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The Art of COST

InPark’s editor-in-chief does a little Midwestern bonding and pays a visit to COST of Wisconsin

Behind the fantasy facades and intricate rockwork that are integral to so many guest experiences at theme parks, waterparks, zoos, and casinos, there’s a team of talented artists and artisans. Now in its third generation of family ownership, COST of Wisconsin (COST) has fine-tuned a specialized team to support the visitor attractions market with fabrication and construction services.

The company started out in Milwaukee, Wisconsin in 1957, creating rock environments for the Milwaukee County Zoo, and quickly began adding more construction services to its portfolio. As the company expanded in response to increasing demand, it moved from Milwaukee to Germantown and then to its current headquarters, Jackson (all in Southeast Wisconsin). Convenient shipping logistics are one of the advantages the company enjoys in its central US location. COST also has offices in Seattle, Orlando, and Winnipeg.

Touring the Wisconsin shop with Executive V.P. Lance L. Stanwyck, we learned that it covers 140,000 square feet and the company has 200 full time employees. The recent economic downturn has had an impact, but mostly in terms of which markets are flourishing. “We did a lot of casino work until 2007,” said Stanwyck. But as that market slowed down, zoo and museum work started to increase. Stanwyck attributed the rise to revenue sources shifting from government funding to attendance fees. Zoos and museums have been upgrading their facilities, recognizing the need for more themed environments to entice visitors. [See InPark’s AZA report for more information about new exhibition directions at zoos and aquariums.]

The theme park market is also picking up. We saw solid evidence of this first-hand on the COST shop floor, in the form of giant Roman columns being fabricated. (They were later installed at the entrance of Six Flags Great America’s new Goliath roller coaster.)

COST of Wisconsin divides up its core services into three groups: Fabrication (25%), Shop Drawings & Fabrication (50%) and Design/Build (25%). “Clients come to us for more than just building things,” said Stanwyck.

The company is especially proud of its model work. Even with digital technologies advancing, oftentimes a scale model is still the best option for determining how an area will look and function when complete. Scale models are not only used for approvals, they serve as a construction tool for fabrication and construction. “Knowing a project works in model form saves cost and time down the line,” said Chris Foster, VP, Sales and Marketing.

The company also uses technology to supplement artistic skills, recently acquiring a 5-axis cutter to carve out complex designs. But will there be a time when the artist disappears from the equation? Could 3D printing change the formula? “The blending of artistry with technology is a great marriage,” said Stanwyck. “We will never get to the point where artists are not necessary. Whether the artist carves a model or the final piece, you still need an artist.”

On the consumer side, Stanwyck feels the technology we all have in our pockets has changed things. Our cultural attention shift towards phones has led us to interact directly with one another less. But it seems that has, in an ironic way, helped boost the demand for high-quality fabrication and sculpture. “The most popular attractions are those where guests move through an actual environment,” said Stanwyck. “A virtual stimulus is never as effective as a natural one.”

That enduring need for placemaking has helped COST of Wisconsin survive and thrive over more than half a century of doing business. The team at COST also credits their focus on pleasing the customer as a major factor in the company’s success. As Jon J. Stanwyck, president of COST says, “If the client’s dream is met, then my goal is accomplished.”  • • •

Around the World in 80 slides

Polin takes us on a journey around the globe to eight waterparks that opened or expanded in 2014 with their slides and water features in place. We will visit three continents and six countries, some of whom are new to the waterpark market.

Photos and captions courtesy of Polin


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Liquid Profits: Operators discover the benefits of adding water

InPark News Editor Joe Kleiman dives into the discussion

Adding and expanding water parks helps three park chains boost guest experience and surge to higher attendance and revenue. France-based Looping Group, US-based SeaWorld Parks & Entertainment, and Australia-based Village Roadshow.

“A recipe for both” – Looping Group

How does a regional park differentiate itself within its market, and work to ensure repeat visitation of locals while also engaging tourists?  Looping Group, integrated waterpark attractions into the company’s existing theme parks.

Looping Group was founded in early 2011 when investment firm HIG Capital France purchased a portfolio of seven attractions from Compagnie des Alpes (CDA). Included in the sale were: Bagatelle Park, the Aquarium at Saint Malo, the Mini Château Park and Val de Loire Aquarium, all in France; the Bouveret waterpark in Switzerland; Avonturenpark Hellendoorn in the Netherlands; and Pleasurewood Hills in the United Kingdom. In 2012, Cobac Park in France was added and in 2013, Isla Magica in Sevilla, Spain joined the company’s portfolio.

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Beginning in 2013, Looping Group worked in conjunction with Polin, a leading supplier of interactive water attractions, to integrate these new waterparks into two of its theme parks – Avonturenpark Hellendoorn and Isla Magica. According to Laurent Bruloy, CEO of Looping Group, “We know that these waterslides will help build guest loyalty because they are unique and thrilling.”

Guillermo Cruz, the General Manager of Isla Magica’s waterpark, Aqua Magica, adds another key benefit of the water attractions, “Waterslides and water play structure are appealing to families who might not otherwise be interested in the ‘typical’ theme park experience. After all, a waterpark allows guests to spend much more time together than most theme parks.”

ARNAUDCOSTELOOPINGInterview with Arnaud Coste, COO of Looping Group: 

How has Compagnie des Alpes influenced Looping Group’s operational strategy?

Although CDA is no longer an investor in Looping Group, they influenced our strategy in a certain way in the beginning, mainly because they did such a great job at all their sites.

How does Looping Group differentiate itself from its Spanish competition?

We can say our business model is really a mix between CDA and the major Spanish companies (Parques Reunidos and Aspro for example) but is focused on regional parks. It means every operation is close to the local management.

You recently added full-scale waterparks with the assistance of Polin to two of your existing theme parks. How have these additions affected visitation numbers?

Waterparks / slideparks added to our existing theme parks significantly increased attendance and revenues of both Avonturenpark in Hellendoorn, Netherlands and Isla Magica in Sevilla, Spain.

Why choose waterparks, given that the summer season in Europe is relatively short?

In Sevilla, we operate a real, full-scale waterpark in Southern European weather, and in Hellendoorn where we operate a slide park in Northern Europe with a very short peak season. Yet in both cases it’s clear the waterpark business model is a perfect tie-in with the theme park for improving profitability. We consider this to be at the heart of Looping Group’s innovation and what makes the difference between us and our competitors.

The waterparks are an upcharge experience on top of admission to the theme park. Why was this approach taken rather than operating them as a second gate? How has the guest response been to this strategy?

Asking about one or two gates is like asking “To be or not to be”… For economic reasons and based on our guest’s needs and experiences, the one-gate concept is better than a completely separate gate because visitors feel they are at an all-inclusive resort. But it depends on the market and in our case Isla Magica is different than Hellendoorn. You have to choose between a lot of visitors (one gate/all-inclusive) or less (two gates/two rates) but with higher margin…We have a recipe that uses both…

TimMorrowSEAWORLD re-themes and re-invents

Another company that has found success integrating a waterpark inside a theme park is SeaWorld, which in 2012 transformed its existing Lost Lagoon waterpark in San Antonio into the company’s Aquatica brand. As part of the brand change, the waterpark changed from being free with admission to the main marine life park to imposing an upcharge.

According to Tim Morrow, Vice President of SeaWorld San Antonio and General Manager of Aquatica, “Re-theming of the existing areas of Lost Lagoon into the Aquatica brand was quite a challenge. We focused on keeping the attractions and areas that our guests loved and revitalizing them. We elected to keep many existing waterpark areas, and we basically doubled the size with many new attractions including first-of-their-kind slides, resort pools, swim-up bar, 42,000 square feet of white sand beaches, animals at every turn and much more. It truly became a new waterpark.”

The Aquatica parks are unique in their integration of live animals into the guest experience. Aquatica San Antonio took its cue from SeaWorld’s Discovery Cove, which Morrow refers to as “a hybrid waterpark” complete with elaborate animal interactions. “I was part of the opening team of Discovery Cove and wanted to bring that feel to Texas,” said Morrow. “We deliberately worked to create our Aquatica in Texas to have much of the aesthetics of both Discovery Cove and Aquatica Orlando. We really focused on the resort feel of a waterpark and especially the interactive aspects. Our reef and ray interaction and aviary are very similar to the past and present attractions at Discovery Cove.”

Morrow pointed out that Aquatica San Antonio is home to nearly 1,000 animals, including fish, stingrays, birds, tortoises and more. “We created Stingray Falls to allow guests to experience our Ke-Re Reef in multiple ways. Guest can view, touch, feed, ride underwater in a family raft ride, or get in the water and actually wade with stingrays.” Roa’s Aviary, which opened in 2014, is an interactive, free flight aviary that features 50 species and some 300 birds, and offers many ways to experience the birds. Guests can float, walk or swim into the aviary through Loggerhead Lane river, enter through a resort pool or walk in through the aviary pathways.

One specific driver for the park is its dedication to cater to the family dynamic. Morrow elaborates on this strategy: “All of the new attractions we have added since we built Aquatica in 2012 have been family oriented. This is what our guests tell us they are looking for and we want them to have these shared experiences and memories here.”

Each Aquatica park has its own animal elements and attractions and the company is planning more overseas with its plans to expand the SeaWorld brands into a number of territories, including the Middle East, Eastern Europe and Asia, some of which is covered in the next segment.

VILLAGE ROADSHOW – Taking the roadshow across Asia

Recently, as part of its international expansion strategy, SeaWorld Parks & Entertainment signed a letter of intent with Australia’s Village Roadshow Parks to develop new parks in Asia, India, and Russia.

Already experienced in foreign park operations through investments in Wet ‘n’ Wild parks in Phoenix and Hawai’i, the company recently opened two new waterparks under the brand in Las Vegas and Sydney. Additionally, two waterparks are currently in the works in China: a Wet ‘n’ Wild park on Hainan Island which will adjoin Village Roadshow’s Ocean Paradise marine life park, both slated for a 2016 opening, and an unnamed waterpark in Gunaxi Provence.

Village Roadshow is also designing and will operate a Twentieth Century Fox-themed park in South Korea, and is presently in discussions for a number of projects in China and Malaysia.

460189_639838Interview with Village Roadshow CEO Tim Fisher:

A Wet ‘n’ Wild park is planned as part of the Ocean Paradise resort under construction on Hainan Island. Will this and other Asian parks under the Wet ‘n’ Wild brand resemble the new parks in Las Vegas and Sydney? What unique elements will there be?

Wet ‘n’ Wild Hainan is currently under construction as part of the Ocean Paradise resort. While there are similarities to our recent water park developments in Las Vegas and Sydney, all Wet ’n’Wild parks have their own style and character. This is one of the things that makes visiting a Wet ’n’Wild park a unique and enjoyable experience.

Does Village Roadshow have the rights to other parks in the South Korean resort area that will house the FOX World park? 

Currently our primary focus is working with our partners on the development of Twentieth Century Fox World Korea. However, we look forward to being able to explore other opportunities within the market in the future.

Under the letter of intent with SeaWorld, how will ownership, design, and operation of new parks be split or shared between the two companies?

We continue to work with our colleagues at SeaWorld Parks & Entertainment to fully define details of our partnership in the China, India and Russia markets.

With Hainan being the first, how many locations are feasible for Village Roadshow projects in China before the market starts to hit saturation?

There are a number of great opportunities in the China market. We continue to be very excited about what the future holds for Village Roadshow Theme Parks in China, and the greater Asia market.

What types of cultural considerations must be made for designing and operating parks outside the US & Australia?

 

We fully appreciate the cultural differences between countries, and the need to be sensitive to those differences in the various aspects of planning, design, product mix, and operation. As examples, we know that shows are preferred over rides in some Asian countries and there are distinct differences with regard to food preferences.  • • •

7thSense Design Media Server Behind Angry Birds 4D Experience at Thorpe Park

[quote]We are proud to have our system installed at such a prestigious theme park location. Thorpe Park is renowned for providing outstanding entertainment experiences and audience feedback from the new theatre is already proving how this installation is another step up in the world of 4D immersive theatres.” — Matt Barton, Director at 7thSense[/quote]

Sussex, UK (October 27, 2014) — Uncompressed media serving and display specialist, 7thSense Design, has delivered its Delta Media Server to a 4D theatre at one of the UK’s largest theme parks, Thorpe Park. The Angry Birds 4D effects theatre, part of the new Angry Birds Land, was developed and supplied by Simworx and opened to the public this summer.

The 326-seat 4D theatre sits at the heart of a new 4,000 sq. metre area in the theme park, near London, built exclusively for the famous international game and brand, ‘Angry Birds’. The multi-sensory experience offers visitors a custom-produced 4D film and in-theatre special effects including wind, smell, water, leg ticklers, bubbles, smoke and catapult simulating seats to create an ‘in-game’ experience for park-goers.

UK-based Simworx was contracted to create and install the 4D experience by park operator Merlin Entertainment and Finnish company, Rovio Entertainment.

Angry Birds 4D Theatre 2_Image Copyright 2014 Simworx

7thSense Design supplied a dual-head Delta Media Server with passive stereo 3D output to power the projection system. A further audio server with 8-channel output was also supplied to support a fully immersive and integrated experience.

Matt Barton, Director at 7thSense added, “Our solutions are often integrated into demanding theme park exhibits worldwide since these installations require the very best image quality and reliability for maximum visitor experience. It’s easy for viewers to see visual artefacts typically caused by compression techniques or misalignment on such large displays – Delta is designed to provide the very best quality movie playback with zero compression, day in and day out. For content producers, this means their productions are screened as they intended, while theme park operators are given confidence of maximum visual impact and system stability.”

Terry Monkton, Managing Director at Simworx explained, “Using Delta for the Angry Birds attraction at Thorpe Park was an easy decision for us; in fact Delta is at the very core of all our AV designs which cover anything from a 4D theatre to a multi-channel Immersive Tunnel. The scalable hardware platform has really removed the technological barriers that existed just a couple of years ago, allowing us to create incredibly high resolution canvasses to play with in our new system designs; this, coupled with the ability to serve fully uncompressed TGA sequenced movies at high frame rates, means no loss of image quality and no file conversion requirement either, making the entire workflow simple for the creative team. The 7thSense team is also very receptive to feedback and new feature requests are incorporated rapidly; the level of support is second to none.”

www.7thsensedesign.com

Holovis to Showcase “The Lost Cove,” Newest Interactive DomeRider Experience, at IAAPA Attractions Expo

[quote]Our revolutionary approach to experiential design of attractions creates a platform where each user can have a unique experience, depending on the ride path they choose to take. This stimulates ride repeatability, increased visitor engagement and high footfall levels.” — Stuart Hetherington, CEO, Holovis[/quote]

Bittesby Farm, UK — Holovis is set to transform sensory experiences at IAAPA 2014 through a dynamic technology showcase which demonstrates how next generation dark ride and immersive theatre attractions can be created using  ‘building blocks IP’ technology for unique and completely scalable experiences.

The Lost Cove, the latest interactive game title in the DomeRider series from Holovis, is an immersive themed experience for multiple players. The Lost Cove transports the players in a virtual ride experience using the latest motion technology, where they commence battle with the tides and currents to make their journey down a very unpredictable river. The riders can decide to either work as a team or competitively to collect treasure along the way, revealing the rivers secrets amongst the turbulent rapids!

Holovis Technology Showcase 2014 1

The riders are completely surrounded in real-time interactive content through a 180° wrap around display, engaging all their peripheral vision, using Holovis InterAct for individual game play. These proprietary hand held devices deliver a highly accurate, easy to use interactive experience allowing seamless player interaction in 2D and 3D synthetic worlds in any of the immersive systems, from flat screens to curved or the MotionDome 360° dome.

The combination of organic motion, stereoscopic immersive visuals, surround sound, special effects and the accuracy of the interactive gaming system puts people at the centre of the attraction, bringing the story and content to life in a way never before experienced.

Holovis Technology Showcase 2014 3

“This technology showcase demonstrates how our turn-key dark rides and immersive attractions deliver a next-generation of experience through a truly integrated process from design to delivery,” says Stuart Hetherington, CEO, Holovis. “We ensure that the creative vision drives the entire process, with the complete solution delivered from ‘under one roof’. This results in a de-risked approach when creating these complex attractions, eliminating disjointed multiple 3rd party suppliers.”

All Holovis dark ride and interactive theatre solutions utilise curved or domed projection screens up to full 360° dome structures so completely immersing audiences in the story and interactive world of the ride. The scalable ride technology allows realistic, subtle motion to be seamlessly synchronized within the media or game with the interactive devices giving full directional control or an intense shooting experience.

www.holovis.com

“A Tough Year”: Zoos & Aquariums address conservation, experience design and reframing the debate

by Judith Rubin

“We need to do a better job communicating to the public our mission of conservation and saving animals from extinction,” said Jim Maddy, president and CEO of the Association of Zoos & Aquariums (AZA) at the 90th annual AZA conference in Orlando. He was introducing a new coordinated conservation effort uniting stakeholders with the common goal of saving species from extinction.

Zoos and aquariums today are re-examining both method and message. As wild creatures and wild places become scarcer and the world grapples with the attendant issues, zoos and aquariums are actively stepping up their positioning as leaders in conservation. At the same time, there are new design approaches, technologies and media being incorporated to enhance and intensify the guest experience as well as that of the animals, often intertwining the two in unique ways.

AZA 2014 took place Sept 12-18 in Orlando, in conjunction with the annual meeting of IMATA (International Marine Animal Trainers’ Association). Between AZA and IMATA, the number of delegates was just over 3,000. The event was co-hosted and co-planned by SeaWorld Parks & Entertainment and Walt Disney Parks & Resorts, with leadership from Brad Andrews, Chief Zoological Officer, SeaWorld Parks & Entertainment and AZA chair Jackie Ogden, Ph.D., VP Animals, Science & Environment, Walt Disney Parks & Resorts.

Staying the course

The recession and staycation trends have supported attendance at local zoos in the same way as at regional amusement parks and museums. In his opening address, Maddy pointed out that no AZA members had been forced to close during the recession and that employment is up in the sector. He also stressed the importance of positive experiences in staying close to the hearts and minds of the public: “You are trusted by guests and by the general public.”

“We are the real activists; we are the real animal advocates. Stand proud and stay the course,” said Bill Wolden, outgoing president of IMATA and Director of Training and Development at Dolphin Quest. IMATA, an international organization, represents 1,800 trainers, researchers, educators and vets.

In a brief opening statement, Brad Andrews of SeaWorld, referred to a “tough year,” adding, “rough is good for you.”

Weber Group

Keynote speaker Cristián Samper, president and CEO of the Wildlife Conservation Society, overseeing what is said to be the world’s largest collection of urban parks including the Bronx Zoo and New York Aquarium, shared sobering figures about human population growth, development, extinction and the loss of natural resources. Samper pointed out that the 50% of the world’s 7 billion humans who live in cities are likely to experience nature only through zoos and aquariums, calling on conservationists to work with city planners and the agriculture sector, and to connect field conservation with the work of zoos and aquariums. According to Samper, zoos and aquariums are investing $160 million per year in conservation, “more than any government entity.” Citing 2,978 conservation projects in 127 countries, about half of those in North America, he indicated a need for rebalancing – that the projects emphasize mammals and birds when in fact turtles, primates and amphibians are the more endangered species.

Samper described the 96 Elephants project – a campaign that includes over 100 AZA-accredited zoos and aquariums, working to shut down the ivory markets and call attention to escalated poaching that is devastating the African Elephant population. He called on all AZA members to join the effort and to spread awareness stemming other, unsustainable rates of loss in animal populations.

Numerous conference sessions addressed these issues in more detail, including “The Elephant Poaching Crisis: How Action Can Turn the Tide,” “Join the Fight to Keep Giraffes in Africa,” “Conservation in our Backyards,” “Partnerships to Enhance Conservation Impact,” “Collaborative Zoo and Aquarium Regional Conservation,” and others.

Reframing the debate

But while the AZA and IMATA communities fervently pursue their mission of conservation – and that mission has never been more urgent – they face considerable public relations obstacles. As Brad Andrews said, it’s been a tough year. In the panel discussion “Public Opinion Shapes Your Story,” Jill Allread, president of Public Communications Inc. exhorted the community to be more pro-active and take action quickly to reframe the debate. She pointed to the influence of the controversial documentary Blackfish and activist websites such as thedodo.com, and Millennials’ reliance on social media for their information. “You must address the issues,” she said, recommending the use of “simple, compelling messages,” “technology that connects,” and “making it personal.” As an example to illustrate her point, she described the turnaround in public sentiment that was helped by a refocusing in the same-sex marriage controversy. Harping on equality was replaced by an emphasis on love, family and children. Zoos and aquariums can and must, Allread said, “enter the discussion and own it. You have a better story.”  • • •

Exhibit design

Sessions about new and upcoming projects, and conversations on the AZA trade show floor, revealed a wide range of intriguing design approaches. Here are some highlights.

Avatar on Earth

Joe Rohde of Walt Disney Imagineering showed concept art for the Avatar land (4) set to open in 2016 at Disney’s Animal Kingdom, the park for which he was a primary creative force. Noting that “a lot of Disney stories revolve around the relationship of humans to animals,” Rohde shared Director James Cameron’s intention that Avatar be a cautionary tale regarding conservation, a “broad and vivid metaphor to push to the real work and actual planet we have: Earth.” The new Avatar land will not have any live animal exhibits.

Tech not tanks

Pacific Visions, the new wing of the Aquarium of the Pacific, is devoted to animals that are too big to keep in an aquarium, or too small to see with the human eye. In her design presentation, Ursula Currie of EHDD Architecture described a high-tech, media-rich approach in a similar vein to BBC and Sega’s Orbi in Yokohama, Japan. The primary attraction of Pacific Visions, opening in 2017, will be a 320-seat, 4D, immersive, multi-purpose theater with a 30-foot high screen and 180-degree field of view. The building’s biomorphic shape suggests a whale, and its non-translucent glass façade will be projection-mapped.

Elephant Immersion

Mark Reed, executive director of the Sedgwick County Zoo in Wichita, Kansas, presented Elephants of the Zambezi River Valley (1). Opening in 2016, the $10.6 million, 7 acre exhibition includes an 18,000 square foot elephant barn with six stalls (to house the Zoo’s current pair, Cinda and Stephanie, and add four more). It is being touted as the third-largest elephant exhibit in the US and will have the further novelty of boat rides that put visitors in the same water as the elephants. Design is by Wichita’s GLMV Zoos.

zoos

3D and 4K

On the exhibit floor, Janine Baker of nWave Pictures talked about 4K having emerged as the new standard of digital video. “You’ve got to have it,” she said. “It’s a must for any producer or distributor, and the consumer demands it.” Whether one is presenting current or vintage material, she said, “Everything needs to look new and ‘wow’ all the time no matter what it is.” nWave’s recent wildlife titles include African Safari 3D, Great Apes 3D, Galapagos 3D: Nature’s Wonderland and Penguins 3D.

Family tradition

Kate Magnusson of SimEx-Iwerks reports that Frozen Planet, the company’s new attraction film in partnership with BBC, is playing at the Cincinnati Zoo and Botanical Garden and opens in February at the Vancouver Aquarium Marine Science Center. Rio 4D premiered about a year ago at the San Diego Zoo and will soon open at other locations. SpongeBob SquarePants 4D: The Great Jelly Rescue, is going strong at theaters around the world. And it’s the 10th anniversary of Polar Express, which Magnusson reports has become an established family tradition, at some theaters running from November 1 through early January to meet popular demand.

Design/build

Penny Peavler of The Weber Group Inc., a design, construction and specialty fabrication company based in Sellersburg, Indiana, was very busy with clients at her AZA booth. She talked about recent work in collaboration with Thinq Design on the International Orangutan Center for the Indianapolis Zoo. Weber Group’s many projects in the zoo sector include the National Aviary in Pittsburgh,  the Louisville Zoo (Glacier Run), the Sedgwick County Zoo (1) (above-mentioned elephant exhibit) and the Indianapolis Children’s Museum (National Geographic Treasures of Earth). Weber Group emphasizes what Peavler calls “true design/build” or “integrated project delivery.” The company is also a key member of the creative team directed by George Wade for the new Crayola Experience (slated to open in 2015 in Orlando), with Callison Global.

End user

Melissa Ruminot and Stephen Dodson of The Nassal Company, a fabricator and producer based in Orlando and well-known in the themed entertainment sector, talked about the firm’s substantial zoo portfolio. Among zoos, Nassal is especially in demand for its rock work. Projects include Houston Zoo (African Gorilla exhibits), Columbus Zoo and Aquarium (3) (Heart of Africa), Zoo Miami (upcoming Everglades exhibit) and Antarctica: Empire of the Penguin at SeaWorld Orlando, which recently won an Eagle Award from the Association of Builders and Contractors, citing excellence in rockwork in Central Florida. Ruminot’s remarks attest to Nassal’s attention to detail and authenticity, as well as a sense of responsibility – an understanding that they are not just creating rock work or an aesthetically pleasing exhibit, but a home for specific creatures with specific needs. “The animal is the end user,” she said.

Other projects presented in the exhibit design sessions at AZA:

• The Great Mayan Reef at Audubon Nature Institute

• Sea Lion Cove at Fresno Chaffee Zoo

• San Diego Zoo Safari Park Tiger Trail

• Jacksonville Zoo and Gardens’ new Land of the Tiger

• Greensboro Science Center SciQuarium

• Antarctica: Empire of the Penguin at SeaWorld Orlando

• Meerkat Hamlet at the Brevard Zoo

• Akron Zoo’s Mike & Mary Stark Grizzly Ridge

• Tentacles: The Astounding Lives of Octopuses, Squid and Cuttlefishes (Monterey Bay Aquarium)

• Dwelling in a World of Nest Makers: Connecting Young Children with Small Birds (Palo Alto Junior Museum & Zoo)

• Scovill Zoo Penguin Exhibit

• International Orangutan Center (Indianapolis Zoo)

• New Aquatic Exploration Center (Fundación Teamaikén)

• Big Cat Crossing (Philadelphia Zoo) (2)

• Primorsky Aquarium and Research Center

• Asia and Cool Zoo2 (Audubon Nature Institute)

• Houston Arrival Plaza (Houston Zoo)

• North Carolina Aquarium on Roanoake Island

• Kid’s Trek Play Area (Northwest Trek Wildlife Park)

Opening a New Chapter at WhiteWater

Geoff and Paul Chutter join forces

Since its founding in 1980, WhiteWater West Industries Ltd. has grown into a leading supplier in waterparks and attractions that “thinks outside the pool.” In September, WhiteWater announced the appointment of founder and CEO Geoff Chutter’s son, Paul Chutter, as Vice President, Sales Operations/Corporate Development. InPark editor in chief Martin Palicki interviewed the father-son business duo about company history, their individual backgrounds and the new dynamic this alliance brings to WhiteWater.

Let’s start at the beginning. Geoff, you’ve said that you saw an opportunity in this business after viewing Canada’s first waterpark in development. Tell me about that park visit – how did you realize this was going to become such a big industry?

Geoff: In 1980, I’d been working for KPMG for 5 years as a CPA. One of my audits was with the Jimmy Pattison group. During the audit I saw the first waterslide park in Canada called Wild Waters, which was located in Kelowna, BC. I was so intrigued by it and started looking for land. On December 15, 1980 a partner and I bought 18 acres of land in the Okanagan valley and built WhiteWater, the waterslide park.

Honestly, I had no idea that the industry would grow as it has and in fact the entire start was building and operating our own waterpark. The vision of doing what we do today, came later.

Geoff, what was your original plan for the company? To become an operator? Supplier? Both?

Geoff: The initial plan was solely park ownership and operations. However, after opening that park, four different groups approached me wanting information on how to design and manufacture waterslides. We had manufactured our own waterslide molds, so we entered into contracts to supply waterslides to these groups, and the rest is history. I discovered that I enjoyed the development more than operations. The first waterslide I ever rode was testing our own when we opened the waterpark.

Paul, you grew up the same time WhiteWater did. What are some of your memories of being raised in a leisure environment?
Paul Chutter, riding one of dad’s first waterslides. Photo courtesy the Chutter family.
Paul Chutter, riding one of dad’s first waterslides. Photo courtesy the Chutter family.

Paul: I have very fond memories of growing up alongside an industry that was equally as young and undeveloped as I. After-hours evenings spent riding slides as a toddler right through to lengthy stays in Europe and Asia during park constructions all formed part of a childhood intimately linked to this industry from the beginning. Today it is incredibly gratifying to look back at both of our evolutions.

Geoff, back in 1980 what background did you bring to launch this new business?

Geoff: When I opened up my first waterpark, I had no experience launching businesses. As a CPA I had worked with dozens of companies, from a financial perspective of course, but also got to talk to management teams and learn about their daily challenges and accomplishments of having a business. Also, my father, uncles, and my grandfather all did very well in business. I came from a family of entrepreneurs – so to a degree it was in my blood. Having them support me emotionally has been huge to WhiteWater’s success.

Tell us about some of those family businesses over the generations.

Geoff: On my Dad’s side of the family, my grandfather emigrated from the UK and ended up bringing to Vancouver with him a wire rope manufacturing business. With mining and forestry industries booming in BC, wire rope was in great demand and was up to that time imported, until my grandfather built a factory in what is today the Granville Island Market. He managed the factory until retirement, when my uncle took over.

My father and uncles also owned their own businesses, each with success. My father’s first 20 working years were as a professional engineer at Lafarge Cement in both France and Canada. I credit him for WhiteWater’s early entrance into the international market, having spent my high school years in Paris.

Paul, did you think that someday you wanted to work for the company?

Paul: It was always something that was in the back of my mind, yes. But for me it was incredibly important to forge my own path, to develop my own career prior to even contemplating joining the WhiteWater family. This was paramount not just for my own principled reasons, but critically, so that there was legitimate value I brought to the business when I joined.

Paul, tell us a bit about your professional career path and what inspired you to go in that direction.

Paul: After graduating from McGill University, I had great ambitions of living and working in one of the world’s true commercial centers, and therefore took the step of moving to London where I attended law school. Years of living in a global financial hub drew my attention to the fast-paced world of investment banking, where upon completion of my studies, I began working first in corporate finance and M&A advisory, then in equity sales and trading, where I spent years working intimately with many of Canada’s largest corporations. I can’t think of any better foundational experience to then be applied to business operations.

Tell us about your new role at WhiteWater, Paul, and what you are bringing to the company.

Paul: I have joined as WhiteWater’s Vice President of Sales Operations & Corporate Development. Our team sits at the heart of our sales, design, engineering and estimating groups, coordinating the entire life cycle of a contract, from incubation to completion. Additionally, I personally will be assessing and evaluating any corporate development opportunities in our marketplace that may be accretive to WhiteWater. I hope to be able to incorporate my experience analyzing businesses in the public sphere to bring a distinct and objective mindset to WhiteWater. A fresh set of eyes and a new perspective can often be as valuable as all of the industry experience in the world.

Geoff, what are your thoughts on Paul working now for WhiteWater?
Geoff Chutter in WhiteWater’s Richmond yard, 2014. Photo courtesy WhiteWater West.
Geoff Chutter in WhiteWater’s Richmond yard, 2014. Photo courtesy WhiteWater West.

Geoff: I was caught completely off guard when Paul expressed interest in working for WhiteWater because for 32 years Paul and I have never, ever talked about him working here. It was just this past spring when I was out in Toronto for a board meeting that Paul told me of his interest in moving from the financial sector, working as the Director of the Canadian Desk for UBS Europe, into the manufacturing sector.

I then discussed the idea of Paul working for WhiteWater with many people and received overwhelmingly positive attitudes towards it. I give Paul tremendous credit for going out into the real world and working hard and proving himself before joining WhiteWater. His number one motivation for coming to WhiteWater was simply to work for his Dad, which frankly leaves me speechless and full of emotion.

How is the family dynamic now that you are working together?

Paul: My father and I have always had a great personal and now, working, relationship. We have each individually and independently acted as sounding boards for the other on various topics and at a variety of stages in our lives. This new chapter represents yet another iteration of that very meaningful and ever developing relationship.

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Who has inspired you?

Paul: In the business world, Richard Branson, for his passion, entrepreneurial spirit, sense of adventure and dedication to conservation; and Warren Buffet, for his foresight, his unprecedented benevolence, and his unrivaled understanding of business fundamentals. In life, my father, for all that he has taught me.

Geoff: My father, uncles and grandfather have inspired me in the business side of life. All were very successful and they  operated within the basic principles of integrity, fairness and hard work. I have also been inspired by the books “Good to Great” and “The Toyota Way.”

What sort of innovations, products or parks are you most proud of?

Geoff: An innovative acrylic Master Blaster that was installed on a cruise ship was an engineering feat that I’m extremely proud of, but the product that resonates with me personally and is consistently the number one ride in every park, is the Boomerango. The combination of sensations guests experience is unparalleled and has led to our introduction of Fusion waterslides which are slides with two or more iconic feartures.

The more recent innovation we’re excited about is Slideboarding, which we believe will be a game changer in both the waterpark and the amusement park industries.

What role does innovation play in the waterpark market, and at WhiteWater?

Geoff: Innovation is huge for WhiteWater and within the industry. We have a significant budget devoted to product development and a 10-person team exclusively dedicated to the development of new products and the constant improvement of existing ones. In the last 2 or 3 years, they have brought us great things like the Python™, the Rattler™, No Boundaries™, AquaCourse™, Raft Battle, the mobile FlowRider® and the Anaconda™. As a result WhiteWater holds over 125 patents and has received upwards of 100 prestigious awards including IAAPA Best New Product Awards, the WWA Leading Edge Awards, Amusement Today Golden Ticket Awards and more.

WhiteWater has been around for almost 35 years – what do the next 35 hold? What do you think the waterparks of 2050 will look like?

Geoff: December 2014 will mark the 35th anniversary for WhiteWater, but I think it’s the next 35 years that will be the most exciting. There is a whole new generation of new young and inspired people who are excited to take the company to the next level. There is huge opportunity to evolve the industry in terms of technology, globalization and in terms of changing the basic definition of a waterpark. We think the next 35 years will define a waterpark quite differently that what they have been known as in the past 35 years. Technology will be a big part of the waterpark industry’s future. We see lots of opportunity for change.

Is there anything you would change if you could do it all over again?

Geoff: I’ve made hundreds of decisions, and many that I’m sure I’d change if I had to do them all over again. They’ve all contributed to a greater body of knowledge that, in the long run, has resulted in a greater number of good decisions over the bad ones.

What is something you have learned that you didn’t know when starting the company?
The Boomerango Waterslide, a staple of a modern waterpark Photo courtesy WhiteWater West.
The Boomerango Waterslide, a staple of a modern waterpark
Photo courtesy WhiteWater West.

Geoff: It’s fair to say that every day I learn something new. If there is one learning moment that stands out for the company – for me – it was recognizing that the company is better served if I surround myself with people who are better than I am at what they do. WhiteWater has been incredibly fortunate to attract folks who are top caliber from around the world.

What principles do you think are important for running any successful business?

Paul: Fundamentally, businesses must be run to be sustainable – that is, to be dynamic and able to thrive through all economic conditions, in multiple markets, providing meaningful, highly differentiated results to their customers. Such differentiation is key to survival. Equally important is respect for your employees. The best businesses provide a work environment where each employee feels the organization and their leadership respects their dignity and the value of their contributions to the business. Lastly is a drive to be a leader in your space. If you are not disrupting things and creating new value for your customers, what are you doing today?

Geoff: WhiteWater has developed a set of fundamental principles that guide the running of the company. In the end, it really comes down to honesty, integrity, respect and hard work. When these are blanketed over the three axioms of “Good to Great”: economic viability, passion and the ability to be best in the world, great things can occur.

Globally, what have you discovered about investing in waterpark creation and bringing your products to international markets? 
Paul and Geoff accept the European Star Award for Best Waterslide, 2014. Photo courtesy of WhiteWater West
Paul and Geoff accept the European Star Award for Best Waterslide, 2014. Photo courtesy of WhiteWater West

Geoff: WhiteWater has been able to defy cultural assumptions all over the world bringing waterpark success stories to places we were told we would fail. There hasn’t yet been a group of people that haven’t found the joy in the combination of water, sun and the family. Waterparks provide a place and activities where all members of the family of any age group, can have fun.

Theme parks generally make significant capital re-investments every 2-3 years to bring in a new attraction, ride or show. What should the reinvestment strategy be for waterparks?

Geoff: Similar to the theme park industry, waterparks can become stale and there should be an ongoing program of introducing a new attraction every 2-3 years to keep people coming back. Being a new industry, we haven’t faced a shortage of brand new products that push the boundaries. We were fortunate in 1980 in that we weren’t coming into a mature industry.  As the ‘Original Waterpark Company’ the last 35 years have generated no shortage of new ideas. Our own reinvestment strategy, not surprisingly, has been to attract the next generation of stars to lead not only WhiteWater but also the industry. • • •

Themes of Expo Milano 2015 to be Interpreted by Cirque du Soleil in Original Production

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[quote]We are extremely excited to bring Cirque du Soleil’s creativity to this significant event for Italy and the world.  Allavita! will be a never-before-seen production that will reflect the Expo Milano 2015 theme in an innovative, entertaining and thought-provoking style.” — Yasmine Khalil, President, Events and Special Projects for The Cirque du Soleil Group[/quote]

Milan, Italy — Expo 2015 has selected the Cirque du Soleil Group, Events and Special Projects, to create an engaging and unique show concept to be presented during the Universal Expo taking place in Milan, Italy from May 1 to October 31, 2015.

The 2015 Exhibition theme “Feeding the Planet, Energy for Life” embraces culture, tradition, technology, innovation and their relationship with food. The Cirque du Soleil event production will celebrate these elements through the creation of a fascinating tale, interwoven with music and dance with the main inspiration stemming from the deep union between Food and Life.

Allavita! is the evocative title of this new exclusive production that will be presented during the Expo and will include the participation of over 50 Italian and international artists. This performance for the Universal Exposition of Milan 2015 will be set in a spectacular open air theatre from May 6 to August 23, 2015.

The title Allavita! refers to the awareness of the winds that nourish us and the roots that bring our international family together. It is a call to feed our lives with pleasure, spice and passion.

“We are proud of our choice of Cirque du Soleil to represent the universality of the public that will attend Expo Milano 2015. As one of the most renowned international companies of artistic performance, Cirque du Soleil constantly wishes to evoke the unreal, to invoke the senses and provoke the emotions in people from all over the world, using universal languages enjoyed by all,” said Giuseppe Sala, Commissioner of the Government of Italy for Expo Milano 2015 and CEO of Expo 2015 Company.

Cirque du Soleil will collaborate with experts in Italy to create Allavita!, which will include Italian performers who will attend invited audition sessions in Milan. Specialty technical and logistical experts from Italy will be a crucial part of the show’s production team and local providers and suppliers will also assist in diverse areas. “The high-quality expertise available in Italy will be a great benefit to the Cirque du Soleil team,” said Yasmine Khalil, President, Events and Special Projects for The Cirque du Soleil Group.

The Cirque du Soleil Events and Special Projects team is dedicated to designing and producing unique and exquisite experiences that remain etched in the minds of the audience. They have presented exclusive creative content for prestigious international events such as The Super Bowl, FIFA & FiBA, Academy Awards, Eurovision, as well as unforgettable corporate and private celebrations and high-end brand launches.

www.cirquedusoleil.com

Revisit, revitalize, reinvest

by Glenn A. O’Connor, OALA, CSLA ASLA

Water parks have an operational life cycle.

Take a critical look at your water park facilities to determine whether they are reaching a critical stage in their operational life cycle. Is the guest experience still exciting and appropriate? Is attendance all it could be?

Declining attendance and guest experience are influenced by many interrelated factors. Rather than asking “What things can I add to the park?” it is better to approach the problem in a more systematic way, following a few simple steps. The owner and operator can maximize Return on Investment (ROI) by revisiting, revitalizing and reinvesting in an objective, appropriate and creative way. There is more to it than water and fiberglass. It starts by putting yourself in the shoes (or perhaps flip-flops) of the guest.

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With the passage of time, not only do park facilities mature, but guest demographics may change.  With a shift in demographics may come a shift in guest needs and recreation habits, necessitating a shift in the guest experience provided. By imagining ourselves as guests, we are in a better position to consider what things we might be looking for: family needs (especially those of small children), food and beverage service, merchandise, washrooms and of course an appropriate level of entertainment.

Ideally, the guest experience you provide will keep guests coming back for repeat visits, enjoying longer stays and even tempted to spend more freely. Here’s a summary of how a professional analysis is conducted and implemented to revisit, revitalize and reinvest meaningfully in a water park. In order to make prudent business decisions and prioritize the revitalization of assets, program decisions must be objective, based on professional experience and solid data.

Revisiting

In order to increase attendance and overall park revenue, take a close, objective look. What is the mix of rides/attractions? What are the existing ride capacities? What about program, circulation, creative theming and all related facilities? What is the current attendance – annually, monthly and daily peak in park – and what should the targeted attendance be? In addition, we need to understand what rides and attractions are most popular and performing well at capacity, which are at an acceptable capacity and which are below capacity. Understand what you have today, in order to build for tomorrow.

Part of the process, when planning for park revitalization, is to gauge regional and local market demographics. Only by examining current and future capacities, carefully and objectively, can we begin to make informed decisions about which rides and attractions require refurbishing, removal or replacement and which new rides and attractions we might consider adding. This same in-depth examination needs to be applied to all existing infrastructure – anything and everything that contributes toward enhancing the overall guest experience.

Revitalizing

Once the analysis and evaluation of the existing water park have been completed, the planning and creative design work begin: addressing the issues that have been identified, understanding the opportunities and constraints, and formulating solutions that will enhance the park’s performance and guest experience. In particular, the mix of rides and attractions needs to be precisely balanced in order to meet the current and desired demographic profiles.

Other issues may have been identified within the existing infrastructure, operations or general guest experience, and must also be addressed. Based on ride capacity analysis data, decisions about ride renewal, removal and replacement can be made. Creative theming, layout refinement, reorganization and design solutions can now be organized into a plan that establishes strong relationships between elements and areas, including rides, attractions, food and beverage and back-of-house.

The integration of the program and site elements into a cohesive sequence of guest experiences throughout the park will be calculated to bring the desired result: a memorable place that guests will want to visit often and spend more time per visit.

Reinvesting

The basic goal is to increase attendance over a sustained period of time by revitalizing current facilities. Setting priorities for renewal or replacement of infrastructure, rides and attractions, or other park assets, will help create a phased renewal program that will systematically enhance the waterpark.

The planning and design phase will also help to identify areas where park expansion can occur, if applicable, and what the sequence should be. Operational costs also need to be considered and strategies for water conservation, energy use, placement of rides and lifeguard staffing. The potential synergy of renewed and expanded facilities can be now identified and subsequent decisions prioritized. Planning and design work will also allow capital budget forecasting for coming years and assist an owner to evaluate the potential ROI. Using both the existing and projected data will also allow capital budget forecasting and assist the owner or operator in evaluating the potential ROI. Using both existing and projected data, owners and operators are also able to track overall attendance changes and changes in guest distribution within the park, as implementation is sequentially rolled out. In this regard, any impact from renewed or new facilities can be compared to projected ride and attraction capacities, and used objectively to evaluate the success of a program change within the water park.

Simply stated, good planning and good design, combined with a depth of experience, can create places that make everyone happy: guests, owners and operators. • • •

Glenn A. O’Connor OALA, CSLA ASLA is a Principal and Senior Director, Water Parks at FORREC. He can be reached at [email protected]

 

Record Breaking C$29 Million Order of WhiteWater Products Headed to Henan, China

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[quote]This is a remarkable project for WhiteWater.  Since 1980, we’ve been committed to creating world-class, entertaining waterparks. Yinji Dynasty’s recent order is a testament to that commitment and to our growth.” — Geoff Chutter, WhiteWater CEO and founder[/quote]

Richmond, BC, USA (October 21, 2014) — Yinji Dynasty’s Zhengzhou Yinji Kaifeng Waterpark in Henan, China, has purchased in excess of $C 29-million worth of WhiteWater products, the largest-ever single order for the global waterpark sector. The colossal waterpark boasts an indoor and outdoor portion, and anticipates a peak day capacity of 15,000 guests indoors and 32,000 outdoors. Guests can expect to see nine separate waterslide complexes, nearly 50 waterslides, three custom themed AquaPlay structures, a Shoot the Chute water ride, three wave pools, two types of Wave Rivers and a FlowRider Double.

Estimated to finish in summer 2015, Zhengzhou Yinji Kaifeng Waterpark will be China’s largest waterpark.

“This deal demonstrates how WhiteWater doesn’t just provide waterslides. We deliver a complete customer experience,” says Phil Zhong, Regional Vice President of Operations in Asia. “With this client, we designed an entire park, with engineering services, construction management and after sales service and maintenance.”

www.whitewaterwest.com