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Theme Park Architecture: Experience and Perception
Analysing How the Aesthetics and Narrative of Theme Park Architecture Affects our Perceptions and Experiences of Theme Parks
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10028302 Karisma Shoker U30099 Dissertation Synopsis 25.01.2013 Tutor: Angela Hatherell
A dissertation presented to the School of Architecture, Oxford Brookes University in part fulfilment of the regulations for BA(Hons) in Architecture.
Statement of Originality
Statement of Ethics Review Approval
This dissertation is an original piece of work which is made available for copying with permission of the Head of the School of Architecture.
This dissertation involved human participants. A Form E1BE for each group of participants, showing eithics review approval, has been attached to this dissertation as an appendix.
Signed
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“All thinking is conceptual and begins with seeing, hearing, touch and sense perception....� [1] John Hench, 2008
[1]
Hench, J (2008). Designing Disney: Imagineering and the Art of the Show. New York: Disney Editions. Page 136.
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Image 1 Universal Studios Island’s of Adventure
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C 1. Abstract
Personal Vignette
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History of Theme Park Design
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Role of Architecture: Form and Aesthetics
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Narrative Environment: The Conceptual Experience
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Perception: Expectations vs. Experience
Personal Vignette
6. Conclusion 7. Appendix
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Experience can be defined as “a particular instance of personally encountering or undergoing something”[2]. The way in which an individual experiences a space, event or object is conducive to and also subjugated by the senses; thus, the idea of perception comes into play. Perception can be construed as “obtaining knowledge through the senses”[3] hence demonstrating how each experience is individual. Consequently, experience and perception are intertwined whereby the individual is made aware of their surroundings by comprehending it using the senses and recollection of memories.
Abstract
[2]Dictionary.com. (2012). Experience. Available: http://dictionary.reference.com/browse/experience. Last accessed 29th Sept 2012. [3]Collins (1995). Shorter Dictionary and Thesaurus. 2nd ed. Haydock: HarperCollins Publishers. Page 544.
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The amusement park is generally the term used to describe grouped outdoor entertainment in the form of a fairground, whereas a theme park refers to an amusement park in which the rides and promoted experience are unified by a specific idea or location. Theme park design focuses on manipulating experiences through the way they are perceived by the individual, collectively and singularly; how this is achieved is discussed further in the text. As the individual arrives at a theme park they are instantly transported into a world of imagination and play where the senses enhance an artificial experience. Combining primary and secondary research, the dissertation will be shaped by first-hand experiences, books, articles and television documentaries. The ideas conveyed will be expanded on further through key case studies which will form the analysed examples in relation to each chapter. Universal Studios and Disney World, Orlando will form the primary case studies for much of the dissertation as they are current in today’s popular culture, and Disney is amongst the most dominant in the consumer market in regards to brand image. Additionally, The Wizarding World of Harry Potter within Universal Studios Islands of Adventure is a perfect example whereby commercialisation has had huge involvement, bringing in ties with film and literature. By examining specific rides and themed areas within the park as a whole allows a deeper understanding of the experience and perception of the user, rather than just a generalisation of the overall park.
The case studies will be juxtaposed with earlier amusement parks, Blackpool and Coney Island, but also current popular themed parks in the UK such as Thorpe Park. A comparison can be made between past and present tying in Thorpe Park as a popular theme park which will be used to investigate how the expectations and experience of the individual may differ within the UK. Blackpool and Coney Island provide an insight to the amusement parks of the past showing how they have developed from initial concepts. The theme park culture is recognised across the world and the competitiveness of the market means that more and more are being developed in countries like China, Spain, France and others. The focus of the investigation remains on the UK and America because of the longer historical context of theme parks within popular culture. The case studies overlap in each chapter to create a more focused investigation into the experience and perception of the narrative environment in relation to the human senses. They will be more informative to specific feelings and perceptive experiences whilst communicating generic ideas, for example of time and space. The aesthetics and narrative of the architecture are fundamental in guiding the perception and experience of theme parks; the subsequent chapters analyse how this is done.
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Disney has branded an image of stories and characters which draw an audience into a fictional world; a world which physically exists in theme parks, associated with excitement and expectation. As a child I wanted to believe that everything within the fictional world of Disney was real. From my first visit to Disney World Orlando at the age of 7, excitement was probably at its peak. I saw the theme park as a place of exploration, to create new memories in a fictional environment, thinking the characters were real and often fearing the big rides. After repeat visits it was exciting to see how the rides would be developed and new themes introduced. I am interested to see how my personal experience and attitude has changed with age in regards to the effects on the senses; fear turned to excitement and adrenaline more so at an older age. With greater experiences within the theme park culture, it is noticeable how ideas have grown and changed; the progress can be experienced and is comparable between parks. Fascinated by how the experience is perceived, and intrigued by how the expectations are attempted to be fulfilled on every visit, my interest rests in how the designer achieves this.
Personal Vignette
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Image 2 Coney Island
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“Theming, as a means of organising a space in a unified and fantasy sense, has now become an architectural practice outside the theme park.�[4] Lukas, S. A. 2008.
History of Theme Park Design
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 213.
[4]
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Theme park design developed from the early amusement parks such as Coney Island and Blackpool Pleasure Beach, but looking further into the past, there are noticeable influences from other areas of the entertainment industry with the likes of travelling circuses and carnivals. Although circuses and fairs still exist, they have become less dominant in popular culture; the theme park has become a more permanent architecture, specific to a site. In addition to the cultural influences, there is also the social and conceptual influence of ‘play’. This chapter compares and contrasts the modern day concept of ‘play’ through juxtaposition with the past.
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How does today’s perception of amusement parks differ from when they were first developed? A familiar concept which is present in all interactions with the theme park is the notion of ‘play’. The idea of a ‘play space’ was a potential starting point to the development of amusement parks, thus becoming a place to escape the role of everyday life and “play in a virtual reality”[5]. More so in the 21st Century, theme parks have adopted a more abstract approach to generating ‘a virtual reality’ where the micro-theming of each themed area enhances the individual’s experience due to the impact on the human senses. Originally, the notion of ‘play’ would appeal to the younger age demographic; children are more receptive to aesthetic experiences as the senses are used to accumulate knowledge at a young age (Hendricks, B. E., 2001). Adults’ childhood memories are triggered through play whereas young children use ‘play’ as a means of discovering something new. In ‘Designing for Play’, Barbara Hendricks describes theme parks as “elaborately contrived amusements”[6] which have been specifically designed to appeal to a certain audience. The book discusses the interactions involved in play and the perceived experience of ‘playtime’ with its effect on children. The amusement park industry has become immense in popular culture and so is promoted to all age groups. Although, it could be argued that, with the expansion of theme parks, the focus is being drawn away from children, and so concentrating on a larger demographic profile rather than their initial target audience. By increasing the target audience, the popularity of the theme parks intensifies within the tourist industry, thus increasing the demand for new rides which appeal to all ages. Although there may be a loss of the initial focal audience, the park is marketed on a much larger scale.
An article from the Romanian American University states that “the theme park market seems to be reaching its saturation point and the parks have to cater for visitors who are getting more and more experienced and demanding”[7] which is true to some extent. Parks are competing with one another for the ultimate experience. Disney was one of the first to present an amalgamated group of themed spaces in a single location. This idea was adopted by other parks, increasing the theme park profile within tourism and popular culture. Today, visitors make comparisons and judgements between parks thus increasing the competitiveness of the market. A single experience is promoted to a collective audience but how that is achieved is becoming harder due to the demands and experiences of the users. As a whole, the art of theme park architecture has changed vastly but the concepts remain the same. Amusement parks became more popular in the mid 1900’s, initiating the evolution of the theme park as a stage for recreation, entertainment and narration. Looking at the influences of circuses and carnivals, the entertainment factor has a similar connection with the parades that take place in theme parks today. Chapter 3 conveys more in depth research into the perception of movement in relation to the temporary architecture of parades and shows.
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 7. Hendricks, B. E (2001). Designing for Play. Aldershot: Ashgate. Page 22. [7] Raluca, D. C.; Gina, S. (N/A). Theme Park- The Main Concept of Tourism Industry Development. Available: http://steconomice.uoradea.ro/anale/volume/2008/v2-economy-and-business-administration/113.pdf. Last accessed 16th Dec 2012. [5] [6]
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Another key factor in developing theme parks were the World’s Fair exposition centres. They exhibited up and coming technologies and architecture whilst showcasing work in an interactive way. The World’s Fair acted as a proto-type to the theme park where a powerful vision of the future is conveyed (Lukas, S. A., 2008). There are apparent links with specific themed areas within theme parks such as Tomorrowland in Disney’s Magic Kingdom in Orlando. When Tomorrowland was first designed, it was seen as a vision of the future, but now it has become an ode to the preconceived vision of the future that was yet to exist when it was created (Dunlop, B, 2011). This then ties together the ideas of the past, present and future. The architecture of exposition juxtaposes symbolism and entertainment in a hyperbolic representation to appeal to the masses. The idea of popular culture became heavily promoted through the World’s Expositions. Popular culture is defined as a “commercial culture based on popular taste”[8] which presents a connection between entertainment and architecture; it informed the development of amusement parks into theme parks, consequently aiding the translation into the consumer market. Additionally, the Great Exhibition of 1851 and 1951’s Festival of Britain showcased exhibitions in a similar sense, paying homage to the past and displaying elements of the present and future. The architectural legacies left by the expositions are illustrative of the ever evolving technologies and designs which fragment into new kinds of consumer culture.
[8]
Oxford University Press. (N/A) Oxford Dictionaries. Available: http://oxforddictionaries.com/definition/english/pop%2Bculture. Last accessed 11th November 2012.
Image 3 World’s Fair Poster, Chicago
Image 4 Coney Island
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Examining the initial concepts inspiring amusement parks, how have the ideas changed or modified since the original Coney Island and Blackpool and how was the idea promoted to the masses? In the early 1900’s Coney Island was a very popular leisure destination. Similarly, during the industrial revolution, the UK holiday period known as the ‘Wakes Week’ encouraged holiday makers to journey to local seaside resorts such as Blackpool (Walton, J. K, 1998). At the time, amusement parks were a rising trend in popular culture. Coney Island and Blackpool are comparable destinations as they both convey the early ideas surrounding amusement parks. Amusement parks were developed in response to encourage social interaction and implement the notion of play into people’s lives. Jan Gehl’s ideas of social spaces which encourage interaction involve discussing the physical environment in relation to necessary and optional activities. There are various social fields which allow different forms of interaction; see, hear and smell are “distance senses”[9], whereas feel and taste are “close senses”[10]. The idea of promoting an experience comes through ‘distance senses’ but the actual experience falls under both. The early amusement parks targeted families, primarily due to the appeal of rides for children, such as the classic Merry-go-round. However, the development of rollercoaster encouraged thrillseekers; rides which were not always suitable for the young. As the idea of amusement parks evolved, Disney generated a safe environment for play. The ideas followed from personal observations of parentchild interactions. He saw a niche for sanitised recreation for adults within the park, instead of parents just waiting for their children whilst on rides.
Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Page 33. Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Page 33.
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[10]
The expectations of early visitors were set by posters, souvenirs and word of mouth. It is a typical holiday gesture to send postcards, more so in the past; and with the likes of Blackpool, to buy an edible stick of Blackpool Rock to take home. Coney Island and Blackpool discovered this medium as a way to brand themselves. With the globalisation of television and internet in recent years, it has become easier to promote to the masses through branding and merchandising. Television and radio advertisements purposely promote excitement and enjoyment, thus influencing the visitors’ perception before they even enter the parks. The parks encourage and enhance a specific experience to a collective audience, but how the individual chooses to implement it is down to their own perception. The importance of the machine, the ride itself, was the key objective and was held in high esteem in the early amusement parks. Today the overall experience takes precedent whilst maintaining the same spirit, creating a themed environment not just a ride. As time has gone on, the qualities that people recognise of play spaces has developed and changed; is this because the audience find it easier to relate to a specific theme through branding, not just a random machine which is unrelated to its environment? If it is the case, theme park designers have begun to put more effort into generating a narrative environment as well as an entertaining ride; thus the experience as a whole is important, not just the rides themselves. Disney created the largest branded theme park; from this alone it is expected that the lived experience would be very high. But can it be argued that expectations are too high? And will there become a point where the audience have become so experienced that it is too hard to fulfil their demands? Competition provides an endless cycle of improvement with each new benchmark that is set and it is continuously attempted to be bettered by the next development.
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How does the narrative translate from cinema and literature to theme parks? Cinema and literature are external influences which play a large role in the commercial world, but also inspire new designs for themed spaces within parks. The film adaptation of the Harry Potter series to the real world not only incorporates cinema, but also integrates literature, as it was initially a magical world created in a novel. This imaginary world translated into the movie world but was further incorporated into a physical realm, The Wizarding World of Harry Potter in Islands of Adventure, Orlando. There is a progressive transition from the novels to the theme park. As the books became popular they established an identity across the world. Famous books inevitably become films; for example, most of the Disney stories originated from European fairy tales collated by people like the Brothers Grimm. By establishing a familiarity it is likely that a theme park would induce the same appeal. A brand is initially created and marketed through film so the space already has a known theme which the visitor can relate to.
The translation differs from one type of media to another. The perception of various scenes and characters is diverse in each; lexis encourages individual imagination, images provide a collective view, and physical architecture and characterisation forces a specific experience upon the collective audience; although, perception differs from person to person due to the sensory interpretation. Each medium informs the individual’s perception differently. The parks allow for the visitors to fully immerse themselves into the imagined world which becomes a fictional reality. It is not just a psychological form of escapism as in literature, but also a physical escape. To understand this physical interactive interpretation, the Warner Bros. Studio Tour was created as a form of explanation.
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Image 5 Coney Island ride 1900
Image 6 Cyclone Rollercoaster, Coney Island
Image 7 Coney Island
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“Dressed in historical styles, buildings evoked explicit associations and romantic allusions to the past to convey literary, ecclesiastical, national, or programmatic symbolism. Definitions of architecture as space and form at the service of program and structure were not enough. The overlapping of disciplines may have diluted the architecture, but it enriched the meaning.�[11] Robert Venturi, 1977
Role of Architecture: Form and Aesthetics
[11]
Venturi, R (1977). Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. 2nd ed. Massachusetts: The MIT Press. Page 7.
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The architectural design of theme parks makes use of form and aesthetics to generate specific feelings, emotions and viewpoints. Likewise, the architectural legacy of the Festival of Britain left the South Bank rejuvenated for cultural and entertainment purposes. Theme park architecture is heavily influenced by art movements, film and theatre much like the Festival of Britain. Consequently, the style contributes to the image and identity of the theme park, and the South Bank in this case. The Disney version of a castle appears to have become more famous than the original fairy tale castle on which it was based, the Neuschwanstein Castle in Germany. Disney has generated a brand image which is seen and recognised across the world. Has theming made the parks too commercialised with the focus detracting from the experience and more to the brand image? Or does the image and branding ascertain an idealised perception and experience? The prescribed experience operates to attract the public through the advertisement of a collective experience; is the user forced into a specific way of thinking even before they enter the parks? There is a sense of expectation for the individual of the experience they are about to embark on which may, or may not, differ from these preconceptions. Whilst the forms and aesthetics play an important part to the visual experience, the architectural style also impacts the individual experience and perception of the environment.
Image 8 Neuschwanstein Castle
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How are the techniques used in film and theatre adopted in the architectural style of theme parks? Many of the techniques adopted in cinema and theatre are applied to theme park design; primarily the artificial set up which provides an almost reversed physical inception where the person is placed into the scene rather than the scene implemented psychologically. Considering the film ‘Inception’, an artificial environment is planted within the mind, but in theme parks the individual is planted within a physically artificial environment. The individual’s perception and way of thinking is manipulated by the environment to make it believable. The theme park becomes the stage for activity and narration whereby the designer plays the role of a playwright, director and set designer. The visitors become ‘guests’, as referred to in the Disney parks, and the employees are the ‘cast’. Each person plays a specific role within the given themed space. Furthermore, the idea of characterisation from the movie world is adopted in real life whereby three dimensional characters wander the park to create a more interactive and immersive experience through anthropomorphism, mostly appealing to children.
[12]
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 56.
The idea of having life-size moving characters walking alongside the visitors incorporates them into the narrative. Looking at Venturi’s ‘Learning from Las Vegas: The Forgotten Symbolism of Architectural Forms’, the idea of movement perception comes into play. The individual’s concentration appears to be more focused on moving objects. The notion of the ‘spectacle’ takes the form of a key landmark in the park, a parade or show. In the case of parades, the motion performance catches the eye of the viewer. Perception of objects and people within the space is altered; the individual no longer focuses on what already existed in the space but what occupies it in motion (Venturi, R. 1977). In Lukas’s exploration of theme parks, ‘Theme Park’, Thompson states that “Everything must be different from ordinary experiences. What is presented to them must have life, action, motion, sensation, surprise, shock, swiftness or else comedy.”[12] Therefore, it is argued that theme parks are obliged to appeal to all senses in a significant way; this is what sets them apart from everyday experiences.
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“The visible world is arranged for the spectator.”[13] John Berger, 1972.
Movement perception is fundamental in theme park design. In film, directors use pacing as a technique to convey certain views at specified times. In theme parks, the moving vehicles of the rides act as cameras whereby the person’s eyes act as the camera lens; the machine positions the individual to get a specific view. The speed at which the ride is moving determines the focal angle. As mentioned previously, it is understood from Venturi’s book that a person is more attentive to moving objects but when the individual is contained within the moving object itself, it is the vehicle which directs the specific views (Venturi, R. 1977). The individual is dependent on vision for the perception of speed, so the vehicle permits shifted views from details to generality. Movie architecture is fragmentary (Ramírez, J. A. 2004), so it is easier to control the viewer’s vision through selective camera angles. In a ride, the individual has more freedom to choose what to view, so focal points are necessary to guide the eye away from elements which are less significant; the motion vehicles aid this.
Berger, J. (1972). Ways of Seeing. London: Penguin. Page 9.
[13]
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How are the design techniques for theme park architecture adopted from art and architectural practice to impact the individual’s spatial perception? In addition to cinematic influences, theme parks also take inspiration and style from art. The Renaissance paintings and Romanticist style heavily influences Disney’s Magic Kingdom. From entering the park through Main Street USA a view is laid out almost as if looking at a two dimensional painting. The perspective directs the castle as the focal point and the visitor moves down the street as if moving through the painting. The castle and surroundings are rendered in a similar fashion to the Renaissance paintings, linking back to famous painters such as Giotto di Bondone. The optical illusions used in cinema and paintings are adopted in the architectural style of theme parks. A key technique used is forced perspective. In Disney’s Magic Kingdom, the entrance is upon Main Street USA, as mentioned previously, with the view of Cinderella’s Castle centred where the street ends. This has specifically set up to draw attention to the ‘spectacle’, the castle in this instance, from all visitors. It gives the illusion of the castle in the far distance and conveys its prominence. Cinderella’s Castle has been branded and marketed in such a way that the collective audience associate it with The Magic Kingdom, so the forced perspective gives the castle importance and dominance in the landscape whilst reflecting the preconceived image of the park. In addition to the perspectival technique, the building facades are all created to give a further illusion of height, much like the Georgian townhouses in Britain. The spatial technique makes the buildings appear larger and grander than they actually are. The heights of the facades are reduced slightly for each of the consecutive levels to give this illusion of height.
Image 9 Main Street USA, Disney’s The Magic Kingdom
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How does symbolism affect perception?
Image 10 Signs, Las Vegas Strip
The individual is navigated through and around the park with the aid of signage and maps. Colour is used as a graphic communication device; spaces are divided according to theme, outlining services, rides and shows through different colours. It is then easy to distinguish the different ‘lands’. The use of colour “enhances the illusion of reality”[18] whilst assisting the “suspension of disbelief ”[19]of the themed environment. Moreover, colour is used to accentuate and highlight elements that are of importance. There is a sense of magic and wonder in the idealised environments which have connotations with the notion of ‘the good life’[20]. In the past, ancient philosophers associated ‘the good life’ with a utopian lifestyle, living in a certain way and doing good to create a perfect lifestyle. A representation of this notion in practice is The Magic Kingdom. It is heavily based on fairy tales and promotes the idea of an idyllic reality where there will always be ‘a happy ever after’. The illusion of a flawless world gives visitors an escape from their everyday life whilst maintaining a sense of security. This idea of ‘the good life’ has been further extended into the Disney residential development, Celebration, in Florida. A living environment has been created based on the same principles as the parks, to feel safe and happy.
In ‘Learning from Las Vegas’, Venturi describes this amalgamation of different ideas as “mixing media”[14] within architecture. Once transformed into a physical realm, the painting or form of literature becomes a space which the individual is immersed into. Although Venturi discusses these ideas in relation to Las Vegas, it is still relevant to theming as a whole. Venturi discusses the architecture of persuasion which is significant to the aesthetics of theme park architecture. Words and symbols are used to communicate space from long distances. Signage is distinguished as “heraldic”[15], signs that dominates the landscape, “physiognomic”[16], communication via building facades, and “locational”[17] which all contribute to the way a person perceives the space on approach. Again linking to the ‘spectacle’, signage acts in correspondence with the stationary landmarks. There is an implication of what the ‘land’ consists of through the visual imagery but the signage helps reinforce the intended experience. In Disney’s The Magic Kingdom, the gateway entering Tomorrowland is representative of the themed space that is about to be explored; the metallic signage and futuristic design is descriptive of the land before the individual even enters. It is recognisable and distinguishes a specific ‘land’.
Venturi, R (1977). Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. 2nd ed. Massachusetts: The MIT Press. Page 7. Venturi, R (1977). Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. 2nd ed. Massachusetts: The MIT Press. Page 53. Venturi, R (1977). Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. 2nd ed. Massachusetts: The MIT Press. Page 53. [17] Venturi, R (1977). Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. 2nd ed. Massachusetts: The MIT Press. Page 53.
Hench, J (2008). Designing Disney: Imagineering and the Art of the Show. New York: Disney Editions. Page 105. Hench, J (2008). Designing Disney: Imagineering and the Art of the Show. New York: Disney Editions. Page 105. O’Donnell, K. (2012) Architecture and the Production of Subjectivity Module U30025 Issues in Architectural History and Theory Week 2, Semester 1, Oxford: Oxford Brookes University.
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[18]
[15]
[19]
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Balance of functionality and aesthetics In a space where everything is themed, down to the smallest details, it may be hard to incorporate necessary amenities. Theme parks aim to balance the functional aspects with the aesthetics of a specific theme. An example of this type of amenity is restrooms; they are accessed through navigation out of the central areas. The entrance to the restrooms continues in accordance with the theme but the interior is purely functional, hidden behind a facade, much like the services outside theme parks. Most architects design to disguise services such as electrics within their buildings but a certain few do not; for example the Pompidou Centre in France has all the services exposed. The designer generally chooses to hide services if they do not coordinate with the theme and are unnecessary to the visual affect. Additionally, restaurants are themed in relation to their corresponding environments, menus inclusive, incorporating functionality in keeping with the aesthetics. The experience is then enhanced by the functionalities instead of being misleading. As mentioned in the text ‘Theme Park’, Lukas “the utilitarian features of the landscape are combined with the altered features of entertainment, geography and architecture”[21], therefore by combining the practical and symbolic, visitors are more accepting of the imagined world as a believable reality. On a grander scale, the circulation and transport connections between parks have also been explored as a functional necessity. The Disney Resorts all have an interlinking monorail system which connects them to The Magic Kingdom but also to a transportation centre which further connects to more methods of transportation to other parks. This ease of access increases mobility between resorts and parks, enhancing the immersive experience into this created world. Each aspect has been considered in relation to the overall experience. It has possible influences from the social zoning and transport systems generated in Blackpool where charabanc and motor coaches were used as a means of traffic control.
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 23.
[21]
Menu corresponds to the ABC Television themed area, Disney’s Hollywood Studios
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Image 11 Blackpool motor coach
Disney Monorail
Image 12 Blackpool charabanc
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“Less an amusement park than a state of mind.�[22] Scott A. Lukas, 2008
Narrative Environment: The Conceptual Experience
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 79.
[22]
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Entering into a theme park the individual is transported into a different world in itself; leaving the reality of everyday life and entering the realm of imagination and escapism. The individual is encouraged to completely immerse themselves into the three dimensional narrative environment with the real world now being a memory and the park being their reality until it is time to leave. Each experience differs from person to person but the promoted concept remains the same, indoctrinated to appeal to the masses. Although the designer tries to control the experience to a certain extent, there is still a sense of freedom in choice for the user. The conceptual experience of the amusement park involves many factors, not just the visual aesthetics. The overall composition of the park, such as transition spaces, the ‘spectacle’, queuing and general flow of pedestrians, plays a large part in the narrative of the whole park.
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The configuration of each theme park differs from park to park, and each conveys a different narrative. Ease of navigation is a crucial element to be considered when designing a theme park so that the guests get the most out of their visit and are able to fully immerse themselves into the experience. There is an air of safety and security as the parks are set within a physical perimeter. In the Disney parks the transition from one space to another corresponds with the visual narrative. As mentioned previously, the physical journey through the themed zones is aided by signage and mapping so visitors are able to plan their routes, whereas the “conceptual travel”[23] is developed through the subconscious experience, where the micro-theming makes the imagined space believable. The smaller details usually go unnoticed, but if they did not cohere with the theme it would distort the user’s perception of the believability of the environment. An example of this could be the cameras used to photograph tourists in The Magic Kingdom’s Main Street USA; they correspond with the early 1900’s American theme. The transition from one ‘land’ to another takes a lot of thought with special consideration being paid to the human senses. Disney’s Magic Kingdom has labelled gateways, whereas Animal Kingdom is all a part of a common theme so the transitions are a lot subtler. Disney invented the idea of the “3D crossdissolve”[24] between lands. The transitions are made smoother through use of sound and visual aesthetics. The music begins to change, quietly building up to the entrance of the new themed space. Signage is used to indicate change as well as being able to view a theme specific landmark. An example of this is the movement from The Lost Continent to The Wizarding World of Harry Potter. The bridge entering the land creates a threshold transition, making the change physical. This is made more apparent with the change in acoustics, the music begins to reflect the theme song from the film but is introduced gradually, getting louder on approach, and even more so when the Hogwarts school comes into sight. The individual becomes immersed into the physical and psychological change which is caused by the surroundings. The Disney parks appear to have smoother transitions than that of UK theme parks such as Thorpe Park. Thorpe Park follows the principles adopted by conventional amusement parks more strictly where the machine is the primary focus but theming has been incorporated around it. More recently rides have been created based on a specific theme, for example the ride based on the SAW movies in Thorpe Park. The machine has been developed based on the fear factor established in the film series. The SAW ride is named according to a theme and not referred to within an overall themed ‘land’ focusing the attention on the machine.
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 65. Hench, J (2008). Designing Disney: Imagineering and the Art of the Show. New York: Disney Editions. Page 97.
[23] [24]
Image 13 SAW ride, Thorpe Park
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The Wizarding World of Harry Potter, Orlando
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The perception of time and space in a theme park is the fundamental element which allows the individual to be absorbed into an imagined world and maintain the belief in the experience as reality whilst at the same time knowing and feeling safe. Much like a film or theatre performance, the suspension of disbelief is heightened with the physical surroundings. By looking at the 2010 blockbuster, ‘Inception’, in relation to the perception of time and space, a similar notion is applied to a dream world. The individual enters an imagined world where they are encouraged to take part in activity which has been prescribed by the designers. They are forced to follow the narrative and immerse themselves into this imagined physical reality which, in the past, would have only been possible in the imagination. In the case of theme parks, the fictional physical reality are the themed zones which are assumed to be authentic by the inhabitant when in fact they have been created from fictional story worlds. The visitor is a participant in the theme park, not just a spectator, thus being fully immersed within the artificially created world. Linking back to the movie world, Disney’s Hollywood Studios recreates movie scenes to be inhabited by the visitor so they can understand what it is like to be in the movie itself. The environment evokes memories of films watched as a child which were previously experienced visually but now understood in a four dimensional world. The individual is physically and psychologically removed from everyday life. The perception of space is altered, whereby the individual believes this movie world to be real, thus making it hard not to become immersed; but can this immersive experience be evaded? An individual that enters the park with an open mind is more likely to embrace and immerse themselves into the theme park experience, but if the visitor’s preconceptions of the park allude to artificiality, is it harder to convince them otherwise? This idea is developed further in the subsequent chapter.
In ‘Learning from Las Vegas’, Venturi discusses how light is used to alter the perception of time. Within the interior environments on the Las Vegas strip the outdoor lighting and outdoor space are never united, thus distorting the perception of time. There is a sense of limitlessness to time and space whereby there are no evident boundaries to distinguish specific times of day (Venturi, R. 1977). This technique is used to encourage individuals to stay longer. In relation to theme parks, lighting is used in a similar sense but to create a different effect on the user. Lighting can take coloured form which may determine or encourage specific emotions. As mentioned in an earlier chapter, the lighting of interior ride spaces affects the perceptive experience. It triggers senses such as excitement and fear. Excitement can be stimulated through bright colours, whereas fear is induced through darkness. Lighting interior ride spaces stimulates different feelings as well as atmospheres which heightens suspense and excitement. As well as lighting, visual imagery is used to distort the perception of time in theme parks, especially whilst queuing for rides.
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Does part of the excitement lie in waiting in the queue to build expectations? Waiting in long queues is one of the experiences which comes hand-in-hand with the rides; consequently, they need to be acknowledged in the design process as much of the visitor’s time can be spent waiting in line for rides. In theory, the queuing line itself has a design concept to encourage interaction. Designed to wind back and forth, the queue then becomes a social space where people can interact and discuss their individual experiences. Although this is not always the case in reality, there is still the intention of potential interaction. This design intention has followed through from early amusement parks. In most theme parks the queues are expected so the visitors are more tolerant of the waiting times. In UK parks, for instance Thorpe Park, the concept of queuing appears to have a lower consideration in comparison to the American parks; more attention is paid to the ride rather than the complete experience, assimilating earlier amusement parks such as Blackpool. Today, rides and ride queues are often concealed so that the individual’s anticipation and excitement is heightened due to the unknown. The auditory senses are intensified as sounds can be heard but the ride cannot be fully seen. In The Wizarding World of Harry Potter, the Hogwarts Castle inhabits a ride which is only named and not seen. The excitement lies in the unknown experience. Additionally, there are other factors along the way that are used to contribute to the narrative behind a specific ride, such as visual imagery. If the individual has a visual distraction related to the ride, the perception of the pace of time is altered. All these design intentions change the perception of queuing times. Context to the themed ride and expectations are established; as a result, the visitor’s excitement and anticipation increases. The audio effects and other unpredicted sounds, such as screams from the rollercoasters, contribute to the anticipation and fear factors whilst waiting.
With the recent introduction of fast passes, whereby the visitor can arrive early or pay an additional price, the experience and perception of time is altered. Queuing is a lot shorter so there is less time to absorb the information given by the surroundings. Could it be argued that this lessens the anticipation? As established previously, queuing is part of the theme park experience, but at the same time visitors want to maximise the time they have in the park. The social implications of the sale of the fast pass service means that the wealthy can afford a different experience. In this case, social status has an effect on the experience. In the Disney parks the significance of status is diminished. Disney World works on a different principle, the individual is entitled to a fast pass if they arrive early so everyone is able to gain access at some point.
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Butter beer, unique experience
In conjunction with the perception of time and space comes the senses. They are all heightened in some way to create specific perceptions and contribute to the believability of the immersive experience. In The Wizarding World of Harry Potter, the designers have taken into account all senses. Each works in relation to the theme. On approach, Hogwarts is seen with the snow-capped buildings of Hogsmeade thus impacting the visual sense. The ‘cast’ perform within the themed space to replicate the street set up in the movies, for example the student choir and singing toads. This can be heard and seen in four dimensions. Additionally, music is played from the film, heightening the feeling of entering into a different ‘land’ and supplementing sight with sound. The use of taste and smell from the food and drinks is directly reflective of the novels and films. Visitors can taste butter beer which is only found in two places in the world, The Wizarding World of Harry Potter and the Warner Bros. Studio Tour. This unique element generates an original experience which cannot be replicated anywhere else. The impact on all senses makes it almost impossible for people not to believe that the experience is real. In one instance the experience is real and unreal all in one.
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In the past, senses were played upon but not to this extent. The food was associated with the amusement park culture, not a specific themed environment. The conventional foods include hot dogs, corn dogs and candy floss which are generic across the world. It is noticeable that the food types generally contain endorphins which increase levels of excitement, fear and adrenaline just from the sugar rush. Consequently, feelings and emotions are heightened thus encouraging a positive perception of the environment. Visitors are able to control their own experiences through the choices they make within the given circumstances. Although they are being directed, there is still freedom in decision. The perception of time and space is dependent on the pace at which the park is explored but is guided by the architecture. Jan Gehl examines the idea of social engineering in his book ‘Cities for People’. He observes the relationship between the physical environment and the interactive behaviour of the inhabitants. Relating to navigation and circulation within a theme park, there is a direct link with Gehl’s studies and that of theme park designers such as Disney. The most common form of “pedestrian traffic”[25] is spontaneous; Gehl refers to it as “unplanned”[26] and “unpredictable”[27] but this can be argued against. There are always potential possibilities that people can take, thus actions can be predicted and designed for. The individual feels as though they have a choice but most behaviour is pre-determined and incorporated into the design; consequently, the individual’s choices are driven by the physical environment in which they are present. In designing Disney, Walt Disney looked at human behaviour and interaction within the site and adapted and modified areas in response to these studies. An example of this is the cut-through paths which were created by the user as ease of passage from one space to another. Known as desire lines, Disney observed this interaction and instead of blocking the path completely he created a new path. By doing so, Disney took into consideration the desires of how people choose to move through the park and incorporated it.
Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Page 19. Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Page 19. [27] Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Page 19. [25] [26]
Furthermore, the circulation for the employees differs to that of the visitors. Specifically at Disney World, there are prescribed tunnel routes which allow the employees to enter into different lands without passing through in costumes specific to different themed ‘lands’ so not to confuse the guests and distort the false reality. From a visitors’ perspective, it is not evident in the park itself but is revealed through documentaries. The suggestion of a backstage and front stage has a direct association with film and theatre. Although the audience is fully aware of this differentiation in theatre, theme park designers try to keep the backstage concealed so there is a continual experience of the fictional reality. Television documentaries (Inside Walt Disney Studios- Paris, N/A) expose this idea of the ‘backstage’ giving a different understanding and perception of the parks but does this ruin the magic and illusion of reality? In the 1998 movie ‘The Truman Show’, the protagonist is thought to be making his own choices when in fact they are being directed by the creators of a reality television show. The character is placed in a false reality which he is unaware of but once he starts subverting the preconditions the designer has less control of the individual’s behaviour, so is there a limit to how much human activity can be predetermined to affect the perception and experience of the user?
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The conceptual experience is promoted but there is still a balance between form and function, just disguised using theming. The application of this idea of front stage and backstage in the world outside theme parks is often adopted in a similar way. A false reality is created, both practically and psychologically. The notion of front and backstage in the Disney theme parks, where the employees are assigned the role of cast members and the visitors consequently act as guests, echoes performance whereby each ‘cast member’ partakes in their individual roles. The park becomes a stage where everyone has a specific role in which they must perform to deliver a narrative. This contributes to the immersive experience through the way in which everyone interacts with one another; they take on a different character. Guests are encouraged to interact with each other and the ‘cast members’ in a more familiar way than they would in real life, portraying interactions of a perfect utopia.
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Image 14
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“Both the building and the person’s mind are necessary to the architecture, and different minds might produce different architectures when brought into contact with the same building.”[28] Dana Arnold and Andrew Ballantyne, 2003.
Perception: Expectations vs. Experience
Arnold, D.; Ballantyne, A. (2003). Architecture as Experience: Radical Change in Spatial Practice. London : Routledge. Page 28.
[28]
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Perception and experiences differ from person to person although a certain prescribed experience can be encouraged or designed for. Overall, the prescribed experience for a collective audience can be interpreted differently by the individual. Not only does it differ between individuals but between different age demographics. This chapter aims to investigate experience and perception in relation to expectations, juxtaposing them with the lived experience. By analysing the responses from the questionnaires which were conducted as part of primary research, it will provide an insight as to how the overall experience impacts the user, primarily through the senses. Subsequently, they will potentially help explore spatial perception from first-hand experiences in relation to theming.
How do external factors impact the experience? There are external factors which are out of the control of the theme park designers but are subjugated by the user and environment. Elements such as weather and choice of company cannot be designed for but can be considered. These mutually exclusive events are often out of the control of the designer, therefore the experience cannot be determined; so how many prescriptions of experience are actually planned? Weather can be designed for but choice of company cannot. Adverse weather may cause the visitor to have an unexpectedly bad experience but may be positively altered through factors such as choice of company. As a result, the expected experience may differ to the lived experience. Although a specific experience is directed, the external factors may deliver a different narrative to that intended by the designer.
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Figure 1 UK Parks
Figure 2 US Parks
Although there is usually a specific experience thrust upon guests through advertisement and branding, is it possible to subvert the preconceptions? From the analysis of the questionnaires, the overall expectation in relation to the lived experience implies that visitors with high expectations appear to have a more optimistic approach before they enter the park, encouraging a positive experience. Consequently, if the individual has negative and low expectations before entering the park, they are less likely to be open minded to the whole experience. The visitor’s mind-set is then instrumental in affirming the overall experience. Examining the UK park experience in comparison to the USA, it appears that the UK responses have a greater variation. The standards that are set are already high in America with respect to the theme park culture; from the survey it suggests that the overall experience is very good and expectations are generally met or exceeded. The UK parks are marketed locally and are very briefly mentioned in tourist brochures, thus the mixed reviews from the questionnaires illustrate a standard experience in comparison. Maybe a clear conclusion cannot be made between the UK and American parks as they are marketed at different scales but the survey gives an idea of the position of the UK parks in relation to the US.
Therefore, it may be possible to subvert preconceptions, but due to the park designer’s attempts to appeal to the masses it is harder to challenge the experience and easier accept it. The overall design is to create an immersive experience and to convince visitors of a fictional reality. If the guests are open minded, as concluded previously, they are less liable to succumb to subversion. To avoid this notion all together, visitors could precondition themselves to understand that the experience is based on fiction before entering the park so they are able to accept the artificial set up for what it is as a reality and not try to subvert it. By preconditioning the mind to doubt the fictional reality it is harder to alter the individual’s views, even if the park designers do try. However, there is no point in trying to subvert it as the intended experience would then be altered or even diminished.
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Is the experience heavily dependent on the visiting age? Expectations inform experience to some extent. Theme parks are promoted seasonally through mixed media. New rides are introduced every so often so parks can maintain competitiveness. A specific experience is promoted through television advertisements, internet banners, leaflets, radio and word of mouth; typically, it is one of excitement and fear. The same experience is promoted to the masses but different age demographics respond in diverse ways. The Disney parks appeal to all ages where each themed area provides attractions for older and younger generations. In Disney’s Magic Kingdom, the classic Dumbo’s Flying Elephants ride targets young children, whereas rides such as Space Mountain appeal to adults. The height restrictions promote to a certain audience but also limit the experience to those taller than the specified height in regards to safety precautions. Adults tend to see theme parks as a means of re-living their childhood, building from memories of the past in “high quality and seamless experiences”[29], whereas children see it as a place of exploration, discovering new forms of interaction and living a magical reality making memories of their own.
Questionnaire. Additional Comments made by participant. See Appendix. Questionnaire. Additional Comments made by participant. See Appendix. [31] Walton, J. K. (1998). Blackpool. Edinburgh: Edinburgh University Press. Page 10. [32] Walton, J. K. (1998). Blackpool. Edinburgh: Edinburgh University Press. Page 10. [29] [30]
Memory plays a significant role in the perception of an environment. The familiarity of characters and scenes when connected to a film or book generates a connection between the user and the theme. In Universal Studio’s Islands of Adventure, The Amazing Adventures of Spiderman simulator ride involves the passengers of the ride going on a journey with the protagonist who much of the audience recognise from the movies and comics, transporting the individual into the movie world and themselves becoming a part of the action. In the past, this is something that could only have been imagined when seen in two dimensions. The connection with the audience differs, due to individual attitudes and memories, and the age demographic is also an influencing factor. A response from the survey quotes that the experience was “…making me feel like I was my children’s age” with “memories of when I went to parks with my friends”[30]. The influence of memory on perception allows the visitors to re-live memories in a new way whilst building from past experiences. In Walton’s book, ‘Blackpool’, Nutley mentions that “of all the seaside resorts it has the strongest identity in belonging to a specific time and place”[31]. The British social history is still remembered today as Blackpool “still smells of England in the fifties”[32]. The association with the senses reminds recurrent visitors of Blackpool’s heritage.
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Various strategies are put into place in regards to the theming of an area to determine a certain experience which may or may not be effective; do the techniques force the individual to have a specifically prescribed experience?
Figure 3 All Parks
“The shows relate to memories of films.”[33] Shows and parades provide an immersive experience in a different way to rides but at the same time contribute to the overall theme park experience. The excitement and fear perceived from rides is also present in shows through the interaction of villains and heroes in the performances. A space can be transformed through staged events and parades, thus allowing movement to act as a means of experiencing the space. By having a show with familiarity, it denotes a closer relationship with the audience as they can directly relate and link to their own memories of the scenes and characters to those being reinacted in parades and shows. A quote from the questionnaire argues that Thorpe Park “was a created show for entertainment, not much audience participation”[34]. Is it easier to prescribe a certain experience without interruption from an audience? It was more common for earlier amusement parks, such as Coney Island where shows were more like plays than interactive experiences as in many modern day parks. But have theme park designers of today determined that audience participation is more effective on the immersive experience? The text, ‘Architecture as Experience’, discusses the volatility of a space and how it can be interpreted differently by various groups of people (Arnold, D., Ballantyne, A.). The interactivity and physical dimensionality in a life size scale provides a different experience for the users. As mentioned in an earlier chapter, the notion of a ‘spectacle’ as a show or parade creates a focal point. Blackpool Pleasure Beach promoted a free ‘spectacle’ at low tide where the beach would be used for family entertainment, and also the ‘Illuminations’ light show which would specifically encourage visitors in the Autumn.
Questionnaire. Additional Comments made by participant. See Appendix. Questionnaire. Additional Comments made by participant. See Appendix. [35] Questionnaire. Additional Comments made by participant. See Appendix. [33] [34]
From analysis of the questionnaires, it is evident that certain senses are heightened through perception of experience. Sound is generally the most noticeable change after vision, followed by the other senses. The architecture evokes feelings and behaviour within the individual which are accentuated by the senses. At present, theme parks provide a completely immersive experience engaging the human senses in their entirety; vision, touch, sound, smell and taste. They then become key elements which serve as a device in communicating how people react and perceive their respective environments. The additional comments made on the survey indicated that fear, adrenaline and excitement are key emotions which are triggered through perception of the environment but it was also suggested that “the adrenaline affects your judgement at theme parks making everything seem amazing”[35]. Therefore it can be argued that the expected experience is heightened and reinforced by the atmosphere generated at theme parks. Before visiting the parks expectations are set through vision and sound, seeing and hearing advertisements, but they become more four dimensional once within the park itself. Therefore, the perceived experience builds from the expected experience.
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The audible sounds in Thorpe Park create a more fun fair type atmosphere as the majority is delivered by a live DJ, whereas in Universal Studios the music has a greater contribution to the theme. Although the respective sound effects are played for rides such as SAW, there are other themed rides which don’t correspond with the music, such as Rush which has chart music playing. Additionally, many of the transition spaces have no artificial sound, just the roar of the machines and the induced responses from the users, such as screams. Again this reflects the importance of the machine against the theme similar to earlier amusement parks. The transition between spaces often goes unnoticed by the user but a clear distinction is made between one themed area and another. If there is a minor discrepancy to the fluidity of the transition it would appear more noticeably disjointed to the user as the individual is more attentive to what does not work well. This is comparable to the micro-detailing mentioned previously. In theatre performances, the scene changes are distinguishable so that the audience understand exactly what is going on. Similarly in theme parks, the spatial transitions echo the scene changes in theatre. Although the transitions are more disjointed in Thorpe Park, there are still noticeable changes between spaces. The US parks tend to make these transformations more design based in keeping with the theme.
Figure 4 UK Parks
Figure 5 US Parks
Figure 6 All Parks
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From the survey, a reliable overview cannot be made but a conclusion can be drawn to express that the American experience appears to be more immersive than that of the UK; two parks form the basis of this conclusion so it is limited. The two are comparable in the sense that they are both based on the key notions of play and social interaction but it seems that American parks such as Disney have developed the concept a step further through a more conceptual experience. In comparison, Disney is of a much grander scale when juxtaposed to Thorpe Park, which could potentially be a separate ‘land’ within. Consequently, Disney promotes the overall theme and brand whereas Thorpe Park focuses on marketing the machine itself. If Thorpe Park was to learn from Disney’s practises, the connections between lands would need further design considerations but the concept of an immersive themed experience is already emerging. Disney employs a specific team of ‘Imagineers’, thus always coming up with innovative ideas to represent themes. Thorpe Park has not had a need for this as it is not franchised and branded in the same way, although it could be argued that it is down to imagination failure of the park designers. The scale of the parks plays a large part in the way in which they have been created and the experiences they promote.
Figure 7 Disney Parks
Figure 8 Thorpe Park
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The success and excitement surrounding the Harry Potter books and films increased my personal excitement and expectations on hearing about the theme park development. It was a new ‘land’ created directly from a familiar theme. From the idea being implanted in my mind, to the approach and finally to the entrance; the expectation and excitement grew exponentially. It was hard to comprehend how the actual experience would translate to the real world without appearing as an artificial set. Going to Universal Studio’s Islands of Adventure, I knew what to expect due to previous visits but my main excitement lay in waiting to enter The Wizarding World of Harry Potter as it was a new ‘land’ to explore. From a distance I could see the castle, the notion of the ‘spectacle’ drawing visitors in. The queues approaching the gateway to the ‘land’ extended far beyond the entrance but this only added to the anticipation. The sensory appeal was fundamental to the experience of The Wizarding World of Harry Potter. It began with the themed music building up louder and louder, echoing the film adaptation, with the Hogwarts Castle gradually emerging into the line of sight. The audio effects heightened the excitement, generating and holding together the atmosphere. Once beyond the entrance, the visual aesthetics reflected an authentic and believable set from the films. Additionally, the dining experience awakened the taste and olfactory senses. Drinking the sweet fizzy butter beer created an original experience. From a visitors perspective, “smells and sounds transfer you into a land of endless possibilities, almost as if entering into a cartoon world as a participating character”[36] thus creating a completely immersive environment. The study has encouraged me to become more aware of the way in which a theme park is designed to consider human interaction. Whilst taking into account the intended effects of design, the prescribed experience can be compared to the lived experience.
Personal Vignette
Questionnaire. Additional Comments made by participant. See Appendix.
[36]
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Theme parks have developed vastly from the original concepts surrounding a child’s playground to the spirit contained in early amusement parks. The experience has been enhanced for a wider demographic audience, developing the machine and the corresponding theme. Marketing and branding have influenced the growth of theme parks, especially the Disney parks. Social, economic and cultural influences effect the creation of the theme park. It has become more than just machine based thrills and excitement; a new immersive experience is promoted which transports the individual into a fictional world. The narrative environment provides a three dimensional storybook experience appealing to all the senses, consequently distorting the individual’s perception of believability. Theming is present outside of theme parks themselves. The concepts of reality and artificiality in regards to perception and its application within an amusement park are comparable to architecture in practice. Shopping centres act as a containment for various themed shops; brands and identities are encapsulated within. Likewise, architects base their designs on specific concepts where everything is designed accordingly, to correspond with a ‘theme’. This concept is often a common visual affect in all of the architect’s work making the style recognisable; Frank Gehry’s work has a clearly distinguishable image which serves as his trademark, similar to Cinderella’s Castle which is identifiable for Disney. Thorpe Park was developed for rides, echoing early amusement parks, and has grown organically; whereas Disney was created with a vision on the scale of urban planning in mind. Theme parks not only incorporate aesthetics and narrative but contribute to creating a wider network, part of which would be the transportation systems as mentioned previously. Theme parks act as a microcosm from urban planning; communication networks, transport and functional amenities are seamlessly integrated. City planning never works as smoothly due to the larger scale, but by careful examination of theme parks the same principles can be applied to the bigger picture. In the context of urban planning, the idea of social engineering is adopted whereby the behaviour and interaction of the user are designed for. This is already being applied in the development of the Disney town of Celebration.
Conclusion
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Image 15 Proposed Theme Park, Kent
The theme park acts as a catalyst for regeneration. The theming of an environment has developed from the Las Vegas Strip, to theme parks and other areas of commercialism such as shopping centres. A recent development in the UK is the possibility of a theme park in Kent. The regeneration of a site on the outskirts of London reflects the Festival of Britain where culture and entertainment are being introduced to an area. The theme park will generate a functional narrative environment based purely on the movie culture. Theme parks continue to aspire to film but will designers delve further into popular culture for inspiration as a means of escaping the saturating market?
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“It will continue to grow as long as there is imagination left in the world...�[37] Walt Disney (Scott A. Lukas, 2008)
Lukas, S. A (2008). Theme Park. London: Reaktion Books Ltd. Page 26.
[37]
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BOOKS
ONLINE ARTICLES
Arnold, D.; Ballantyne, A. (2003). Architecture as Experience: Radical Change in Spatial Practice. London : Routledge.
Bryman, A. (1999). The Disneyization of Society. Available: http://www.canyons.edu/Faculty/haugent/Disneyization%20of%20Society%20Article.pdf. Last accessed 29th Aug 2012.
Berger, J. (1972). Ways of Seeing. London: Penguin.
Dictionary.com. (2012). Experience. Available: http://dictionary.reference.com/browse/experience. Last accessed 29th Sept 2012.
Collins (1995). Shorter Dictionary and Thesaurus. 2nd ed. Haydock: HarperCollins Publishers. Dunlop, B (2011). Building a Dream: The Art of Disney Architecture. 2nd ed. New York: Disney Editions. Gehl, J. (2010). Cities for People. Washington, DC: Island Press. Hench, J. (2008). Designing Disney: Imagineering and the Art of the Show. New York: Disney Editions. Hendricks, B. E. (2001). Designing for Play. Aldershot: Ashgate. Jenkins, P., Forsyth, L. (2010). Architecture, Participation & Society. London: Routledge. Lukas, S. A. (2008). Theme Park. London: Reaktion Books Ltd. Malmberg, M. (2010). Imagineering: A Behind the Dreams Look at Making MORE Magic Real. New York: Disney Editions. Ramírez, J. A. (2004). Architecture for the Screen: A Critical Study of Set Design in Hollywood’s Golden Age. 2nd ed. Jefferson, North Carolina: McFarland & Company, Inc. Walton, J. K. (1998). Blackpool. Edinburgh: Edinburgh University Press.
LECTURE NOTES
Farrell, T. (2011). Architectural Review: Sixty years on from the Festival of Britain. Available: http://www. architectural-review.com/essays/history/sixty-years-on-from-the-festival-of-britain-terry-farrell/8616917.article. Last accessed 7th Jan 2013. The National Archives (N/A). Festival of Britain. Available: http://www.nationalarchives.gov.uk/imagelibrary/ festival-of-britain-showcase.htm. Last accessed 2nd Jan 2013. Oxford University Press. (N/A) Oxford Dictionaries. Available: http://oxforddictionaries.com/definition/english/ pop%2Bculture. Last accessed 11th November 2012. Raluca, D. C.; Gina, S. (N/A). Theme Park- The Main Concept of Tourism Industry Development. Available: http:// steconomice.uoradea.ro/anale/volume/2008/v2-economy-and-business-administration/113.pdf. Last accessed 16th Dec 2012.
FILM AND TELEVISION Inception (2010) Directed by Christopher Nolan [Film] The Truman Show (1998) Directed by Peter Weir [Film] Inside Walt Disney Studios- Paris (N/A) [Television Documentary] in association with Travel Channel International.
O’Donnell, K. (2012) Architecture and the Production of Subjectivity Module U30025 Issues in Architectural History and Theory Week 2, Semester 1, Oxford: Oxford Brookes University.
BIBLIOGRAPHY
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IMAGES Image 1 Universal Studios Island’s of Adventure, Orlando Florida. Available: http://khongthe.com/wallpapers/architecture/theme-park-in-orlo-florida-219705.jpg. Last accessed 12.01.2013. Image 2 Coney Island. Available: http://songbook1.wordpress.com/pp/fx/features-2-older-2/1926-part-2/. Last accessed 10.01.2013. Image 3 The World’s Fair, Chicago 1933. Available: http://www.allposters.co.uk/-sp/Chicago-World-s-Fair-1933-Posters_i317929_.htm. Last accessed 08.01.2013. Image 4 Coney Island. Available: http://www.flickr.com/photos/24228898@N06/7571379458/. Last accessed 10.01.2013. Image 5 Helter Skelter ride, Coney Island 1900. Available: http://oldnewyork.tumblr.com/post/7457030447/edwardianera-coney-island-1900. Last accessed 10.01.2013. Image 6 Cyclone, Astroland- Coney Island. Available: http://www.subwaysigns.com/vintage_new_york_signs/coney_island. Last accessed 08.01.2013. Image 7 Coney Island. Available: http://www.dauntlessjaunter.com/2011/06/16/summer-at-coney-island-brooklyn/. Last accessed 12.01.2013. Image 8 Neuschwanstein Castle, Germany. Available: http://www.listofimages.com/neuschwanstein-castle-bavaria-germany-schwangau-castle-world.html. 10.01.2013. Image 9 Main Street USA, Disney’s The Magic Kingdom, Orlando Florida. Available: http://www.flickr.com/photos/vanessaleighphotography/2513121810/. Last accessed 08.01.2013. Image 10 Signs, Las Vegas strip. Available: http://www.gizmoweb.org/2010/12/learning-from-denise-scott-brown/. Last accessed 09.01.2013. Image 11 Motor coach, Blackpool. Available: http://www.old-bus-photos.co.uk/?cat=118. Last accessed 11.01.2013. Image 12 Charabanc, Blackpool. Available: http://scotsue-familyhistoryfun.blogspot.co.uk/2012/06/c-is-for-c-is-for-confirmation-cousins.html. Last accessed 11.01.2013. Image 13 SAW The Ride, Thorpe Park. Available: http://drnorth.wordpress.com/2010/08/20/picture-of-the-week-43-saw-the-ride-at-thorpe-park/. Last accessed 09.01.2013. Image 14 Universal Studios Brochure. Available: http://www.universalorlandovacations.com/pdf/2012_UNI_brochure.pdf. Last accessed 12.01.2013. Image 15 Paramount Theme Park, Kent. Available: http://www.kentonline.co.uk/kentonline/news/2012/october/8/olympic_model.aspx. Last accessed 02.01.2013. All non-referenced images taken or edited by Karisma Shoker
Figures found in attached Appendix
IMAGE REFERENCES