/The-Titanic-Experience.aspx>.
Figure 5.3: The Titanic Experience presents recreated simulations of various on-board rooms with themed elements like projections, seen here, to provide an immersive educational experience. <http://www.zimbio.com/pictures/UTt77uRmSUU/Belfast+Titanic+Centenary/F EyqQUYMqQT>
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It is no coincidence that more and more Thematic Design is being seen in simulated environments that are emerging quicker than ever. York’s Sweet Story is the latest visitor attraction to open in the city which tells the story of York’s significant history with chocolate, being the home of the Rowntree and Terry families. One cannot help distinguish many similarities between this facility and the Cadbury attraction and that York’s Sweet Story has clearly been inspired by the success of Cadbury World in Birmingham.
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Chapter 6:
Conclusions and Recommendations
This concluding chapter looks upon the study as a whole, summarising what has been found, how the findings relate to the study objectives and goes on to explain how the translating of the findings into solid conclusions are viable and valid.
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6.1 Research Findings Summary
The research findings of this study have proven fruitful. The primary research in particular has exercised some positive and interesting notions which shed light on the further potential of Thematic Design as a powerful contemporary technique.
The review of literature in the area in chapter two was successful in providing a deeper understanding of the subjects in question as it investigated the use of simulated fakes and recreations by examining contemporary critical thoughts. Furthermore the findings as a whole have satisfied the study aim of exploring and investigating the use of simulated environments and discovered how using Thematic Design within them can help convey information in the form of stories and narratives, whilst giving theatrical and escapist user experiences.
6.11 Relation to Study Objectives
In chapter four the first-hand case study visiting of popular simulated environments that successfully used Thematic Design in cases where it helps communicate / recreates stories or narratives allowed for a deeper understanding of the nature and usage of the technique. Conducting observations that were based on design criteria provided intellectual thought on the success factors. And the analysis of the findings and the interview answers from John Wardley in chapter five joined with further secondary sources to confirm the findings drawn from the case studies. This also helped determine the psychological effects of the technique in relation to providing a sense of escapism. Discussion of the topic as a whole gave insight into the modern influences that are shaping the future of Thematic Design, and together with the
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research findings, came together to provide a solid platform on which to base the concluding statements on.
All of the secondary findings have correlated with the primary case study findings which have been analysed to put forward lucid conclusions relating to the critical success factors of Thematic Design within simulated environments. They have therefore been able to support an argument related to determine whether the technique should be given more investigation by contemporary designers.
6.2 Limitations
As a whole, the study findings have been limited by a shortened feasibility of visiting more primary case study examples due to time and cost restrictions related to travelling. They have also been limited because of the impracticality of interviewing or questioning a suitable number of visitors at the case studies to determine their personal thoughts of the experiences they have had. However, the theoretical nature of the study has meant that the findings are sufficient enough to provide supported statements.
6.3 Concluding Statements
The following statements have been founded by analysis of the success factors that were discovered during the case study visits. They have been backed and verified by the theories of a professional who has operated within the relevant industries during a detailed interview and have been further validated by theory triangulation of secondary sources.
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Throughout the study we have seen how Thematic Design within simulated environments has been able to help communicate stories and narratives and immerse users in theatrical and escapist style experiences. In JVC, arguably one of the most immersive educational and entertaining visitor attractions in the country, Thematic Design was used to simulate an experience that would otherwise be unachievable without it; the experience of travelling back in time to move around a Viking-age village. We learnt that use of the 3D CAD software to model all the props, scenery and themed architecture was based on the findings of objects lifted from real excavation sites within the city. The use of mixing this with Thematic Design has given the simulated environment the highest degree of detail and accuracy, meaning that it is the most correct and closest experience anyone can get to seeing a “real” Viking settlement. In Hex: The legend of the Towers, Thematic Design ensured the continuation of the concept and story; giving visitors an experience that lead them to believe they were still in a real part of the towers, before the ride simulation took place. The seamless and successful integration of Thematic Design and simulated environment with the real Grade II listed gothic architecture makes this attraction unlike any other, giving it the best unique selling point. In Cadbury World Thematic Design was used to convey the story of the Cadbury Company and how it produced its chocolate as it took visitors on a journey through different zones, providing an entertaining experience using theatrical and mechanical simulations. This is a successful application of Thematic Design by a large international company and is inspiring many others who have a “story to tell” to do the same.
Thematic Design is now being used as a key technique in a movement that is fast emerging within contemporary architecture; the supplying of buildings with experiential character, employed to evoke specific feelings and emotions like escapism. The primary aim here is to “stimulate, to encourage, to set a mood or awaken pleasure – and to do so by a wide variety of means” (Fiereiss, 2004, p. 14). We have seen how the movement is occurring mostly
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within buildings of leisure and entertainment orientated nature but the coining of the new words “infotainment” and “edutainment” mean that it is recently being linked to buildings of educational and cultural value, with equal success.
The movement is fuelled by the changing of “economies” between the old Service Economy and the new Experience Economy. It is because of this that Thematic Design, like animation, brandishing a modern and revived reputation, has moved stealthily into everyday life and has solidified its relationship with architecture and interior design in a manner that is no longer trivial to the architects and designers themselves (Fiereiss, 2004, p.12). The Experience Economy is driving clients to request experiential character within their places, spaces and environments, particularly within the entertainment industry, whose mission has always been to supply a steady demand for escapism. The movement as a whole is the worthy warrant for architects and designers – especially whose bodies of work focus on designing for the entertainment sector – to make themselves aware of and become proficient in using Thematic Design as a technique to create experiences within simulated environments that provide the ultimate and most immersive escapism.
6.4 Guidance and Best Practise
The following advice is based on the critical success factors found within the case studies and relates to how architects and designers must use Thematic Design to achieve best practise.
It is important to remember that with Thematic Design you are creating a show or an experience that is wrapped around a theme – not simply a place with interior motifs – and that it combines elements such as themed architecture, materials, scenery, props, lighting and interactive and responsive technology to create these shows or experiences. A.D PRICE 2011 / 2012
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For Thematic Design to be most successful it should be used in an simulated environment or must boast some unique selling point such as a story to tell or something worth experiencing, in order to market the venue or attraction; just creating a thematic environment on its own is not a commercial viability, even if it can provide some sense of escapism. For example, all of the case studies that were visited in the study each had their own story to tell within a simulated environment that was the selling point; JVC told the story of the York Vikings; Hex was a simulated ride attraction based on a true folklore legend and Cadbury world told the story of the company and its chocolate making; these are all unique selling points which can be marketed well.
“It would be great if we had the money just to simply create themed environments. But the British public wouldn’t accept that; they want some dynamic or mind-blowing experience within that theme” - John Wardley (refer to Appendix B)
6.5 Personal Reflection and Future Research
The investigation and the study findings have been of great personal interest and the undertaking of the study as a whole has been both enjoyable and rewarding.
The study has provided a deeper understanding of how the subjects of Simulation, Thematic Design, Experiential Design, Escapism and Hyperreality are all interconnected. As well as this the conduction of the research has shed light on new and interesting lines of inquiry to pursue in the future. These include Mimesis and Bio-mimicry, Animation and further research into Hyperreality.
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References
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References
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Journal,
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Alexander, P (2005). Theme Design Vs. Architecture, Totally Fun Company. <http://themedattraction.com/theme_design_vs_architecture.htm> [Accessed 03.11.11]
Baudrillard, J (1983). Simulacra and Simulations, New York, USA: Semiotext(e)
Beilharz A, K and Reffat M, R (2004). Thematic Design and Efficiency in Virtual Environments Using Metaphors, Faculty of Architecture, University of Sydney, Australia <http://csdl.computer.org/comp/proceedings/mmm/2004/2084/00/20840371.p df> [Accessed 03.11.11]
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Eco, U (1995). Travels in Hyperreality, London: Minerva
Feireiss K (ed) (2004). Animation: Form Follows Fun, Boston, Berlin: Birkhuaser.
Fells, J (2011). Themed Environments, BA (Hons) Illustration University of Westminster, Dissertation Study.
Gottdiener, M (2001) (2nd Ed). The Theming of America: American Dreams, Media Fantasies, and Themed Environments, USA: Westview Press.
Halliwell, S (Trans) (1987). The Poetics of Aristotle Chapel Hill: University of North Carolina Press
Holbrook M. B. and Hirschman E C (1982). The Experiential Aspects of Consumption: Consumer Fantasies, Feelings, and Fun, Journal of Consumer Research. USA: The University of Chicago Press, Vol. 9, No. 2, pp. 132-140.
Horrocks, C and Jevtic Z (1996). Baudrillard for Beginners, Cambridge, England: Icon Books
Jowett, B (Trans) (1908). The Republic Of Plato, Oxford: Clarendon Press.
Mann, D (Date not given). Baudrillard: A Very Short Introduction, Publish Web Server, USA: The University of Western Ontario, <http://publish.uwo.ca/~dmann/baudrillard1.htm> [Accessed 19.11.11]
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O'Loughlin, M (2010). The 'cannibal restaurant' and other themed eateries The Guardian <http://www.guardian.co.uk/lifeandstyle/wordofmouth/2010/aug/27/cannibalrestaurant-hoax> [Accessed 03.01.12]
Pearsall, J (2002). Concise Oxford English Dictionary (10th Ed), USA: Oxford University Press Inc, p.1338.
Pine B, J II and Gilmore J, H. (1999) The Experience Economy: Work Is Theater & Every Business a Stage, USA, Boston: Harvard Business School Press
Postman, N (2006). Amusing Ourselves to Death: Public Discourse in the Age of Show Business, London: Penguin Books
Sanes, K (2011). Travelling Through Hyperreality with Umberto Eco, Transparency Now. <http://www.transparencynow.com/eco.htm> [Accessed 21.11.11]
Sokolowski, J.A. and Banks, C.M (2009). Principles of Modelling and Simulation, New Jersey, USA: Wiley, p.6.
Sontag, S (2008). On Photography, London: Penguin
Topor, J (2002). Simulation, Simulacrum, USA: The University of Chicago: Theories of Media.
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<http://csmt.uchicago.edu/glossary2004/simulationsimulacrum2.htm#_ftn7> [Accessed: 19.11.11]
Tracada,
E
(2012). Research Methods and Deadlines,
(Powerpoint
presentation) Faculty of Art Design and Tecnology: University of Derby.
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Bibliography
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Bibliography
(2012) Jorvik Viking Centre http://www.jorvik-viking-centre.co.uk/about-jorvik/
(2012) The Chained Oak <http://en.wikipedia.org/wiki/Chained_oak>
(2012) The Persians <http://en.wikipedia.org/wiki/The_Persians>
(2012) Titanic, Belfeast <http://www.titanicbelfast.com/Navigation/The-Titanic-Experience.aspx>
(2012) Yorkâ&#x20AC;&#x2122;s Sweet Story http://www.yorkssweetstory.com/
(2011) Asia's next generation theme parks, BBC News <http://news.bbc.co.uk/1/hi/programmes/fast_track/9637666.stm> [Accessed 14.11.11]
(2011) Hex: The Legend of the Towers http://old.towerstimes.co.uk/history/construction/hex/hex.htm and http://old.towerstimes.co.uk/attractions/towers/hex.htm [Accessed 03.01.12]
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(2008) Towerscrazy, Alton Towers - Hex The Legend Of The Towers Preshow 1 <http://www.youtube.com/watch?v=cHrPA5--QZs> [Accessed 03.01.12]
Dunlop, B (1996). Building a Dream: The Art of Disney Architecture, New York: Harry N. Abrams, Inc
Fjellman S.M (1992). Walt Disney World and America, USA: Westview Press
Lucas, S.A (2008). Theme Park, China: Reaktion
Marling K.A (ed) (1997). Designing Disneyâ&#x20AC;&#x2122;s Theme Parks: The Architecture of Reassurance, Paris: Flammarion
Michael, C (2008). Tokyo's theme restaurants, The Guardian <http://www.guardian.co.uk/travel/2008/nov/27/tokyo-theme-restaurantsjapan-food> [Accessed 09.01.11]
Reed, A (2012) Simulacra & Hyperreality <http://andrewrreed.com/Writings/theory-rants-2/simulacrahyperreality#_edn2> [Accessed 03.01.12]
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Appendices
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Appendix (A): - Supervision meeting logs [typed up from original documents]
Meeting Log Sheet 1 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 11.10.11
Time: 4pm
Student’s summary: Progress since last meeting NA
Issues to be discussed: Choice of study topic and subjects Initial title of study Look over ethics form
Supervisor’s comments: Amend ethics form to suit. Re-word title
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 11.10.11
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Meeting Log Sheet 2 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 25.10.11
Time: 4pm
Student’s summary: Progress since last meeting Amending of ethics form Changing of title
Issues to be discussed: Aims and objectives Progress report
Supervisor’s comments: Shorten the aim Re configure the objectives
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 25.10.11
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Meeting Log Sheet 3 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 08.11.11
Time: 4pm
Student’s summary: Progress since last meeting Revision of Title Revision of Aims and Objectives
Issues to be discussed: Primary Research Sources Methodology Suitable contacts
Supervisor’s comments: 3 Case Study Visits with thorough observational analysis Speak with Phillip Hunt about Alton Towers
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 08.11.11
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Meeting Log Sheet 4 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 22.11.11
Time: 4pm
Student’s summary: Progress since last meeting Primary Research plan Most secondary Sources found Chatted with Phil
Issues to be discussed: Progress Report Dissertation Structure
Supervisor’s comments: Advice given on the dissertation body and structure.
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 22.11.11
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Meeting Log Sheet 5 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 06.12.11
Time: 4pm
Student’s summary: Progress since last meeting Progress report final draft completed Majority of introduction section written
Issues to be discussed: What should be done do over Christmas holiday
Supervisor’s comments: Amend progress report Carry out as much primary research as possible
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 06.12.11
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Meeting Log Sheet 6 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 13.12.11
Time: 4pm
Student’s summary: Progress since last meeting Preparation for Presentation and In-course interview Re-amended progress report
Issues to be discussed: Contents list and dissertation breakdown
Supervisor’s comments: Prepare a sheet with all the chapters and sections of the dissertation for approval after Christmas
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 11.10.11
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Meeting Log Sheet 7 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 07.02.12
Time: 4pm
Student’s summary: Progress since last meeting Phase 1 work submitted. Contents list and draft structure 1 of three case studies observed
Issues to be discussed: General progress over Christmas Case study findings
Supervisor’s comments: Amend contents list Need better selection and observation criteria for case study
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 07.02.12
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Meeting Log Sheet 8 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 21.02.12
Time: 4pm
Student’s summary: Progress since last meeting Literature review finished And all other chapters started
Issues to be discussed: Further structuring Referencing and Appendices
Supervisor’s comments: Alter structure given information on referencing and appendices
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 21.02.12
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Meeting Log Sheet 9 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 06.03. 11
Time: 4pm
Student’s summary: Progress since last meeting Writing up of chapters
Issues to be discussed: Type and detail of chapter information / content
Supervisor’s comments: Guidance given on ensuring all paragraphs and chapters follow on properly from each other
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 11.10.11
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Meeting Log Sheet 10 (to be completed for each formal meeting between student and supervisor and put in appendix in the dissertation/report document) Date: 27.03.12
Time: 4pm
Student’s summary: Progress since last meeting Writing up on chapters References and bibliography
Issues to be discussed: References and bibliography checking
Supervisor’s comments: References and bibliography checked and feedback given
Supervisor’s signature:
Date:
Student’s signature: A.D Price
Date: 27.03.12
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Appendix (B):
- Interview dialogue with John Wardley Date: 22.03.12 Type: Telephone Conversation Duration: 1 hour approx 1 Why do you think the idea of escapism and being transported into a different world for a day appeals to so many people particularly in today’s society? I think everybody enjoys leaving the everyday world in a safe and healthy manner. Not everyone has the capacity to do it within their own fantasy and within their minds without a little bit of help, and therefore going to a theme park feeds those fantasies and allows people to step out of the mundane world that they might live in and perhaps indulge in some of their fantasies for a short period of time. 2 How well do you think the quality of Thematic Design in an environment can help transcend users into a state of escapism? Well it’s fairly important because we use an expression in our industry of “allowing the magic to leak out”, and if you’re in an environment that isn’t convincing such that you can’t absorb yourself in it and that you’re constantly seeing glimpses of that outside everyday world then the fantasy isn’t complete. So it’s pretty important that you take it to a level that allows a degree of disbelief. Now what that level is if you take the ‘ultimate’ which is what Disney achieves where they have gigantic budgets that allow them to ensure that every last detail is totally convincing then that’s great. But it really is just a case of taking it as far as people need in order to indulge themselves in that fantasy. 3 Do you think people have to be fully immersed in Thematic Design to feel escapism or can the effect be achieved by targeting and focussing on certain areas of an environment? We can help enormously by distracting people with a very immersive experience such as a rollercoaster for example. When you’re riding a rollercoaster your mind does not tend to wonder; it’s totally preoccupied with the physical sensations of riding that ride. So that in many respects allows you
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to have not the most complete scenic or thematic experience but you’re using the very intense experience of a ride in order to blot out the outside world. 4 Do you think escapism has to trigger all of the human senses to leave a lasting effect on someone? Well, the more senses the better in many respects and so it’s not just a case of sights and sounds, but I suppose you could go as far as smells and touch and that sort of thing. But yes, the more senses that you can bring in, then the more complete the immersion is. 5 Can you draw on any major constraints or drawbacks associated with creating places of escapism for people? Well there very mundane I’m afraid. The main restraint, particularly at Alton Towers, is planning restrictions. The restraints aren’t just financial, they’re legislative. One obviously has to make everything 100% safe so that’s a restriction that is in fact very proper indeed. But the biggest restriction to building what we’d like to build at Merlin Attractions in Britain is not financial but what the local planners will allow us to do, and in the case of Alton Towers that is down to literally the smallest detail on the ground, its not just a case of what can be seen from outside the site so its not a case of not being able to build gigantic rollercoaster’s but restrictions regarding not just felling of trees but even the lopping branches off trees the planners wont even let us do. So I would say that that’s the biggest restriction. Then the next is financial viability. It would be great if we had the kind of budgets that Disney have but we don’t. I would say those are the two main restrictions, which are rather mundane and its nothing to do with fantasy or imagination or anything like that. 6 How well do you think the Thematic Design in Hex carries the narrative and the story behind the ride? Well the good thing about Hex is that it is based on a real folklore legend. The degree of truth within the legend is debatable but the fact that the chained oak exists, although very few people who go to Alton Towers realise that it does, and they assume it is some kind of story that we’ve dragged up. The starting point of the chained oak helped enormously to both give it a ring of authenticity and also to lead the creative processes. Also the fact that people are entering a genuine historic building and that it isn’t just a bit of park scenery that their entering and the point at which they leave that historic building and then enter a modern piece of technology, very few people again realise the point at which that happens. When they come out they realise they’ve been tricked in some way but they’re not absolutely certain how it was done. So all these things come together to form what is a piece of entertainment at Alton Towers that actually grows in popularity over the years. A.D PRICE 2011 / 2012
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When it first opened people assumed that they were going to go on to some kind of terrifying rollercoaster like Black Hole. And of course that’s not what it is and it actually requires you to engage your brain and think. So it came as a bit of a surprise when it first opened. But as the years went by and people expect less and less of Hex, they actually enjoy it more and more. So its popularity ratings have been steadily increasing over the years. 7 How important is it to use Thematic Design to help communicate the concept or story behind an environment? Well in all our attractions there has got to be some unique selling point in order to market the attraction. So just creating a thematic environment in which people can be absorbed is not a commercial viability. There has got to be something at the heart of whatever that attraction is; there’s got to be some sort of big deal if you like, whether it is a ride, a show or an experience of some kind. And that is then subsequently dressed up in the theme, which then allows the fantasy to take over. It would be great if we had the money just to simply create themed environments. But the British public wouldn’t accept that; they want some dynamic or mind-blowing experience within that theme. 8 How do you think the fundamentals of Thematic Design being improved and aided by advances in technology such as motion detection? Advances in technology don’t really help the thematic design. The techniques that you use to create the themed environment are the same techniques that we used in Hollywood sort of 60-70 years ago. It’s really the media that you use to create the show or the ride that has advanced in technology. And then the thematics are wrapped around that. So I would say that other than maybe materials such as decorative plastics and so on that can be used to create a theme, there aren’t advances in the way the theming is done; it’s the nuts and bolts of whatever the heart of that attraction is that is advanced. 9 Where do you see the theme park industry in the next 20 years and how do you think the idea of escapism will have grown and changed? That’s a question I’m asked all the time and the answer is I don’t really know. It’s one step at a time. Our industry has progressed steadily over the last 40 years and lots of things have been hyped up as being the next big thing within the industry that have come to absolutely nothing. 25 years ago everybody was saying it was going to be simulators, and then it was going to be virtual reality. Well simulators came and went and virtual reality came and went and so I think it’s a case of just gradual steady advancements. In many respects its just a case of taking existing technology, moving it on a step and then the combinations and permutations in which you put it together, so combining A.D PRICE 2011 / 2012
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dynamic ride systems with 3D projection systems that was first done in the Spiderman ride at universal studios has since been taken to next step in the new Harry Potter ride. It’s this sort of thing, its different ways in which technologies are combined and the permutations of doing that. So I think that’s basically what’s going to happen. There’s going to be more audio visual systems, more innovative transit systems, in order to take people on some kind of story or adventure. 10 Why do you think the simulators and the virtual reality weren’t as successful or as popular? People knew that they were just (in the case of simulators) sitting inside a box with a screen on the end of it bouncing up and down. And it was ok, but there’s a limit to what you can do with that and you need an intellectual property in order to make it relevant.(star tours, for example) you couldn’t do it on a generic theme, as a lot of people tried. And the same with virtual reality; wearing a kind of headset and wandering around just didn’t do it for people. And of course an awful lot of that you can do in your own home and what’s the point of travelling a hundred miles and taking a couple of hours to do it to go to a theme park if you can get just as good an experience sat at home in your living room. 11 Do you think Thematic Design will ever reach a point where users will be unable to tell apart what is fake and what is real? And what effects do you think this could have on them. Well if your able to suspend disbelief then yes I do believe that Disney do this to a certain extent, its very difficult in some of the Disney parks to know what is real and what is fake. You go on the Jungle Cruise and it’s quite difficult to work out whether the animals are real or not. And in animal kingdom you go on their safari ride in jeeps and again you’re not certain if they’re real animals or are they fake. So Disney managed to do it. And in the case of Hex at Alton Towers that you’ve already mentioned, people are never quite certain whether that architecture there in is real or fake and when you go into the vault itself the replication of the interior architecture is so good that most people think that, although some people realise there’s something a bit fishy, there not actually certain that they’ve actually left the real Alton Towers or the towers building and have in fact entered a very modern building tucked away at the back. So yes people do find it difficult to differentiate between what’s real and what’s fake. It can be a good thing in the right hands, I think if people realise their mission is just to entertain and not to do anything else and then there’s nothing wrong with that but in the wrong hands its of course not a good thing no.
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I think Hex is very unique. We play a diabolical trick on people to make them believe that they’re seeing a real piece of historic English architecture and then we trick them further. I don’t know if that’s ever been done anywhere else in the world, certainly not in a theme park. Disney have never had the luxury of a real piece of history that they can use as a portal to enter a fake environment. 12 Do you think there is a growing demand for escapism in other industries? And why? I don’t think there’s a growing demand; I think there always has been a demand. You entered the theatre in Shakespeare’s day you were transported into a different world. So I don’t think there’s a growing demand at all. The entertainment industry has a mission and that is to help people escape into another world and I don’t think that’s changed at all. 13 Do you think immersive conceptual experiences such as those encountered at theme parks is something that could be successfully incorporated into the design of public buildings and spaces? Well it depends what the functions of those buildings are. It can’t be used to detract from whatever that function is. but if it’s a place for relaxation and entertainment such as a restaurant for example then things like the rainforest café have used exactly the same techniques that have been used in theme park attractions, but if that public building has a serious function, like an art gallery or museum, then no I don’t think it has got a place. 14 Do you think the reputation of themed places has been jaded by poor examples that don’t live up to expectations? Yes I think your right I think they have a fairly finite lifespan. After you’ve been there a few times the razzmatazz begins to wear a bit thin. So it’s alright once or maybe twice but these sorts of facilities tend to last a couple of years and then disappear. 15 Can you recall any man-made escapist experiences you have had that have not occurred within the theme park industry and if so what was it about the experience that made you remember it. Well yes, in Spain there are some caves in northern Spain (The Caves of Altamira, Santiliana Del Mar) with prehistoric cave paintings that were open to the public. And because of the wear and tear and deterioration, they had to be A.D PRICE 2011 / 2012
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closed to the public and they built a built a full-size replica inside a modern building, which is done in such a convincing way that you really forget that you’re not in the real cave underground. It’s been amazingly well done. And as a consequence, apart from the fact that it enables you to see or experience something that you couldn’t otherwise experience it’s quite an extraordinary sensation where you believe in the real thing and in actual fact you’re in a fake. So I would say that that is an example of that sort of thing yes. So it’s a completely fake environment that is done with obviously a huge budget and probably most visitors there don’t even realise that their in a replica – they come away believing that they’ve seen the real thing.
~ Ends
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Appendix (C):
- Article on Theme Design vs. Architecture by Peter Alexander, president of the Totally Fun Company Available at: <http://themedattraction.com/theme_design_vs_architecture.htm> [last accessed 30.03.12] THEME DESIGN VS. ARCHITECTURE So you want to design a theme entertainment project? Okay, so where do you start? You start by selecting an architect, right? Well, not necessarily! Asking an architect to create a theme project is like asking a multiplex theater designer to direct a movie: you're putting the cart before the horse. In a theme resort, store, restaurant or any themed entertainment project you are creating a "show," a three dimensional movie you can smell and feel. You are not creating a 'place' as architects doâ&#x20AC;Śyou are creating sets, and populating them with actors, as in a film. In a theme entertainment project, the role of the actors is played by the visitors (called guests) and employees (called "the cast"). You enhance these actors' performances with props, special effects, lighting and theme architectureâ&#x20AC;Śthe sum total of the experience is called "the show." The "show" is everything the guest sees, hears and experiences during his or her visit. The architecture can be seen as the "stage" upon which the "show" is performed. Since theme design is about creating a "show," one of your first acts should be to select a "show designer." This "show designer" should be someone with proven experience in the theme design field. They will utilize design principles originally pioneered in the theme park industry to create your project. Whether the project is a resort hotel, restaurant, shopping center or theme park doesn't really matter. Regardless of the land use, it will be the show designer's job to create an environment that immerses the guest in an emotional experience. If they do their job well, your guests will be immersed inside a world that may intrigue, amuse, or even frighten them, but always entertains them; a world your guests will want to visit again and again. So, what are the principles of theme design that your show designer will utilize to create this world? Well, there are too many to enumerate in one short article, but I can discuss a few, starting with the first stage of theme design, concept development.
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Square One: Concept Development Architects start with a phase known as "schematics." Theme design starts with a phase known as "concept development." In schematics, the architect works with the client to develop a "program" (i.e. determining the building's functions and size) and then develops schematic drawings that show the layout and general appearance. In theme design, we often start with no more than the thought that the project needs to be entertaining and should attract a certain number of people in a certain market. Sometimes the client will bring a basic "notion" to the show designer, other times we start with a blank page. The process of filling in the blank page is called concept development. We can fill that blank page with words, drawings, illustrations, plans, models or mock-ups or any combination of them, but when the concept is complete, the client will have an understanding of what the project is all about. One of the major differences between theme design concept development and architectural schematics is the "invention factor." In schematics, architects don't need to invent the building type, i.e. thousands of hospitals or office buildings already exist. However, in theme park concept development we sometimes need to invent some device or system just to make "the show" work. For example, during the concept development for the Back To The Future Ride at Universal Studios, we needed to create a flying De Lorean, as featured in the movie. The idea to accomplish this was invented out of "blue sky:" I figured we would put a dozen or so De Loreans inside a large format, domed film theater, each De Lorean would ride on top of their own simulator motion base, and by cutting off the site-lines to the rest of the theater, guests inside each car would feel like they were flying. My boss (fearless Universal Executive Jay Stein) said, "That will never work. It's such a good idea, if it could work, someone would have thought of it already." Then Jay, who knew how to motivate his design team, bet me a thousand dollars it wouldn't work. In order to prove out the idea (and get my thousand dollars), during concept development we made a foam core mock-up of a De Lorean Ride Vehicle, and took it to the Omnimax Dome at Caesar's Palace in Las Vegas. Even moments before the first test, my friend (and later, one of the producers of the ride) Craig Barr bet me an additional twenty dollars the "invention" wouldn't work. However, as soon as the lights went down and the film rolled, Craig put a twenty dollar bill in my outstretched palm. What we saw from inside the foam core mock-up was amazing. Just by cutting off site-lines and isolating our vehicle from the stationary parts of the theater, we produced the sensation of flying. I'm still waiting for that thousand dollars from Jay, but for richer or poorer, we had invented a new ride system necessary to the development of that concept.
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It was only after we were able to develop this "first of its kind" ride, and assure ourselves that it worked, that we were able to begin designing the actual BUILDING that housed the ride. Two things drove that process: the need to accommodate two eighty foot diameter Omnimax domes, and the need to break the guests up into groups of eight-the capacity of each De Lorean. What we ended up with was a futuristic building we called "The Doc Brown Institute" (after the crazy scientist in the film) that maximized efficiency in terms of loading the ride. In summary, first we came up with the "show," then we designed the building in which to stage the show. Also, it's important to note that we developed a ride system necessary to the development of the concept, and not the other way around. In theme design, technology is created to help tell a story, while good stories are rarely, if ever, created by technology. Thus, the ride system invention flowed from the story, and not the other way around. This raises an important question: what stories do we want tell in concept development? Are there any guidelines about what kinds of stories are best told in theme environments? Are there any lessons we have learned that might prevent your brainchild from turning into "Seed of Chuckie?" Picking A Theme: The Tale of Too Many Smurfs A few years ago, I was working with the Walibi Theme Park chain, which at that time owned a number of parks in Europe. We had helped improve the profits of a couple of their parks by applying our brand of theme park show design, so they asked me to come up with ideas to help the "dog" of the system, the one park that had never proven popular, the Smurf park near Metz, France. The Smurfs, as you may recall, were little blue cartoon characters (Papa Smurf, Smurfette, Brainy Smurf, etc.) who were wildly popular back in the seventies. Unfortunately, the character's success on television had not translated into theme park attendance: only 700,000 guests had attended during the park's first year (1989) versus the projection of 1,800,000, and attendance had declined thereafter. By the time I got there, the park was virtually empty. As I walked through the park with the General Manager I noticed something: everything was Smurf-themed. They even had a "Future Smurf" world, like Tomorrow Land, only filled with Futuristic Smurfs. When I first entered the park I kind of liked the Smurfs, but by the time I left, I was sick of them: they had too many Smurfs. "And if you don't like Smurfs," The General Manager said sadly, "You don't come to the park." From that I learned a lesson: selecting a single theme for an entire park, resort, shopping complex or entertainment center can be risky. The best bet is to provide a variety of themes and thus appeal to the largest possible demographic. Disneyland is a good example. Walt could have themed the whole park to his cartoons, but instead he themed one land to Main Street USA, another to the future, another to the American frontier, etc. The bottom
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line: if your project is of large enough scale, follow Walt's lead and try to include several themes. Once you select your themes, you have created a roadmap which you use to explore the rides, shows, restaurants and shops that will make up a land, and from there, design both the buildings that house them and the "area development" or public spaces the guests will flow through to access them. Picking A Theme: Brand In The Right Format In the early nineties, Time Warner acquired the Six Flags chain, which then consisted of seven theme parks. At that time, the parks had gone through several owners and had been decreasing in value and attendance for years. While the parks had originally been designed as family adventures, the addition of roller coaster after roller coaster had turned them into teenage amusement zones, and as the families left, the revenues and the profits of the chain declined. The new Time Warner-appointed Six Flags CEO, Bob Pittman, wanted to turn that around. Time Warner had just released the first Batman film, which had been a huge hit, and there were sequels in the offing, so I suggested we use Batman as the theme of several family-oriented attractions. I "pitched" a simulator ride and a stunt show, but it was the stunt show that excited Bob Pittman. "So you can get the pyrotechnics and the heat of the flames right in the audience's face, eh?" Bob asked excitedly. I said yes, and about seven months later we opened the Batman Stunt Show in three theme parks. The impact on Six Flags was immediate and substantial. Attendance increased at all three parks, but more importantly, the stunt show format brought the families back to the parks, which increased the per capita spending, and turned the parks around. Bob Pittman told me later that the Batman Stunt Show had positively affected Six Flags success far more than the (more expensive) Batman (roller coaster) ride because the shows had changed the character of the parks and the demographics of the guests. What we had done was pick the right intellectual property-Batman-for the right format-a stunt show. The lesson was this: if possible, "brand" your concept with a hot intellectual property (like Batman was in the 1990's) and utilize the brand in a format that will appeal to your demographic target. From a design process standpoint, we started with an intellectual property, and then determined that an outdoor, arena stunt show would be the best use of that property. It's important to note that we did not say, "We need a stunt show," and then try to come up with some sort of subject for it: theme design flows from intellectual properties, not the other way around. So, as you develop your theme park's concept, and you want a stunt show in the mix, start by finding an intellectual property that would make a good one, then design your theater or arena around that idea.
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Picking A Theme: The Entertaining Environment When you are developing a theme concept, it's important not to get too full of yourself in the pursuit of creating "great art," but rather to remember you are creating entertainment that appeals to broad demographic groups. It's easy to design a monumentâ&#x20AC;Śthat turns into a monumental failure. For example, shortly after the opening of National Maritime Center in Norfolk, Virginia, I got a call from the General Manager. He told me the project had been designed as an "Edu-tainment" facility, a combination of education and theme environment, but despite a healthy budget, they were not achieving their attendance goals. As I drove up to the facility, I saw a massive, modern structure-painted the same gray as US Navy ships. It kind of reminded me of a big, beached aircraft carrier. I have an architectural book which describes this place, saying, "It escapes Disney-style literalism and succeeds in imposing itselfâ&#x20AC;Śas a landmark." Unfortunately, the imposing landmark wasn't drawing flies in terms of attendance. There were about fifty cars in the parking lot, most of them, I guessed, belonged to employees. Inside, I saw some cool exhibits, including a shark "touch" tank where you could touch the fish, but the environment was cold and sterile: concrete floors, exposed steel roofs, muted colors, etc. No matter how clever and entertaining the exhibits, the sterility of the physical space made the place feel like a tomb. The designers had succeeded in designing a landmark, but in theme design, we are not designing landmarks, or monuments to ourselves or the owner. We are attempting to evoke emotional responses, just as is done in film and television. Just as in a film, our environments can evoke a sense of adventure, of comedy, of fear or risk, but never sterility or coldness. People are not going to sit through a two hour movie that leaves them cold, so why would they make a four to eight hour visit to an entertainment facility that does the same thing? In architectural text books I've seen theme design referred to as "Populist Architecture" but it should really be called "Humanistic Architecture" because it is designed to elicit human emotional responses, and if you remember that in your concept design, you can't lose. Another way to put it: the architecture is part of the show, and needs to be as entertaining as the other creative elements. Developing Your Theme: Show Design Once you have your concept firmly in mind, it is time to move on into more detailed design. In architecture, following schematics, you enter design
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development, where you bring in the "disciplines" (structural, mechanical, electrical engineering, etc.), then move into construction documents where you draw the details. Theme design follows a similar pattern on the "facility" (i.e. building) side, but includes literally dozens of other "disciplines" necessary to create "the show," including script writing, ride design, show set design, costume design, lighting, special effects and many more. It is these "show" disciplines that must take the lead, and often must be developed before the environment that houses them takes shape. There are, again, too many techniques that we use to discuss in one article, but I can discuss a few examples, and share with you what made them work or not work as the case may be. Developing Your Design: Forced Perspective Forced perspective, originally developed by motion picture art directors, is commonly used to create theme environments. Probably it's most famous example is Main Street at Disneyland. Walt Disney wanted Main Street to recreate the warm, comfortable feel of a small American town. His show designers accomplished this by reducing the scale of the buildings: full scale at street level, then three quarter to five eighths scale as you reach the second and third floors. The result: the guests feel "bigger" than normal, instinctively more in control and therefore more relaxed. Emotionally, Main Street serves as a safe and friendly transition between the often chaotic and imposing "outside world" and the fantasy adventures in the theme park beyond. Forced perspective can also be used to make things that are small appear larger. An example would be the Eiffel Tower in the French Pavilion at Disney's EPCOT. The real Eiffel Tower is a thousand feet tall, while Disney's is about a hundred, but because it is placed at the end of a vista, with the view of its base blocked by building facades in the foreground, it appears to be more distant than it actually is, and therefore we accept what is actually a model as being the real thing. Emotionally, the "Eiffel tower in the distance" gives the French street the feel of the real Paris, where views of the landmark are common, without the expense of creating a full size replica. Developing Your Design: The Fantasy Environment Like motion picture sets, theme environments are designed to create the impression that the guests have traveled to a particular place and/or time. Movie sets are almost always in the background, with the actors, of course, in the foreground, so the sets must be somewhat extreme in their design, so that they instantly "read" as what they are, even though they are not the focus of the film. Similarly, theme facades and interiors are archetypes, and their ability to evoke the feeling of being somewhere or some time is more important than their architectural correctness.
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For example, at one time we designed an "Ancient Rome" section of Universal Studios, Florida using these motion picture design principles. The lead designer, three-time Academy Award winning art director Henry Bumstead, called "Bummy" by his friends, designed one façade inspired by the ancient Roman Forum. However, rather than a literal recreation of the Forum, he used fluted columns and ornate, Corinthian capitals on top of the columns, as opposed to the simpler non-fluted Roman columns and less detailed capitals of the real Forum. An architect friend of mine who was also working on the job looked at Bummy's design in horror and tried to point out the obvious "mistake." He suggested Bummy correct his "error" by using the simpler Roman columns. Bummy patiently explained the rationale for his design this way, "When the guests walk up to our Forum, we want him to feel like a Roman Senator. We want to take him back in time, and so we combine the most extreme elements from the classical period into one building. Most guests don't know Corinthian from Roman, nor do they care. But if we combine the "most classical" elements-the beautiful, ornate Corinthian capitals and the bolder fluted columns-we make him feel like he's in ancient Rome, as he would imagine it to be. It's the feeling that counts, not the textbook architecture." That is the essence of theme design: we are creating fantasy architecture that produces emotional responses, not attempting to recreate architectural styles brick for brick. Developing a Theme: Find the Essence of the Brand Often times you will be developing concepts based upon one or several brands or intellectual properties. If so, you must find the essence of the brand and then exploit it in a manner that is true to the brand. For example, during the development of Universal Studios Florida, Steven Spielberg asked us to develop a theme attraction based on "E.T: The Extraterrestrial" that would be true to his film. As you may recall, "E.T." was the story of a lonely boy who finds an alien literally in his back yard and helps to get the creature back to his home planet. It was a very personal story for director Steven Spielberg, and even the suburban, tract house setting near a redwood forest reminded me a lot of where Steven went to high school in Saratoga, California. Unfortunately, "relationship stories" like E.T. that rely on two-hour long films to create their emotional impact are not easily translated into six or eight minute theme park rides, so designing a ride or show that captured the essence of the film presented quite a challenge. I started the design process by watching the "E.T." film over and over again, trying to figure out what would work as a theme park attraction. One section of the film stood out: Near the end, there was a great chase sequence where the little boy and his friends rescue E.T. from government agents and take him on their dirt bikes on a wild chase. At one point during the chase, E.T. uses his powers to cause the boys to "fly" over a government road blockâ&#x20AC;Ś.
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I thought this sequence could be made into a very cool ride, but it begged the question: where would the boys take E.T. once they took off? In the film, they landed in the redwood forest and bade goodbye to E.T., who then got into his spaceship and flew back to his home "The Green Planet." It seemed to me that we could "suspend disbelief" just a little more, and have the dirt bikes fly all the way to the Green Planet. I presented this idea to Steven Spielberg verbally and he liked it, but gave me some great coaching. "Remember E.T. is a personal story," Steven said, "So at the end, the guests need a personal moment with him. And by the way, the Green Planet is a friendly place, not the usual scary, alien place." I thought about how to achieve the "personal moment" and said, "What if he knows your name? What if E.T. knows everyone's name, and thanks them by name for bringing him home?" Steven thought that would be great, so we then proceeded with the monumental task of developing a computer system that would recognize 20,000 names and allow our audio-animatronic E.T. to say each guest's name in the final scene. All we then had to do was come up with a design for the Green Planet that was both alien, and friendly. To accomplish this, I looked at every science fiction film and book I could find. Not one of them provided an insight as to what a "friendly" alien planet might look like. Apparently, no one had ever attempted to design a "friendly" alien planet before. It struck me that maybe "friendly" alien planet" was an oxymoron-you couldn't use those words together. Then I remembered that I had seen something that was both friendly an alien. When I was a kid I had surfed in California, and when the waves were flat my my friends and I had done a bit of diving. I always remembered thinking how the plants and coral rock formations on the ocean floor seemed like an alien landscape. I immediately collected some research on underwater plants, and gave them to our art directors as models for the "alien landscape" and with that simple inspiration, they went crazy designing the "friendly" "alien" Green Planet. After we developed the ride's show, we were able to determine that it would be best housed in a "sound stage" facility, so the exterior architecture was very simple, but consistent with our Universal Studios "working movie studio theme" and appropriate for our park. When Steven Spielberg first rode the E.T. Adventure Ride, as we called it, he told me that we had successfully combined the fun of "flying" on dirt bikes with a "personal moment" with an alien on his friendly home planet: capturing the essence of the "E.T." brand. In summary, we started with the ride's "show" design, and then developed the facility to house it. Had we attempted the opposite and focused on developing a facility that communicated the "E.T." brand through it's exterior architecture, we would have used up all of the budget for the experience without providing the guests any entertainment.
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Developing Your Concept: The Play's The Thing When you are developing a theme area, remember that it is the entertainment or show elements that will make or break the attraction, and the environment should be designed to present them as strongly as possible, never leaving the "show" as an afterthought to the architecture. As a recent example, we were asked to develop a design brief for architects to guide them in the development of a resort hotel themed after the home of the British Royal Family, Buckingham Palace. When most people think of Buckingham Palace, they think of the Queen of England and the famous Changing of the Guard ceremony. Most people can't tell you what Buckingham Palace looks like, so the architecture-while still important-is less important than these "show" elements. Therefore, we asked the designers to develop the resort hotel based upon British Royalty and the Guards, and to recreate the grandeur of what the average person might believe to be "royal" rather than to recreate the exact look of the palace. For example, we suggested that guests might enjoy having "high tea" with the Queen, so a "tea room" to accommodate a large number of guests would be a "must." Since the "Changing of the Guard" ceremony was so important, we suggested that the courtyard in front of the hotel be graded to allow guests to get a good view. Finally, since the current Queen is just one of a long line of British Monarchs, we suggested that design elements within the hotel be devoted to other famous British Kings and Queens, everyone from Henry VIII to Elizabeth I to "Mad King George" to Queen Victoria, and so the interiors of different wings of the hotel were designed in schools of architecture reflecting those eras. We felt that the result would be a resort that people would want to return to again and again, partly for the fun of experiencing a different room themed to a different Monarch each time. As William Shakespeare once said, "The play's the thing," and theme design is best when that is kept in mind. Developing Your Concept: The Budget: Beauty or Beast? As a designer, you sometimes might think that a tight budget is your worst enemy, but sometimes it can be your best friend. One example that comes to mind is the Land Pavilion at Disney's EPCOT. While it was in an early stage of design, the "facility" designer, a brilliant architect, told me, "I'm an artist. I cannot be bound by budgets, and I intend to put every kind of compound curve and difficult to build structure into this building." He succeeded in doing so, and we did not attempt to control him or limit his budget. Yet, when most guests visit EPCOT, "The Land" does not stand out as a great piece of "show" architecture, particularly not in comparison to the Imagination Pavilion next door, or to any of the World Showcase Pavilions. So, in this instance, having an unlimited budget did not enhance the "show value" of the project. On the other hand, when we designed "King Kong: Kongfrontation" for Universal Studios Hollywood, we had a very tight budget, less than seven million dollars for the whole attraction, which by Disney standards was just A.D PRICE 2011 / 2012
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about enough to design the front door and a bathroom. A lot of the budget went into the Kong figure, the special effects, and the "sliding bridge" which created the illusion that the big monkey was rocking the 88,000 pound Universal Super Tram back and forth. This left very little budget for the show sets, which were crucial if we were going to create the illusion that the guests on the tram were actually in New York City. Given this situation, I told our two brilliant art directors, Henry Bumstead and Bill Tuntke, that they would have to use all their tricks to make this paltry budget stretch. They rose to the challenge, rolled up their sleeves and went to work designing a set using full scale buildings in the foreground, forced perspective miniatures in the mid-ground, and "cut out" flats in the background.The result was pretty spectacular, but despite their best efforts, we just didn't have enough money to cover every square foot with sets. The glaring hole: right opposite the King Kong figureâ&#x20AC;Śthere was absolutely nothing, just a black wall. If the guests happened to look away from Kong as he "attacked" the tram, they looked at a blank, black wall and the illusion of being in New York City was broken. Just before opening, I got nervous, because as both show designer and producer, the buck stopped with me. I asked my boss, Jay Stein, if he thought we could free up some more funds to build a set opposite from King Kong. Jay shook his head no, "If they are looking away from Kong, you have real problems."On opening day, I took a position near the King Kong figure to watch the guest reaction and sure enough, once Kong started to roar and the tram started to slide back and forth, no one-and I mean no one-looked at that blank wall. Jay had been right, the set across from Kong was not necessary. I realized then that having a tight budget had probably helped our design, not hindered it. It caused us to design the show to focus guest attention on our strength-King Kong and the New York set behind him-and thus the guests never looked at our weaknesses. Summary In theme design we are designing a "show," not a place as in architecture. It doesn't matter whether our "show" takes place in a theme park, a hotel, a restaurant or a store, it's still a "show," not a building or complex of buildings. We generally start the design process by selecting an intellectual property as the basis of our theme, and then develop those stories to build a brand. We try to present the brand in formats (i.e. ride, show, hotel, shop, etc) that capture the brand's essence and appeal to the demographics of the guests we want to attract. We focus our budget on what the guest will primarily perceive and those elements that will present the strongest "show." Architecture can be an important part of this success, provided it is viewed as a part of the overall show, and not an end in itself. If we are successful in integrating all the design disciplines-everything from script writing to engineering to architecture-to "tell the story," our design will create positive emotional responses in the guests and a successful project for the owner.
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