Designing the dream

The creation of concepts for new attraction venues naturally involves some pretty hard thinking and brainstorming sessions for designers and the interpretation of the client’s thoughts and ideas into something  that is achievable, attractive and, ultimately, potentially viable.

 

Thus a concept design can come about through a host of different means and channels and it is interesting to hear how different design companies tackle this particular aspect.

 

“Concepts come in all sizes and in all forms,” says Gary Goddard at Gary Goddard Entertainment Design. “Sometimes we are asked to create something from initial idea onward. Other times, the client has an idea, or a drawing, or photos of places he’s visited that he loves. Sometimes we are brought in after another design firm has created a concept which, when presented, was rejected and we are being asked to start over with something new. So, honestly, every project is different when it comes to where we begin.  

 

“But the process for creating a new project follows the same basic path – something I like to call ‘organized chaos’,” he continues. “The method for creating new projects takes into consideration all of the issues you have asked in the prior two questions (see InterPark Spring 2009), adding in the concept (or multiple concepts initially) and putting it all into a big shaker, shaking it up and from that, coming up with something that would be considered unique, original and something that will stand out from the rest. 

 

“I call this ‘the big idea’ and we are always searching for this elusive element on every project we do. ‘The big idea’ is sometimes an iconic element, sometimes an environment, sometimes a resort or casino, sometimes it’s a show, or a ride, sometimes it’s a combination of many things. Each project is unique. And ‘the big idea,’ simply stated, is the RIGHT idea, at the RIGHT time, in the RIGHT place, created for the RIGHT price and realised in the RIGHT way.”

 

Ensuring all this is achieved comes down to having the right design team behind a project too, but should such a team involve lots of different people with lots of different ideas, or will “too many cooks” spoil the proverbial broth?

 

“A clear set of project goals is important, and then a visionary designer that leads the project and a support team that brings a set of specific talents to the table, to provide a different point of view on the project as it develops,” explains Goddard.  

 

“Ideally, the core creative team should work well together and be joined in their belief in the project and the creative direction. The visionary leader, like any great director or producer, should be open to other voices and new ideas and he should have the confidence to surround himself with people who have differing views and differing experiences. But he should also have the experience, knowledge and ability to react as a good editor would, ensuring the best ideas float to the top and that the information is shared with the entire team.  

 

“Generally speaking, architects and planners should not be a part of the initial creative meetings,” Goddard continues, “as they are programmed to want specific answers immediately on issues regarding circulation, power requirements, fire exits and on and on – the list is endless. Of course, we will get there – every project does.

 

But with an entertainment based project, you want strong, professional, creative designers who can work in a creative process and must ultimately do the impossible – spin gold from fibres of information they are provided with at the outset regarding market, location, size and purpose.

 

“Sadly, most projects do not work as outlined above. Too many designers put their own egos ahead of the project, and too many ‘leaders’ are often insecure and therefore fail to bring the best people available to the project.”

 

At Jack Rouse Associates, Keith James notes that “the concept ideas, if they are to be truly viable, must be a team effort involving the creative firm and the client. They are always strongly influenced by locality, country, local culture, space, budgets, ROI goals, etc.,” he points out, going on to add his views on what makes a great design team.

 

“If there were a ‘right’ answer to this question there would be no failed projects,” he comments. “The culture and operating style of the client will always dictate the team dynamic. This may or may not create an ideal team, but designers must learn to work within the culture of the client and then, when possible, ease them into a process that might be more appropriate.”

 

The team at Forrec – Steve Shah, Steve Rhys and Gordon Grice – also subscribe to a ‘big idea’ thought process when it comes to concepts, noting: “At the beginning of the design process, after our research and initial meetings have taken place, we work on developing a ‘big idea’ – something that we can use as an organisational tool or touchstone for the concepts that follow.

 

“Concept Development is critical to a project’s ultimate success,” they continue. “For Forrec, this means following the directions suggested by the ‘big idea’ and distilling thematic treatments from a collection of creative ideas. Effective design begins with a strong conceptual vision, but its true success lies in detailed applications of the concept.

 

“There are many factors that influence the direction we take for a concept and each is unique to the project. The client’s vision, the country/region, the site’s specific characteristics, the local market, demographics, regional culture, budget and local construction techniques all have an impact on the concepts we develop.

 

“As mentioned (previously), we start with in-depth discussions with our clients about their expectations and vision. We prefer to base our designs on local culture, history and customs, as these are often the most satisfying for us. However, concepts are often driven by clients’ own ideas concerning the personality and flavour of the project. If, for example, our client desires a more ‘Western style’ park, then that is where we focus our efforts. 

 

“For each project we assemble a team and brainstorm broad concepts and ideas,” they add. “During this process we discuss context, history and culture, and ways to develop concepts based on these. Following this, the site-specific team distils the collection of ideas down to two or three that can be further developed. These developed ideas are then presented to the client for feedback and then further refined into a final direction.”

 

As far as design teams are concerned, Forrec is well placed with a strong, in-house group of individuals with expertise and knowledge in a variety of areas.

 

“We are very fortunate to have evolved as a large multi-disciplinary firm with a lot of very talented individuals,” note our interviewees. “We also have principals and senior designers with a lot of specific experience, both regionally based and sector based.

“We try to include designers from various backgrounds and disciplines on each project team, who also have experience specifically related to the project. As mentioned, we brain-storm for the early ‘big ideas’ and then the director (every kitchen needs a Master Chef) will usually lead a smaller, more focused team through the final refinement and delivery. We find this process generates a good balance of creative ideas and open discussion to produce more project-specific development initiatives.”

 

Josh Schultz at US based DRMR Development comments that project concepts come about from a combination of the DRMR team and the client, often influenced by the project locality, country, available space, budgets, etc.

 

“Typically the client already has an idea of what they want and it’s our job to make it feasible as well as operational,” he says, “by lending our expertise into the concept. Many times projects are dictated by their size constraints as well as location. It goes without saying that high cost land areas provide some of our greatest challenges, while sprawling tourist and suburban areas allow you to get away with just about anything. However, if your location is in a less populated area, it might not make sense to do a high end European setting for the resort. Also, the components of a waterpark portion are much more universal with the theme coming from fixtures and dressings like rock, wood, glass and seating.”

 

On the subject of a great design team, Shultz believes everyone on the team has ideas and thoughts that can add to the design of a project.

 

“In the beginning, the more ideas the better,” he comments. “The key is that the design leader has the ability to make sure everyone’s ideas are given equal opportunity to be heard and can make informed and fair decisions.  

 

“Our design team consists of architects, engineers, designers, operations people and the general contractor. Sometimes a good idea becomes a great idea with input from the people who will actually build the structure and vice versa. We enjoy researching new technologies and construction methods and will consider all avenues when putting a design together.”

 

At BRC, Bob Rogers observes that the ideas for a new attraction “come from everywhere – the team, the client, the context, the regional heritage identity (including clichés). Along the way,” he adds, “you need to listen to many people, gather many ideas and be open to everyone. You especially need to seek out people typical of the audience you hope to attract.”

 

And colleague Bart Dohmen adds: “Every project is shaped by external parameters, such as economic or environmental constraints, which help define the park. But every project we do is also governed by the dreams, goals and passions of the stakeholders. We help them to translate their ideas into stories going beyond the expectation of the target audience groups. 

 

“An example of this is the Tasting Bar at BRC’s new Heineken Experience. The idea was born in a bar during a research trip Bob Rogers and myself did with two Heineken employees through the USA.  (Doing research by drinking beer in a bar is great work if you can get it! Editor’s comment – Need any assistants?) The Heineken executives were extremely disappointed by the technical way the Heineken draft beers were served at one American bar – wrong temperature, wrong foam, wrong glass, wrong pouring technique – nothing was right. 

 

“So right there at the bar we suggested why don’t we teach the Heineken Experience guests why the art and science of great beer requires a specific amount and type of foam, just the right temperature, just the right glass, the perfect pouring technique, etc. By teaching this we demonstrate Heineken’s passion for the art and science of its products and we make our guests knowledgeable ambassadors for this message. Thus the idea for the Tasting Bar in the new Heineken experience was born. This is just one small example of how a client’s passion becomes a presentation.”

On the matter of creating a great design team, both Rogers and Dohmen see several key areas as being vital.

 

Dohmen: “A great design requires a team with passion for the subject. The right team size depends on the size of the project. Essential for a good design team is the design lead. He or she needs to be very experienced, creative and have perfect management skills. Management skills are very important in this role – keeping a team of creative people on the right track is not an easy job! Important is the team spirit and the acceptance of hierarchy. The longer they work together, the better this will be established. This is the big challenge for groups of consultants collected together for creating a new park. They easily become a group of ‘too many cooks’.”

 

Rogers: “But in the end, great work is never the product of a committee. Committees do not create hits in Hollywood, Broadway or anywhere else. Listen to everyone! But when the final creative decisions need to be made, a small group with a great track record needs to have the freedom to get the work done and done well. But on the way to that, the more local input the better.”

 

For F.E.C. International in Dubai, Managing Director Olivier Lorge comments: “A successful, profitable and harmonious project can only be created with a combined reflection between our team and the client. We will propose and throw ideas on the table, but the client has to be there, knowing his area better than us. We’ll guide him with our experience and knowledge for a successful idea, but he’ll be there to correct us in avoiding misunderstandings regarding his place. That’s why it’s an interactive brainstorming that will be a key to success, adapted in any case to that particular country and region, to the available space and within budget.

 

“Regarding the right team, when designing and starting a new project, a basic team is an absolute necessity. Our architect, an engineer and a space-planner are a must.

 They will be our ‘brakes’ if we go in the wrong direction and will control the technical feasibility of the new concept.

 

“It’s true that we do need different people, ideas and opinions for an efficient brainstorming, but only at the initial stage of the creation. Once we agree, once we determine the key elements, atmosphere and theme, we leave the ball in our creators’ hands and only interfere if they go wrong or forget important factors.”

 

Not surprisingly, working in different countries means considering new and different cultures within whatever is being built and it is a crucial consideration at every stage of the project, as all our interviewees explain.

 

“It’s very important to consider cultural differences at all times,” says Goddard. “ ‘Know thy audience’ is critical to success and knowing our audience’s tastes is important. Nothing great is created in a vacuum.  Art, entertainment, politics – everything reflects the times. And the country and culture of the place in which you are creating a new project is a key element. It’s who you are creating the project for. So to ‘know thy audience’ is key to success.

 

Keith James agrees, noting that “the audience is king. Not considering cultural differences is insanity. End of discussion,” while at Forrec, the team notes there are two parts to this aspect. 

 

“The first part is the consideration of cultural elements in the design of the attraction. The second part is the way cultural differences affect the actual functioning of the project,” they explain.

 

“In the case of the overall concept and planning, the cultural balance very much depends on the client and the type of project. But tastes in entertainment tend to lean heavily toward the ‘exotic’ or unfamiliar, so clients frequently prefer non-indigenous themes, as this is what they perceive that their audience is looking for. In other cases there might be a blend of local and exotic ideas or a design that is more heavily derived from local culture or legends. 

 

“In more detailed planning, the functional aspects of a culture need to be considered,” they continue. “For a successful operation, it is always critical to respond to and recognise key cultural differences. For instance, each region or culture has unique dining habits and tastes in food that need to be recognised in the food and beverage planning.

 

“Attractions in different countries also have very different attendance patterns. In hot climates, most guests arrive later in the day, when it is cooler, and stay later into the evening. Even children stay up later, meaning that very different strategies and operational methods are required. Local habits and customs must be constantly considered. Expectations for queue times also vary widely from culture to culture. A three-hour wait time for a major attraction in some regions would be considered intolerable in others. These factors and many others affect how we approach a park’s planning and design.

 

“In the final analysis, the important aspects of attraction and experience design are universal. Every nationality and culture looks for a comfortable environment where they can relax with their families, get good food and good value for their money, and form part of a community of shared experience.”

 

At DRMR Shultz comments: “(It is) very important! We are just venturing into this area but are considerate of items such as the number 13, which direction doors open, how to ensure level eye contact between employees and guests, energy usage, the way people pay and many other variables. All of these things can make individuals return or not return to your facility, so they all must play a factor in your design.”

 

“It’s not just country to country, it is region to region, sometimes city to city,” says BRC’s Rogers. “Paris is not Biarritz. Berlin is not Munich. Ottawa is not Montreal. Tokyo is a world away from Kyoto. Respect for the local culture is key to everything.”

 

“For story telling attractions the cultural differences are essential,” adds Dohmen. “Every different cultural group reacts differently to stories and emotions. A perfect example of this can be found in our attraction at the top of the world – The Sapmi Theatre in Karasjok, Norway. This place is almost only visited by groups travelling in tour busses. At one moment you have a group of Dutch people coming in, reacting inwardly to the story. The next group comes from Italy. They come out of the attraction crying. Reason: the story speaks poetically about death. Dutch people speak openly about death and so it is not so outwardly emotional, whereas Italians don’t speak about death, they prefer to avoid it and get very emotional. Same attraction, different cultures, different visual reactions. A clear example that different cultures need different approaches.”

 

Olivier Lorge is no different to others, agreeing that the consideration of cultural differences is a major and essential element to the design process.

 

“So many differences exist and you can’t do a project without that knowledge,” he says. “We have to think about the culture for sure, but not only that. The habits, religion, clothing, customs, climate are also to be strictly respected.

 

“More, you need to adapt your future project to the estimated number of visitors and spending potential. You can’t realise a multi-million dollar project, in a tiny village, in the middle of nowhere, in a very-hard climate country… and you have to permanently monitor the competition. You can’t build the same theme park in the USA, Middle-East, India or Malaysia. Mentalities, country GDP, number of clients, climate, needs and expectations, as well as religious or cultural habits, will be totally different, and all those elements are to be followed and sharply respected.”

 

Creating new attractions of whatever type is clearly a challenging but fascinating and hugely rewarding process. Long may it continue as the attractions industry develops and grows in the future.