Fall 2007

Fall 2007

Issue 3

SPECIAL ALL-DESIGN ISSUE

EVERYTHING YOU WANTED TO KNOW ABOUT DESIGN . . .*

WHAT’S INSIDE:

THE GRAND ILLUSION

CREATING THE WOW FACTOR

FINDING NEVERLAND

DEVELOPING THE CONCEPT

THE USUAL SUSPECTS

THE ARCHITECT’S ROLE IN DESIGN

*. . . BUT WERE AfRAID TO ASK !

ROAD TO JAKARTA

ART DIRECTION ON-SITE

IT ALL BEGINS WITH DESIGN. . .

Welcome to this special “ALLDESIGN” edition of Entertainment Destinations. We are dedicating our entire issue to the Art and Science of Entertainment Design.

As we report on “the best of the best” in Entertainment Destinations around the world, we have become aware of the very different ideas people have as to how entertainment design is done. In this issue ED looks at the role of concept creation, master planning, show development, architectural design, art direction and everything in between.

We have been able to provide some in-depth answers to how the creative design process works thanks to our close association with Gary Goddard Entertainment. GGE literally opened their doors to us and allowed our staff to get a behind the scenes look at the way GGE creates, designs and supervises its many projects around the world.

In addition to the articles and interviews in this issue you’ll find some helpful design guidelines in the Five E’s of Entertainment Design.

The double spread chart on the The Entertainment Design Process, provides a nuts and bolts overview of the steps necessary for taking a project from concept through opening day. We also thought you might enjoy seeing some of GGE’s past concepts that were never built. So take a peek at LOST HORIZONS for an inside look at some very special creative work.

All in all we hope this special edition devoted to the Art of Entertainment Design will provide you with an interesting and informative look at what it takes to create successful Entertainment Destinations today.

This stunning setting at the heart of the Crossroads of the World project in Jakarta is captured in the weeks before opening. Inspired by Rockefeller Plaza, this magnificent environment represents the culmination of a concept, plan and design that was created almost two years prior.

THE GRAND ILLUSION: PUTTING “THE WOW FAcTOR” INTO RETAIL, RESORT AND ENTERTAINmENT-BASED ATTRAcTIONS

ED speaks with Gary Goddard, Founder and CEO/Gary Goddard Entertainment about creating the WOW FACTOR.

1

FINDING NEVERLAND: cREATING THE cONcEPT

4

THE GOLDEN cOmPASS: DEVELOPING THE mASTER PLAN

5

THAT’S ENTERTAINmENT: THE ImPORTANcE OF SHOW DEVELOPmENT

8

Creating a Concept for a new attraction is a Journey into the Unknown.

The Master Plan is the map to success.

Developing a new entertainment-based project requires more than a plan.

THE USUAL SUSPEcTS: THE ARcHITEcT’S ROLE

10

SmALL WONDERS: DImENSIONAL DESIGN

11

THE ROAD TO JAKARTA: ON-SITE ART DIREcTION

12

LOST HORIZONS: DESIGN PROJEcTS THAT NEVER WERE

14

Architects play an important role in entertainment design once the concept is developed.

Detailed models are key to successful entertainment design projects.

Creative Director Steve Trowbridge gives an insider’s view of GGE’s 400,000 square-foot mega mall CROSROADS OF THE WORLD. GGE opens up some past project files to give a glimpse of fantastic projects that were never realized.

SPEcIAL FEATURE :

cREATING THEmED ATTRAcTIONS: THE ENTERTAINmENT DESIGN PROcESS 6 COVER: GALAXY CASINO MACAU

Situated on the Cotai Strip in Macau, just across the street from The Venetian, this 3000 room mega resort opening in 2009, will usher in a new era of luxury and excitement in Macau, and create yet another original GGE-inspired Destination Attraction.

GGE provides a chart illustrating the step by step phasing process for entertainment based attractions from concept through opening day.

4716 VINELAND AVE. N. HOL LYWOOD, CALIFORNIA 916 01 All materials © 2007 Gary Goddard Entertainment, except as noted below:

Entertainment Destinations is a publication of Gary Goddard Entertainment. © 2007 Gary Goddard Entertainment.

Issue 3 Fall 2007 Editor: Forbes Candlish Design: Maggie Simonian Contributors: Ty Granaroli, Steve Trowbridge, Taylor Jeffs, Gil Smith, Gary Goddard

The Forum Shops at Caesars © Desert Palace, Inc., The Georgia Aquarium © 2004 Georgia Aquarium, Georgia Aquarium exterior designed by TVS, *Jurassic Park: The Ride © 1996 MCA, Inc., *T2/3D: Battle Across Time © 1996 MCA, Inc., DStar Trek: The Experience © 1998 Paramount Parks *Developed in association with MCA / Universal Creative. DDeveloped in conjunction with Paramount Parks.

All Rights Reserved.

THE GRAND

ILLUSION

Putting the WOW FACTOR into Retail, Resort and Entertainment-Based Attractions

Gary Goddard, founder and CEO of Gary Goddard Entertainment and creator of many of the world’s greatest and most popular attractions, speaks with ED about the importance of designing attractions that create “emotional engagement” with the audience, or what is otherwise known as the WOW FaCtOr. ED: Let’s start with the easy question. What exactly is the WOW fACTOR in design?

“The BIG IDEA is creating the right context for the story you want to tell, the product you want to sell, or the experience you want to create. The WOW FACTOR is the creation of the moments within the experience that reach out and grab the audience on an emotional level.”

THE fORUM SHOPS AT CAESARS (Phase 1) as created by Goddard truly defines the WOW fACTOR in a way never before seen in a retail mall environment.

STAR TREK: THE EXPERIENCE in Las Vegas presented guests with a series of jaw dropping WOW fACTORS that included being “beamed aboard” The Enterprise.

GG: The WOW FACTOR is exactly what it sounds like and it’s that element in the design that ensures a reaction from the audience. When you create a new attraction, and when people first experience it, you want to have them suddenly say “oh wow!” Or perhaps scream with delight, or have their jaw drop in wonder, or even shout with excitement.

This is the reaction we want from our guests whenever they enter a project we have designed.

We want to affect them in some emotional way.

ED: Well we certainly have seen that effect on audiences that have experienced your attractions. You have spoken in the past about finding the BIG IDEA, how does this differ from the WOW fACTOR? GG: That’s a good question. I guess the basic way to explain that is through a few examples.

The BIG IDEA for T2/3D was in deciding we would “put audiences in the middle of the action” by merging 3D film, 4D effects, and live actors with the audience in the midst of it all. The WOW FACTOR on T2/3D...well there are many actually...but the first wow idea was when the T-1000 metallic “cop” materializes out at the audience in 3D and then suddenly “transforms” into a live actor onstage. More WOW FACTORS come along in quick succession after that: The onscreen motorcycle and Arnold then blasting out from screen to stage, the flying hunter-killers in 3D with wind effects, the threescreen reveal of the underground bunker, the T-1,000,000 Liquid Metal creature, and of course, the big finale with the seat drop.

Lots of “wows” in T2/3D. ED: And how about The Amazing Adventures of Spider-Man at Islands of Adventure?

GG: Ok. The BIG IDEA was bringing 3D/4D to a ride and The Amazing Adventures of SpiderMan was a natural for this. The WOW FACTOR (and again there are many of them on this attraction ) is when Spider-Man leaps in 3D and “lands” on your ride vehicle to warn you about the dangers ahead. It just grabs everyone and thrusts them into the world we’ve created. And then of course, it’s followed by about a dozen more “wow” moments, each of which leave people shouting for more.

ED: And Star Trek: The Experience in Las Vegas?

GG: (Laughing) You’re really walking down memory lane here aren’t you? Well alright, with Star Trek the BIG IDEA was putting guests “into the action” by beaming them aboard The Enterprise and making them part of the story. The “wow” is when we beam you aboard; a moment that has to be one of the greatest stage illusions of all time. And as with the other attractions discussed, a number of additional WOW FACTORS follow this initial big moment.

ED: Let’s look at a few other more recent projects. Tell us where the WOW fACTOR is in the Georgia Aquarium?

GG: Well the “wow” moments are all over that incredible place because it’s what Bernie Marcus (the founder and benefactor of the project) wanted to see. In fact he even said it at the start of our concept design. He said “fellas, I want this place to be something that makes people go “wow” when they see it.” Bernie really knew what he wanted. So, the first “wow” is when you enter the main hall, then you experience the coral reefs with every crashing wave timed perfectly to the orchestral score, followed by the “wow” of the Deep Ocean tank and seeing the Whale Sharks revealed...really the “wow” effects are ongoing at the Georgia Aquarium.

1

GG: Absolutely correct. The BIG IDEA is creating the right overall idea for the story you want to tell, the product you want to sell, or the experience you want to create. The WOW FACTOR is the creation of the moments within the experience that reach out and grab the audience on an emotional level.

ED: This is another thing you seem to talk about quite a bit ...the emotional connection with audiences.

JURASSIC PARK: THE RIDE saves it’s biggest WOW fACTOR for the finale, creating an unforgettable splashdown.

ED: And with Hershey’s Times Square?

GG: That’s an entirely different approach, be- The GEORGIA AQUARIUM provides cause it’s retail. In retail a series of WOW fACTORS that start design you want to de- from the moment you enter its massign the WOW FACTOR sive Noah’s Ark-inspired entry hall. to attract audiences into the Forum Shops) wanted to crethe shop or mall and to put ate a “Rodeo Drive for Caesars” them in a good mood so they on the large parcel of land that want to buy the product they fronted Las Vegas Boulevard, but associate with the good feelnone of his previous design coning they have. Hershey’s Times cepts were acceptable to Henry Square is a perfect example Gluck, then Chairman and CEO of creating a WOW FACTOR of Caesars Palace. And Sheldon through an exterior iconic elhad already hired (and fired) two ement. That eight-story sign major name architects who failed that we designed brings people to create a concept Henry Gluck to the corner, where they take a would buy off on. Henry sent photo in front of the store, and then of course, go inside to see what’s in there. Once in, it’s hard not to take home a souvenir. Hershey’s Times Square is an amazing success generating annual sales of over $7,000,000 in about 3,000 square feet.

him to see me based upon other successful design work we’d done for him at Caesars. With The forum shops, our BIG IDEA was to take people back to the ancient world of Caesars, but done with a high level of theatricality.

At first, Sheldon didn’t get it, but Henry did. After they approved the concept we spent over a year designing it. Once they agreed to our BIG IDEA we added the WOW FACTOR which is first and foremost the day-to-night skies and lighting that everyone talks about. And then there were some amazing features including the Bacchus Fountain that comes to life. The entire experience was a series of big “wow” for guests, which led to it becoming the #1 Retail Shopping Mall in the U.S. I’d say that’s a strong example of how the WOW FACTOR is the key to success.

ED: I think I’m clear on the difference between the BIG IDEA and the WOW fACTOR now.

It seems that both elements are required to transform an attraction from “that’s nice” to “oh wow I have to see that”, right?

GG: It’s the key to success in any medium be it film, television, live stage, books, music, internet games, etc. The most successful products and productions in any medium succeed because they connect with audiences on an emotional level. Pure and simple really. It’s no different in the world of theme parks, casinos, aquariums, retail malls and, museums. If you want to have a true “must see” attraction of any kind you have to make an emotional impression on your guest or customer. But, it’s just a bit harder in our medium to pull off.

ED: Can you expand on that?

Why is it harder to do this in the theme park and outdoor recreation market?

GG: Well, there are a few main challenges unique to our industry. First, we’re the only entertainment medium in the world that has to create attractions with fire exits, life and safety issues, hourly capacities, and a host of other “rules of the road” that simply don’t exist in the theatre, film, music, television and other entertainment media. Secondly, we have to tell our stories and create our experiences in a matter of minutes, not hours.

ED: Is the same thing true of The forum Shops at Caesars Palace?

GG: Well, I can only speak to the first phase of the original forum Shops that opened with the changing day-to-night skies.

But yes, I’d say The forum Shops are a prime example of delivering the WOW FACTOR in retail design. Originally, Sheldon Gordon (the developer of

2

TERMINATOR 2/3D defines the WOW fACTOR better than any other show in the world, providing guests with a succession of ever larger, ever more fantastic “wow” moments.

That gives us very little time to make connections with characters, or build up the drama that leads to a climactic point. Instead, we need to get an audience into our ride or show (or store or aquarium) and immerse them immediately. And then somehow, in the short time we have them, we have to get them, and in an instant, make that suspension of belief with them en masse. And then we have to connect with them emotionally and leave them shouting for more. It’s a very challenging proposition for attraction creators. And honestly most show designers don’t understand this and they don’t really think it through. I think too many attractions today are based on the traditions established in the 60’s and 70’s and it’s time to update the way we create attractions. Audiences have changed so we have to exceed their expectations.

ED: That’s a great segue into the future. Let’s jump ahead a bit and ask about the current state of the industry. Where is the innovation coming from now?

GG: Well, I don’t really have an answer for that. To be honest, in terms of guest experiences that successfully push the envelope on a grand scale, and not to toot my own horn, but I honestly think that nothing has topped T2/3D in terms of show experiences, and nothing has topped The Amazing Adventures of Spider-Man in terms of rides, and those attractions were created in 1996 and 1999 respectively.

ED: So if progress stopped after T2/3D and The Amazing Adventures of Spider-Man, then you’re including your own work as well as those of your competitors and peers when you say nothing’s topped them?

GG: Well, I consider our recent attractions to be quite successful and innovative for their mediums; The Georgia Aquarium is the best aquarium experience in the world. Hershey’s Times Square is certainly one of the most successful retail stores in the world, and Hershey’s Great American Chocolate Ride in Hershey’s Chocolate World is truly immersive on every sensory level right down to smelling and tasting the chocolate. And we’re about to open an entirely new kind of retail mall in Jakarta which features 400,000 squarefeet of a very unique shopping experience called Crossroads of the World. After that we have the Galaxy Casino & Resort opening in Macau in 2009, and the Tropicana in Las Vegas.

And yes, these will all be highly exciting projects that will connect emotionally with their target audiences. We’re very excited about all of these and I believe people will love them when they open. And I think there are some exciting innovations in each of them. But in the larger sense of the theme park industry, and looking for something that changes or transforms the industry, as both T2/3D and The Amazing Adventures of Spider-Man did, then I’d have to say everyone’s waiting for the next great thing. Me included!

ED: But we heard there’s going to be a 4D Boat Ride at the new Tropicana in Las Vegas, is that true?

GG: Well, I can’t say too much about that quite yet. But actually, since you’ve heard about it, yes there will be a fantastic 4D ride there, and it will be quite exciting and innovative. Nothing like it’s been done before and we have high hopes for it.

ED: Can you tell us more?

GG: No, not yet, we’ll have to wait for the new owners of the Tropicana to announce it first.

But I can pretty much assure you it will be a BIG IDEA filled with a lot of WOW FACTORS that connect with the guests “on an emotional level.” All of that and more.

Editor’s Note: Gary Goddard founded Gary Goddard Productions in 1980, then changed the name to Landmark Entertainment Group in 1985.

He built Landmark into the preeminate theme design company in the country and then sold 50% to Prince Alwaleed in 1998. In 2001 he left Landmark and formed Gary Goddard Entertainment in 2002.

He is credited as the original creator (inventor) of the key show technology featured in Terminator 2/3D, Jurassic Park: The Ride, and The Amazing Adventures of Spider-Man, and the United States Patents for each are registered with his name on the patent.

GARY GODDARD’S “FIVE E’S OF DESIGN” The key to creating memorable experiences involves many different disciplines and talents. But in virtually every successful example today, leisure developments need to connect with guests on an emotional level. This is easily stated and yet hard to accomplish. Through the years we have found that successful projects have a common set of principles that set them apart from less successful ventures. We have summarized these principles into THE FIVE E's of ENTERTAINMENT DESIGN: 1,

EMOTION (engage them!)

The experience must be EMOTIONAL in some way. It must connect to the audience on an emotional level.

We want our guests to either laugh, cry or shout with excitement as the experience unfolds. We want them ENGAGED in the attraction.

2.

EXCITEMENT (surprise them!)

The experience must create a sense of excitement...whether the excitement is caused by awe, surprise, spectacle, or staging. The audience member should be excited by the event, and the heart should be pounding by the end providing a thrilling or captivating feeling for the guest. We want them EXCITED by what they experience.

3.

ENVIRONMENT (immerse them!)

The experience must be immersive...meaning that we must create a “world” that completely engages the guest for the time they are in the attraction. That might be a matter of minutes for a ride, a matter of hours for a show, retail or restaurant experience, or a matter of days for a resort or casino visit. We want them IMMERSED in the experience for whatever time they are under our spell.

4.

ENTERTAINMENT (captivate them!)

The experience must be entertaining in a way that captures the audiences attention either through the unfolding of a story, the staging of a song or dance, or through a combination of media. We want to use lighting, music, sound, imagery and effects to create entertaining experiences that capitvate our guests.

We want them ENTERTAINED by what they see, hear and do.

5.

EXPECTATION (blow them away!)

With all of the other E’s in place, we must EXCEED EXPECTATIONS and provide audiences with a sense of value in what they are experiencing. Audiences today are starved for time and they want to make sure when they go to a mall, resort, theme park, movie theatre, restaurant or wherever, that they will get VALUE for their time and money. We must not only meet, but EXCEED EXPECTATIONS by creating a quality experience.

6. EDUCATION (enlighten them!)

The 6th “E” is added to the equation when designing for Museums and Aquariums. But in such cases, we view education working hand in hand with the other five E’s to create an exciting, entertaining, emotional and environmental experience that exceeds expectations. All of the rules still apply and education is but a part of the successful design in today’s world.

OF THEM ALL THE MOST IMPORTANT “E” IS EMOTION It is important to work with all of the Five E's and to make sure each of them is in some way part of your project's design. But of all the E’s the most important is EMOTION...making that EMOTIONAL CONNECTION with your customer, guest or visitor is what will make your attraction a success.

3

Concept Development

FINDING

NEVERLAND

CREAtING thE CONCEpt fOR A NEw AttRACtION IS ALwAYS A JOURNEY thROUGh thE IMAGINAtION ANd INtO UNEXpLOREd wORLdS Gary Goddard is often asked “how do you think up these ideas” or “how did you create this” and it’s never an easy question to answer. How does one create a concept for a new attraction? How do designers create a new concept from a blank sheet of paper?

“It’s so hard to pin down that magic moment when a new idea suddenly bursts forth into your consciousness, and even then, you might not recognize it unless you’re open to it,” says Gary Goddard, founder of GGE. “Many great ideas are hiding behind a series of bad ideas. You have to go through a process of selectively editing and being critical of your own ideas until you find one that has the seed of greatness.”

The beauty and mystery of a forgotten tropical paradise is captured in this rendering, showcasing one of the breathtaking environments being developed for this groundbreaking attraction.

In this, the climactic scene of one of our latest concepts, visitors come face to face with a colossal fire-breathing dragon in what’s sure to be one of the most unforgettable finales in theme park history.

Sometimes the Master plan requires more than just a theme park and hotel, as in this example of an entire mountain resort. The plan includes multiple hotels, resorts, attractions, theme parks, and entire retail villages connected by roadways, waterways, trains and even a skyway.

4

Master Planning

THE GOLDEN COMPASS The Master Plan is the Map to Success MASTER PLANNING SUPPORTS THE VISION AS DEFINED IN THE CONCEPT, PROVIDING A PLAN WHICH BECOMES THE FOUNDATION FOR THE TOTAL SITE DEVELOPMENT

With the concept and vision in place, a working plan must be developed that provides the necessary organization for the project. The Master Plan provides the foundation upon which the concept can be realized, providing for everything from circulation, transportation, key locations for signature attractions, and all of the necessary supporting elements.

“The Master Plan is an important part of the design process,” says Ty Granaroli, President of GGE. “Once the concept and vision is created the questions become numerous: overall sizing, planning for capacity, how to best use the land and existing earthwork, how best to move people through the site, and an endless set of other important questions. The Master Plan establishes the overall parameters for the project and organizes the site in a way that supports and enhances the concept and vision as established in the preceding phase.” Developed to a conceptual level, the Master Plan becomes the foundation for the total site development and provides a map for the entire design team.”

The Master plan for thE wONdERfUL wORLd Of OZ Theme park provides a preliminary scale “map” that brings the concept and show development plans into a cohesive whole.

5

CREATING A THEMED ATTRACTION T H E E N T E R TA I N M E N T tas K 1

Concept

Creating the Big iDea Creating an exciting and original concept establishes the vision for all that is to come. Goddard and his team of creators are renowned for creating the most exciting and innovative new attraction concepts in the world.

PHASE-1

tas K 2

Master Plan

DeveLOPing the OveraLL site The master plan provides the blueprint for the planning effort and establishes the parameters of the design along with the preliminary budget and schedule. Gary Goddard and his team have created the Master Plans for many of the world’s leading theme parks, hotels, retail malls and themed attractions.

tas K 3

Show Design

MaKing the eMOtiOnaL COnneCtiOn This all-important phase is often overlooked by architectural-based design firms, yet show design is at the very heart of any successful theme park or attraction. The Show Design Team creates the scripts, characters, stories, rides and shows that will be the foundation of the entire enterprise.

PHASE-2

tas K 4

Defining the PLan anD Design With the concept and master plan approved, and with the shows and attractions developed, schematic design begins.

During this phase of work, the architectural planning effort establishes the baseline for the building and infrastructure.

At this point, the budget and schedule are tightened as the project develops into a working design.

PHASE-3

tas K 5

6

Schematic Design

Design Development

DetaiLing the Design Once the schematic design is approved, and the budget and schedule finalized, design development moves ahead, accelerating the project into the detailed design phase.

Each and every aspect of the project is laid out in an expansive set of design documents that define the total project in preparation for construction.

T DESIGN PROCESS

Bid Packages

Quantifying the Design After the design development phase is completed, bid packages are created and forwarded to ride manufacturers, special effects and scenic vendors, animatronic and laser system providers, and to hundreds of additional suppliers.

At the same time, pre-production begins on all software development including soundtracks, film, video and digital creations.

tas K 7

PHASE-3

tas K 6

Construction Drawings

BuiLDing the PrOjeCt With the total design program set, and with the vendors selected, working drawings move into production through the architect of record. GGE Producers, Project Managers and Designers review the work regularly, working closely with the Architect, to ensure the construction drawings conform to the vision of the project.

Production & Site Supervision

PrODuCing the sOftware As construction begins, field teams move to the site to work hand-in-hand with the General Contractor, ensuring the facility conforms to the design requirements for the shows, rides and theming. GGE Project Managers and Art Directors, working closely with the Construction Manager, Site Construction Managers and other vendors, provide continuous information and communication on-site.

tas K 9

PHASE-4

tas K 8

Installation, Programming & Training

integratiOn anD PerfOrManCe Once the facility is completed, installation and programming begins. GGE will provide the team of Producers, Directors, Programmers and Technical Directors that will oversee every aspect of the shows and attractionsstaging, installation and programming effort. Theming, interior design, special effects, lighting, audio, show control, casting, rehearsal and live stage production all take place at this time.

Opening & Beyond

PuBLiC PerfOrManCe The On-Site Producer is there through opening day and thereafter for as long as needed, providing a smooth transition from design and production to daily operations.

We stand by our work, providing the client with ongoing assistance and support as each GGE creation grows and matures with time.

PHASE-5

tas K 1 0

7

show Development

THAT’S ENTERTAINMENT SucceSSful AttrActionS hAve one thing in common: emotionAlly engAging experienceS And Show development iS where the “content” iS creAted

“Think of a movie starting production without a script or a production design. Imagine a Broadway Musical beginning rehearsals without a script and music. Think of a television show being aired a story is written and before a set is designed. This would never happen it would be crazy to try and produce a movie, a Broadway Musical, or a television show without a story, a script and the design of the “world” in which the story is told. But how often are theme parks designed without any idea of what the shows, rides and “signature experiences” are going to be? Quite often actually. Show Development is quite possibly the most overlooked and yet most important part of the entire process.”

8

The key to all successful entertainment projects is simply to have a compelling story or experience that engages the audience and makes them shout, sigh, laugh or cry; in short, to engage them on an emotional level.

In the world of entertainment the phase that comes between Concept & Master Planning and Schematic Design is “Show Development” and this is where the key signature attractions are first developed. Most if not all Architects skip this phase and leave it to others to work out at some later date, “after the design is done.”

Once the Concept and Master Plan was approved, the GEORGIA AQUARIUM benefitted from a Show Development schedule of over three months during which time the “WOW” factors were designed into they key attraction and exhibit areas. Architects were not brought in until Concept, Master Planning and Show Development was completed.

“Think of a movie starting production without a script or a production design. Imagine a Broadway Musical beginning rehearsals without a script and music. Think of a television show being aired a story is written and before a set is designed. This would never happen it would be crazy to try and produce a movie, a Broadway Musical, or a television show without a story, a script and the design of the “world” in which the story is told. But how often are theme parks designed without any idea of what the shows, rides and “signature experiences” are going to be? Quite often actually. Show Development is quite possibly the most overlooked and yet most important part of the entire process.”

thing. It’s about the content, not the buildings. We spoke with the designers at GGE to get a sense of what Show Design is all about.

“Once the concept is finished there is still a great deal to be developed prior to moving into schematic design,” says GGE President Ty Granaroli. “The concept sets up the larger context – what we call the BIG IDEA - but once the concept is approved, someone has to really think about the shows and rides and experiences that will bring the park, or attraction, to life. And Show Development is where we work out the many issues having to do with how that BIG IDEA will be expressed.”

Without knowing what the “show” is, how does one create anything more than an empty shell? As Jeff Katzenberg, President of Dreamworks Studios famously once stated about the movies, “It’s about the content, stupid”. In the world of Theme Parks and Entertainment Design, it’s the same

“Designing and creating shows for the theme park and attractions medium is a little like going through a trap filled maze,” says Gary Goddard, founder and CEO of GGE. “Every time you have a great idea for a story, or for a specific “wow” moment, you have to step back and say, how do

we do this in the context of life & safety issues, while not losing the dramatic flair we are looking for.

Movies don’t have this problem.

But in the real world, it’s an ever present challenge. That’s why it’s important to figure things out up front, before construction begins.”

It’s interesting to note that when Walt Disney created DISNEYLAND, he did it entirely without architects. Walt Disney knew he needed to create an attraction and to accomplish that he needed guys that could tell sto-

the roles that each person played in the creation of something unique.

“Show Development is probably the most important part of any theme park or attraction design process, and yet it’s the most misunderstood,” says Show Designer Taylor Jeffs. “How can you know how big a building should be until you know what’s going on inside it? How can you plan for a particular show or ride until you know not only the story, but what kind of ride or show system will be required to tell the story?”

At Gary Goddard Entertainment, designers engage in regular “show design” meetings during which many concepts for shows, rides, special features and other such ideas are discussed and reviewed. [Pictured left to right above: Tim Rheault (seated), Lisa Nash, Taylor Jeffs, Gary Goddard & Ty Granaroli (seated), and Lee Roe.]

for the TRANS-TV STUDIO & THEME PARK in Makassar, Indonesia, the show design program led to the creation of several movie-themed lands, each of which showcased two to three exciting rides. Pictured here is the part of the studio park that featured action-adventure genre rides.

ries and who could imagine and dream new ways to tell those stories. DISNEYLAND was designed and planned by filmmakers and animators hand-picked

by Walt Disney for the task. Only after the park was designed, only after the models were made, did Walt bring in the architect. And he told the architect “this is what I want, don’t change a thing.” As in everything Walt Disney did, he was a visionary who understood

The practical truth of Jeff Katzenberg’s statement, “It’s about the content, stupid”, rings true louder than ever in our industry today.

“Simply stated, quality Show Design is at the heart of every successful theme park and attraction in the world,” says Gary Goddard. “For whatever project you are planning, be sure that Show Design is not left until later. The success of your project will depend upon it.”

9

schematic Design & Design Development

THE USUAL SUSPECTS

ARcHITEcTS PROVIDE A KEy SUPPORTING ROLE WHEN DESIGN DEVELOPmENT BEGINS “Ideally the time for Architects to enter the process of Entertainment Design, is once the Concept, Master Plan and Show Development Phases are completed. As Schematic Design begins, Architects can play a role in helping to ensure that local code requirements are met, and that the project facility requirements are developed in a manner that properly supports the creative design and plan.”

Architects are a necessary part of creating any major theme park or leisure project, however, the role they play in an ideal design program is quite different than in projects outside the entertainment medium. Successful entertainment projects do not start with buildings, facades, landscaping or roads. Entertainment based projects must begin with a vision, and with the shows and rides that will form the experience because that is where the emotional connection will be made (or not made) when the attraction is completed.

In creating theme parks and attractions, or when creating resort hotels, casinos, retail malls, aquariums or museums, it’s important to remember “it’s not about the architecture.” Unlike a modern theatre or concert hall where the shows change each night; with leisure projects the buildings just don’t matter as much. Architecture, and that includes “theming for theming’s sake” doesn’t work without the entertainment to go with it.

Ideally the time for Architects to enter the process of Entertainment Design, is once the Concept, Master Plan and Show Development phases are completed. Schematic Design drawings provide details and maAs Schematic Design begins, Architects can play a role in helping to ensure terial callout suggestions as in this sample from the that local code requirements are met, and that the project facility requirements Galaxy Mega Resort in Macau. are developed in a manner that properly supports the creative design and plan.

Usually, at least in the experience of GGE, the A&E firm will provide 20% to 30% of the Schematic Design, while the design company provides the remaining design and show criteria in the Schematic Design Packages. Once Schematic Design is completed, the project moves into Design Development, where the A&E team plays an even larger role.

In Design Development, the percentage of responsibility reverses, with the design company providing 20% to 30% of the DD package while the A&E company provides 70% to 80% of the completed package. Once the project moves into the Construction Document stage, the A&E company (“architect of record”) provides 100% of the stamped and approved drawings for bid, while the design company approves the work with regard to creative, artistic and design integrity.

10

Design Development Drawings provide even further detail, bringing all of the projects diverse elements into a cohesive package of plans, sections, elevations and details.

Dimensional Design

SMALL WONDERS

deSiGn ModelS Are liTerAlly “WorTh Their WeiGhT in Gold” And Are A Key PArT oF The deSiGn ProceSS The Art of Entertainment Design requires constant attention to detail, flow, circulation and staging. Not everything shows up in the designer’s drawings, nor does the CADD 3D animation study provide the level of detail needed to assess the fine points of a major attraction. Dimensional Design, the art of building an attraction in miniature, is still the single best way to create a successful project, and to save time and money as well. At Gary Goddard Entertainment the use of models is a key part of the design process.

The STudy Model: defining the Space

As shown here, study models are black & white “studies” that create dimensional versions of the designer’s drawings. These Study Models are then used by the Show design teams to review staging, sizing, scale and other important issues that will affect the successful outcome of the project. Changes are often made in these models, and the changes are then reflected by revising the schematic drawings which are only then passed on to the architect.

The PreSenTATion Model: Selling the Attraction Clients often commission models for marketing and sales presentations. with the detail that goes into every GGE model the client gets both a working model for use on-site during production, and a marketing tool that can be used for presentations to partners, investors or to the public. There is probably no better sales tool than a detailed presentation Model for marketing and selling a new attraction.

The ArT direcTor’S Model: defining the design Once the study models have served their purpose, and the project schematic drawings are completed, an Art director’s Model is created. In the Art director’s Model, usually constructed at a larger scale than the prior Study Models, all major design issues are resolved including color, shapes, textures, and styling. dimensional props are also placed into the scenes, along with just about everything that forms the “guest experience.” when completed these models are shipped to the project site to be used by the OnSite Art directors.

The ATTrAcTion Model: defining the Show design Attraction models create detailed views for each part, and for each scene, of a proposed show or ride. The Attraction Model is a must for rides and other complex attractions with multiple scenes as they allow the Show director to truly see every element of the final experience in the actual sequence they will occur. The Show director uses the model to confer with the lighting, sound, special effects and other production team members, to agree on placement of all support elements. Ultimately the Attraction Model for a major new attraction becomes the “design guide” for everything that is being built, both on the facility and the show side of the project.

11

On-site art Direction

The Ro a d T o

JakaRTa

a Sneak Preview of CROSSROaDS OF THE WORLD opening in Jakarta, Indonesia As we go to press, Steve Trowbridge, Creative Director for Crossroads of the World, Gary Goddard Entertainment’s massive retail venture for Grand Indonesia in Jakarta, is in the final stages of providing the Art Direction for this 400,000 square-foot immersive retail experience. Having lived and worked in Jakarta for over a year now, we asked Steve to give us a preview of the project, and to provide some insight into how GGE is uniquely suited to assist developers who are considering entertainment retail projects throughout the world.

Being on-site in Jakarta for over a year now, living and working with the Indonesian team that has been dedicated to making Crossroads of the World happen, has given me a unique window into the opportunities and challenges of working on international projects. Before we talk about the specifics, let me describe the project as it was originally envisioned by Gary Goddard and the GGE design team.

The Central Plaza in the ENTERTAINMENT DISTRICT celebrates the classic New York Art Deco style of the 1940’s.

Because the original Grand Indonesia Hotel was (and is) located at the very heart of Jakarta, and because this historic hotel has been the very place that U.S. Presidents and other Foreign Leaders met with the representatives of Indonesia since the mid-50’s, Gary felt that the BIG IDEA was to build upon its international image. If this was indeed where “the world came to Indonesia” then let’s build upon that idea and the historic elements of this place, and make it the meeting point for the many different cultures of the world. Hence, Crossroads of the World at the Grand Indonesia was born.

With this basic idea in place, Gary and the design team set about creating a unique approach because Gary didn’t want to simply reproduce replicas of city streets from around the world. He wanted to build something different, an immersive world that people would enjoy and experience. So, expanding upon the basic building blocks of urban design, we designated four “districts”, much as you would find in any busy city throughout the world, each with its own unique atmosphere, entertainment, retail and special features.

In another part of the Mall a colorful re-creation of CHINATOWN provides a world of food, arcades, and retail shops.

In the MARKET DISTRICT the bazaars and souks of Morocco and Instanbul come to life amidst a colorful series of open plazas.

12

What we created was a larger than life, theatrical version of classic “districts” from around the world; guests will be immersed in a variety of unique spaces, each with its own set of materials, colors, shapes, textures, tastes, and products. I don’t think there is a mall like this anywhere else in the world.We have THE ENTERTAINMENT DISTRICT, which brings the excitement and pulse of New York to life and features restaurants, sports bars, and the spectacular “Rockefeller Plaza” for special events and exhibits, and our very own Chinatown linked to the movie theatres above. We have THE FASHION DISTRICT where the latest in fashion and style can be seen within a setting reminiscent of “The Moulin Rouge” as seen in the motion picture of the same name. For a break from the excitement, we have THE GARDEN DISTRICT which is an Asian Garden where cafes, tea gardens and shops with lotions, perfumes and other healthy life products can be found. And finally, we have THE MARKET DISTRICT, a colorful Moroccan Bazaar in which all kinds of products abound in an atmosphere of colorful sights and exotic sounds. The idea is that customers will never tire of this place because of its diversity of design, products and entertainment.

As the Creative Director On-Site I have been the person who has had to bring this vision to life. Working closely with the local construction team, and with the management and staff of Grand Indonesia, I have developed a bond with everyone who has been tasked to bring Gary’s ideas and vision to life.

“What we created was a larger than life, highly theatrical version of classic “districts” from around the world.

Guests will be immersed in a variety of unique spaces, each with its own set of materials, colors, shapes, textures, tastes, and products. I don’t think there is a mall like this anywhere else in the world.”

THE fASHION DISTRICT brings the feeling of Paris to life, not so much as it is today, but more as it was seen and experienced in the motion picture “Moulin Rouge”.

Working in a different land requires an acceptance that things sometimes work differently than in the U.S., and that not all of the usual resources are readily available. Advance planning is necessary, and having some strong local associates who know where to go for last minute materials or supplies is very important. Language is an issue at times, but the Art Director’s Models are very helpful in alleviating many of the normal translation problems. In fact, having an Art Director’s Model on-site is one of the best tools possible for advancing a project forward in a manner that keeps the vision and quality at the forefront.

On international projects such as this, the Art Director’s Model is worth more than its weight in gold.

Working in Jakarta has provided me with an exciting opportunity to work with local talent, to explore other suppliers of hand-crafted products from Java, Bali, and other parts of Indonesia, as well as in a number of cities in China. Crossroads of the World brings together a host of international tastes, trends and products in its offerings to the public, in the stores and cafes, but in addition the materials that form the guest experience are also just as international.

All in all, when Crossroads of the World opens, we will have involved literally thousands of workers, and hundreds of suppliers. We will be using the latest technology from vendors like Electrosonic and Waltzing Waters in the U.S. for our media and fountain systems. We are also using handcrafted and hardcarved wooden moldings and other architectural details from individual artists and craftsmen shipped in from Java, Singapore and elsewhere. Supervising these various disciplines is challenging, but seeing it all come together is highly rewarding as well.

Gary Goddard and Steve Trowbridge on-site under the Art Deco ceiling mural in the ENTERTAINMENT DISTRICT.

When working in a foreign country it’s best to adapt to the local customs as much as possible, while bringing the best of western management and entertainment knowhow to the tasks at hand. At GGE, with the long history Gary Goddard has had with projects the world over, we are fortunate to have an understanding of how best to integrate our talents into the local landscape.

When Crossroads of the World opens it will become a true destination for residents and tourists alike. I have no doubt of this as I can honestly say there is nothing like this in all of Indonesia. For that matter, there is nothing like this in all the world.

On-Site Art Director Stephen Berger (left) and Creative Director Steve Trowbridge (right) confer with Show Director Taylor Jeffs (center) regarding the fountain show in the ENTERTAINMENT DISTRICT.

13

Concepts unrealized

LOST HORIZONS While most of the projects that GGE creates are fully realized, for a variety of reasons some are never built. And yet, many of these projects are quite spectacular. On these pages a selection of magnificent theme parks and attractions that Gary Goddard conceptualized between 1996 and 2006 appear with comments by Goddard on each of these highly unique and visionary projects.

THE WONDERFUL WORLD OF OZ “Harrison Price stated that in all his years in the business, this was the best designed new theme park since DISNEYLAND, and I would have to agree with him. The people involved in this project have all gone on to key positions for Disney, Universal, Six Flags, Paramount Parks and others, but in the midst of this project we had a team working for us that included the late Charles Cancilier & Wes Cook along with Greg Damron, Greg Pro, Eric Heschong, David Thornton, Ty Granaroli, Robert DeLapp, William Stout, The Brothers Hildebrandt, Jim Michaelson, Adam Bezark, and Dave Cobb to name but a few. Had it been completed, I believe the concepts for attractions, the theme and the brand, and the love and care that went into this project by the design team would have resulted in the greatest theme park since DISNEYLAND. It was a great loss for all of us, and for Kansas City where it was to be built.”

LOTTEWORLD REDEVELOPMENT “Recently we were asked to create a concept for a new LOTTEWORLD in Korea building upon the existing facility but adding something new to make it fresh and exciting again. Our approach was to develop a three-fold plan: Redesign the entire interior space to feel new and different, create new attractions that bring the park into the 21st Century, and finally, to re-organize the guest experience within the main dome. This illustration captures our overall approach, building upon the existing facades and structures while adding a much-needed new center to the main plaza, re-organizing the guest experience while adding new attractions as well. Ultimately LOTTEWORLD chose a more conservative approach for their enhancement program much to our regret. Yet this vision might still one day become a reality.”

ALIENS 4D “Once TERMINATOR 2/3D became the most successful attraction in Universal Studio’s history, Samsung was looking for a world class attraction for their Everland Park in Korea. They originally wanted to “buy” T2/3D for Korea but Universal was not interested in licensing their top new attraction. So we approached 20th Century Fox and James Cameron about bringing ALIENS to life in a new 4D version. Fox loved the concept as did Cameron and we started work. Jim was going to be involved and the entire project was going to pick up where T2/3D left off and take it to a higher level of intensity. We got all the way through Design Development and the financial crisis hit Korea causing this project to be put on hold along with just about everything else going on in Korea at the time.

It was a real pity that this attraction was never built. It would still be quite spectacular even today.”

DESERT KINGDOM “Right in the prime of the Las Vegas Strip, the land now home to Wynn Las Vegas was once intended to house a very different resort; ITT Sheraton’s DESERT KINGDOM, a mega resort created to define a new level of luxury and entertainment on The Strip. The project came to life when ITT Sheraton decided to enter the Las Vegas market. They wanted to open “the resort of resorts” and selected me to lead the team. In the end, the fate of the project was sealed when ITT Sheraton elected to purchase Caesars World instead, thereby bringing the grand vision of THE DESERT KINGDOM to a premature end.”

4716 VINELAND AVE. N. HOL LYWOOD, CALIFORNIA 916 01

14