[quote]We recognize that visitors to Las Vegas seek one-of-a-kind experiences and we believe the Hershey’s Chocolate World experience will immediately become a must-see attraction on The Strip.” — Cynthia Kiser-Murphey, President and COO of New York-New York Hotel & Casino[/quote]
Las Vegas, NV, USA (June 3, 2014) /PRNewswire/ — The Las Vegas Strip got a whole lot sweeter today as the Hershey’s Chocolate World retail experience opened at New York-New York Hotel & Casino.
The West Coast flagship store, which occupies two floors and boasts an eye-catching 74-feet high Hershey’s Milk Chocolate Bar that visitors can walk through, provides guests with an experiential concept that immerses them in more than 800 candy and chocolate offerings, including iconic brands they love: Hershey’s, Hershey’s Kisses, Reese’s, Ice Breakers, Jolly Ranchers, Twizzlers and more.
“Las Vegas is one of the country’s top tourist destinations and the perfect place to bring one of America’s most iconic brands to life,” said MikeWege, SVP Chief Growth & Marketing Officer, The Hershey Company. “Visiting Hershey’s Chocolate World, our guests will enjoy an interactive space where they can taste new treats, personalize sweet gifts and create keepsake photos. These experiences are sure to draw candy lovers from what is arguably the most exciting street in the world and inspire sweet Las Vegas memories.”
The store, which covers 13,000-square-feet, brings two American icons to life, Hershey’s Chocolate and the New York City skyline, through custom chocolate sculptures of the Statue of Liberty, made of almost 800 lbs. of pure Hershey’sMilk Chocolate, and the Empire State Building, made of 1,800 Hershey’s Milk Chocolate bars.
Cynthia Kiser-Murphey, President and COO of New York-New York Hotel & Casino, said, “This is an exciting day for us. We began conversations with Hershey years ago with a vision to deliver the city’s sweetest attraction.”
The development of the Hershey’s Chocolate World experience is also a result of the efforts of Chocolate Experiences, Inc., which has partnered with The Hershey Company to expand Hershey’s Chocolate World attractions in North America.
“We are pleased to officially open the doors to the Hershey’s Chocolate World experience on the Las Vegas Strip,” saidDino DiCienzo, President of Chocolate Experiences, Inc. “We feel that Las Vegas is an optimal destination to bring this experiential concept to life.”
Hershey’s Chocolate World invites guests to create their own Hershey’s Happiness through a variety of interactive experiences. Visitors can customize candy wrappers, choose their favorite Hershey Kisses and Jolly Ranchers flavors, and select their favorite Reese’s products, based on their personal preference for more chocolate or peanut butter.
In addition, Hershey’s Chocolate World Las Vegas offers a variety of opportunities for guests to share their experience with friends and family via social media, including video of them starring in their own Reese’s TV ad, just part of the immersive technology that makes the new store truly first of its kind.
[quote]They will also be able to test their football skills with Messi in our new sports zone, and meet their favourite local and international music stars including Madonna and Lady Gaga, and so much more… My own personal favourite however is the David Beckham figure, he is so life-like!” — Madame Tussauds Beijing General Manager Rain Wang[/quote]
Beijing, China — Beijing residents and the millions of Chinese and international visitors which visit the City can now enjoy the ultimate fame experience with the opening of Merlin Entertainments plc’s 102nd attraction, and the first in China’s amazing capital city – Madame Tussauds Beijing.
Located on the historic ‘blood line’ that runs through the heart of Beijing, next door to Tiananmen Square and the Forbidden City, Beijing is Merlin’s 16th Madame Tussauds global attraction, and 4th in China – joining those in Shanghai, Hong Kong and Wuhan – where it is already an established ‘must do’ for locals and tourists alike. Beijing’s continued economic growth and overwhelming hunger for western brands also makes this a key strategic step for Merlin, and the attraction has generated a lot of excitement and anticipation in the City since it’s arrival was first announced last year, generating thousands of pre-bookings, well beyond our anticipated targets.
Madame Tussauds Beijing was opened by Chinese actress Carina Lau who also posed with her figure on the day; together with Pan Shi Yi, a Chinese business magnate who has played a key role in supporting Merlin in bringing the attraction to the City. Not only did over 100 media attended the opening event but the attraction also has become an instant hit on social media, not least with Pan Shi’s 6 million-plus Weibo followers (Chinese Twitter). This has really helped drive the buzz for the new attraction which welcomed well over 3500 visitors on the first day alone.
Chinese celebrities have also been queuing up to be featured in Madame Tussauds Beijing, and share their side by side moments with the world, including most recently Olympic Swimmer Ye Shi Wen, rockstar Cui Jian and TV presenter Yang Lan.
Madame Tussauds Beijing’s General Manager Rain Wang was particularly delighted to open in her own home town; commenting she said, “My team and I are all delighted and excited to be opening Madame Tussauds in the heart of Beijing. We have no doubt it will be a great success and we have so much for our visitors to see, whether it is the chance to relive history in the Spirit of Beijing – a celebration of China’s rich and diverse history, and featuring Olympic volley ball coach Lang Ping – or to see our amazingly life-like figures of world leaders like US President Obama. They will also be able to test their football skills with Messi in our new sports zone, and meet their favourite local and international music stars including Madonna and Lady Gaga, and so much more… My own personal favourite however is the David Beckham figure, he is so life-like!”
PHOTO: Real estate tycoon Pan Shiyi poses with the waxwork model of himself during an unveiling ceremony at Madame Tussauds Beijing, China, April 16, 2014.
The Missouri Department of Transportation will take a major step forward this weekend on the Park Over the Highway project. At 8:00 p.m. Friday, June 6, MoDOT will close all lanes of I-44 (formerly I-70) downtown between Broadway and the Poplar Street Bridge.
The closure will allow crews to demolish the Market and Chestnut Street Bridges between the Old Courthouse and the Gateway Arch. The bridges will be replaced by the Park Over the Highway. Later this summer the interstate will close again, allowing crews to install structural steel girders across the highway to support the park.
The highway will reopen to traffic by 5:00 a.m. Monday morning, June 8.
You can view the ongoing construction on the Park Over the Highway and the rest of the CityArchRiver project from the web cameras at: www.cityarchriver.org/construction/webcam.
CityArchRiver 2015 will make the Arch easier and safer for everyone to experience by connecting, invigorating and expanding the park’s grounds and museums.
Designed by world-renowned landscape architecture firm Michael Van Valkenburgh Associates, CityArchRiver 2015 connects the Gateway Arch grounds with the East and West riverfronts and the region. Through the creation of new spaces for events and public education, expanded museum space, additional park acreage and bicycle trails, children’s play areas, performance venues and a lively, invigorated riverfront, locals and tourists alike will find new opportunities to learn, linger and enjoy one of the world’s most recognized icons.
CityArchRiver 2015 offers the people and institutions who support the St. Louis region a once-in-a-lifetime opportunity to invigorate the jewel of St. Louis and make the Gateway Arch a destination of choice for the young and the old, those near and far, for generations to come.
The design starts with a new, dramatic Park Over the Highway that will, for the first time, allow visitors to walk from the Old Courthouse to the Arch grounds to the riverfront on one continuous greenway, without a curb or stair step in their way. With your support, the CityArchRiver 2015 project will have a lasting impact on the economic, social, environmental, recreational and educational fabric of the entire bi-state metropolitan region.
[quote]The students’ exploration of IMAX filmmaking and immersive storytelling will push the boundaries of the medium, creating experiences we cannot even imagine yet.” — Robert Zemeckis[/quote]
Los Angeles, CA, USA (June 4, 2014) — IMAX Corporation today announced the donation of an IMAX theatre system to the University of Southern California’s (USC) School of Cinematic Arts. The theatre, which is the first teaching lab of its kind in a collegiate setting, will be installed in a new auditorium donated by Michelle and Kevin Douglas, IMAX’s largest shareholders, at the USC School of Cinematic Arts’ Robert Zemeckis Center for Digital Arts—a 35,000-square-foot, fully digital training center. The Michelle and Kevin Douglas IMAX Theatre and Immersive Media Lab will serve as a research facility and teaching facility for students to learn IMAX filmmaking as well as other immersive entertainment experiences including location-based entertainment and multi-player game design.
“IMAX has been a cinematic innovator since its inception more than 45 years ago,” said IMAX CEO Richard L. Gelfond. “We take our commitment to the future of entertainment very seriously and believe that through this gift we can help educate future filmmakers of the world on how to use technology to express their vision in new ways. The Lab will also give students the opportunity to learn about the latest innovations filmmaking, set design, sound and post-production. We are honored to be a part of Zemeckis Center, a world-class, state-of-the-art learning facility and it is our hope that the USC IMAX Lab will help expand every student’s creative potential.”
“Our partnership with IMAX and Michelle and Kevin Douglas is an incredible leap forward in offering students the most cutting edge storytelling technologies,” said alum Robert Zemeckis.
The Robert Zemeckis Center for Digital Arts is the brainchild of legendary filmmaker and USC alumnus Robert Zemeckis. The Center is the result of an unprecedented collaboration of studios, agencies, corporations and individual leaders throughout the entertainment community. The addition of The Michelle and Kevin Douglas IMAX Theatre continues this legacy of collaboration and supports Center’s mission to educate and inspire the next generation of filmmakers and digital artists.
“Our partnership with IMAX and Michelle and Kevin Douglas is critical to the School’s efforts in advancing the field of IMAX filmmaking,” said Elizabeth M. Daley, the Dean of the USC School of Cinematic Arts. “This gift is not only transformative for the research efforts of the School but, more importantly, puts the cutting-edge immersive storytelling and virtual production tools in our students’ hands.”
“IMAX has remained committed over the years to building strong relationships with today’s leading and most cutting-edge filmmakers. We’ve established a mutual trust that has enabled us to become a part of the creative process, in ways that allow many filmmakers to design their movies with IMAX in mind,” said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment. “We are honored to be a part of the USC School of Cinematic Arts in providing the filmmakers of tomorrow a hands-on learning opportunity with the IMAX medium and inspire them to follow in the footsteps of today’s most acclaimed filmmakers.”
Building relationships and teams on Asian projectsby Judith Rubin
“The sand between the rocks”
Since Bob Chambers and Edward Marks officially formed The Producers Group LLC (TPG) 3 years ago and began announcing their services, one of their biggest challenges has been clarifying their role to the industry. Self-described as “International Attraction Development & Production Specialists” and even using the tagline “Everything but the Creative,” TPG has worked hard to get the message out that the company is calibrated to play a critical role in supporting creative design – not supplanting it.TPG’s versatile, “sand between the rocks” (as Marks calls it) support to creatives seems to be a particularly good fit for working in the booming Asian market, where major new players are emerging with very different outlooks, backgrounds and development strategies from traditional Western operators. Design companies with which TPG has collaborated, or currently collaborates, include Renaissance Entertainment LLC, RHETROACTIVE, RGH, Rethink and Nextep.
The collaborative team model
Effective teambuilding is key to being a successful owner and buyer of themed entertainment services today, according to TPG co-CEO Bob Chambers. “Understand and make the best of the team approach to these kinds of projects, so you can put together the right team in the right way,” he says. “The members of the team need to have complementary skills and specialties so that all bases are covered, and a good working relationship so that they can solve problems and meet challenges together. This is the best way to build a unique project that has never been built before and yet will operate robustly, 24/7, year round.” “It’s a well-known model in the movie industry to form project-based groups, to staff up and down from one job to another,” comments Jon Binkowski, CEO/Creative Director of Renaissance Entertainment, which recently called on TPG to help serve their client, Guangdong Chimelong Group, under the leadership of Mr. Su Zhigang, creating four attractions for the new Chimelong Ocean Kingdom.
Lisa Tsang, Former Deputy General Manager, Themepark Entertainment of the Chimelong Group
“I worked closely with The Producers Group in the various phases leading to the opening of the Chimelong Ocean Kingdom. Chimelong has the vision to develop parks within China along international standards and we believe this project will be recognized as having set a new bar. During the pre-production of the Chimelong Ocean Kingdom project, TPG was involved in determining the technical configuration of our various theaters, from the initial concept design to pre-production, choice of brand/models, down to actual production including Testing & Commissioning. TPG was depended upon to provide their expert opinion and share their specialized talent to help realize our goals. Inevitably, from the design phase to actual realization of the concepts, there are gaps to be filled. TPG engaged with our team to troubleshoot and get to the bottom of all queries, understanding the limitations and opportunities and coming up with solutions that were a happy medium for all. In the field, despite differences in both languages and processes,TPG worked closely, tirelessly and diligently with the field techs to reach the goals set forth. It is no easy task, as far more obstacles arise in the field than one can imagine. However, with determination and uncompromising effort for excellence, the TPG team was able to deliver what was promised.”
“In the 1990s there were numerous one-stop-shop type companies in themed entertainment. Firms had 25, 50 or even 100 people on staff,” explains Binkowski. “Even ours did. Tough economic times make it hard to support a big company, and that’s one reason the model has evolved, but in fact it’s simply an efficient, enjoyable and effective way to work and I think that’s why it is a defining approach to projects in our industry. We rely on good partners such as The Producers Group to fill in certain gaps. They complement us extremely well. We have seen over the past several years that this is a very effective way for us to operate – we are often called on to perform as extensions of teams for large operators, working with their in-house teams.”
A happy organization
“Surround yourself with people you trust and genuinely like to see every day, and you will have a happy organization,” says Lisa Smith, President, Renaissance Entertainment. “We can bring in the best and brightest people available as needed, while keeping our core company small. It allows us to be very picky about the projects that we work on and to be personally involved in each project and to uphold our standards. We have very high standards. The Producers Group comes in as this calm, qualified presence – and greatly extends what we can do as part of the key team managing the project.” Chimelong Ocean Kingdom grand-opened in March on Hengqin Island in Guangzhou, China. Renaissance provided concept design and art direction, and subcontracted TPG for technical design, project management and special effects on three marine mammal shows – Tropical Heat (spotlighting dolphins), Sea Lions vs Pirates, and Under the Polar Moon (spotlighting beluga whales) – and for the multimedia spectacular around the lake with a simulated volcano, fireballs, stunts, water and theatrical lighting.
L to R: Alan Stein , HOK; Lynn Lin, Renaissance Entertainment; Lisa Enos-Smith, Renaissance Entertainment; Edward Marks, TPG; Lisa Tsang, Chimelong Ocean Kingdom; Jon Binkowski, Renaissance Entertainment; Stephen DeWoody, Renaissance Entertainment; Joannie Lau, Chimelong Ocean Kingdom Photo courtesy of TPG.
“We had subcontracted a lot of different vendors for various disciplines,” says Binkowski. “TPG has a broad understanding of all those trades and could look over our shoulder to help coordinate things. They are very tech-minded but can think with both sides of the brain. They have respect for the creative aspect. Ed’s background as a lighting designer is particularly helpful in that regard.”
“We did project management and a little tech management prior to field work,” says TPG co-CEO Edward Marks. “Renaissance on their own didn’t have enough people to go into the field to support the technical documentation required. They usually outsource that – so we became that ‘staff.’ Our focus is on budget, process, schedule, management, the org chart – basically, the project structure and how to get it done. We get into the minutiae.”
Steve Trowbridge, Principal RHETROACTIVE
“My partner Tim Rheault and I have a long relationship with The Producers Group, dating back to the 1990s when we crossed paths on a variety of projects and at several companies including Six Flags and Landmark Entertainment. Recently, we have collaborated on a couple of RFP opportunities that have come our way. In a word, we need these guys to make us stronger. What TPG does is entirely complementary to what we do. And we expect it to make us very strong as we bid for work, especially in tandem with the joint venture RHETROACTIVE recently entered into with the Hong Kong-based architecture firm, LWK & Partners.
The project creation process is very complex and technical, and that’s why you bring in people like Ed and Bob, the same way you bring in architects of record, feasibility specialists, structural engineers and MEP consultants. As a creative designer, I will have a vision of how we can stimulate all 5 senses, but we have to figure out in a practical sense how to realize the vision, and how to do it without breaking the fourth wall. That’s what tech designers and tech management consultants can do for us: help realize those creative dreams that are within reach but not immediately solvable. That’s how new things are invented, how cool stuff happens, how we create magic in our industry. Working with artisans like TPG, we know we can come up with something to pitch that is cool and is also practical, buildable and on brand. If you are talking to a developer who is serious about a project at the right place and time, and you can have a practical conversation based on resources you have available, it can be incredibly useful. Don’t let it dictate design, but make a case for your client, reassuring them, showing them you are on solid ground.
Having confidence in the practicality of an idea can also occasionally justify how a client could spend more than they originally thought. Budgets and information can be incredibly liberating. If you have the data, knowledge is power, and now we can bring a competitive toolset and team to a wide variety of visitor experiences. It’s a fact that developers in China are looking for entertainment teams, because planning for an entertainment component is a requirement of being able to move forward in a land deal. But there are ways to effectively integrate theming and entertainment to strengthen the overall placemaking and make it distinctive. That could take the form of a separate, gated park on the property, or it could be something else. Either way, we’re ready.”
East-West exchange
As Asia comes into its own as an entertainment giant, there is a continuous exchange of information and professional work culture between East and West. “In China, a lot of projects are starting from the ground up and integrating all these new technologies,” says Smith. “There’s a lot of learning going on. You have to understand how construction is done there so you can work with it, but you also have to be in a teaching role. The Producers Group helped facilitate some very productive dialog.”
Binkowski shares an example of that dynamic coming into play. “Doing some research in China on behalf of a client, TPG went with us to see a particular fountain system. It had an enormous control system in the bowels of the complex. Bob and Ed are able to look at these things and decode them. They opened a friendly conversation with the techs there and pretty soon we were all down there learning how the fountain worked, and Bob and Ed were giving them tips about how to improve maintenance. Their attention to detail never wavers. While on the job, working through a translator, they’ll go over tedious points as often as needed, and throw in a joke every once in a while. They are inspiring, have genuine enthusiasm and all the skills to go with it.”
Working on the nighttime spectacular at Chimelong, Marks and Chambers wanted a first-hand, bird’s-eye perspective of what the entire lagoon looked like. “Tech companies tend to be kind of button-down, but these guys are kind of nuts – you know, in a good way,” says Binkowski. “They came up with the idea of climbing to the top of the giant whale shark icon. It’s 63 meters high – it felt like we were climbing the Statue of Liberty. So we all [Binkowski, Smith, Chambers, Marks, Judd Nissen of TPG and Lisa Tsang formerly of Chimelong Group] put on harnesses and found our way up this giant thing. It was worth it. Once we were up there, we saw they were right – this was a good way to gain a strong sense of the whole site that helped us appreciate what we were trying to do. It was better than just looking at a plan.”
Dream relationship
“We really liked the Chinese, and our experience with Chimelong,” remarks Smith. “Like us, they want action and excitement and things to blow up. They’re not afraid to use color. Their theming is equal to anything that is out there. They tend to work more in concrete and steel, but their rock work and their finishes are fantastic. And they have exacting standards. Consulting on the whale shark was an interesting case in point. They commissioned upwards of 150 concepts, some of which we provided. We found out some interesting cultural things in the process. One design was with the head on the bottom and the tail on the top. On the basis of wind load structural capacity, it was very functional. But from a feng shui perspective, it was a no-no…. Mr. Su is a visionary. He really wants to have new, original creations for his company, and takes great pride in it. For a creative company like ours, it’s a dream relationship.”
“TPG supports our bond with the client, and their solid track record in Asia has been very helpful,” adds Binkowski. “Whether crawling around under fountains or climbing up whale sculptures, wearing hard hats and problem-solving in the field, or wearing suits and conducting business in the boardroom, they’re valuable and versatile. Lisa and I, and Bob and Ed all have experience working for some of the biggest operators in the business, in addition to being service providers. Having similar histories and philosophies makes for a very comfortable working relationship. They were motivated to make us look good, and we were both motivated to make the client look good.” • • •
Exploring Expo Master Plans with Gordon Lindeninterview by Martin Palicki
World’s fair specialist and consultant Gordon Linden has just completed “The Expo Master Plan Book” (co-authored with Arman Akdogan) and InPark Magazine is pleased to be first to interview him about it. Linden’s previous title on the subject, “The Expo Book – A Guide to the Planning, Organization, Design and Operation of World Expositions,” was first introduced in serial chapter form in these pages several years ago, edited for IPM by Judith Rubin. Copies of “The Expo Master Plan Book” may be ordered at www.lulu.com. Download sample pages from the book:
Some years ago I was consulting for the organizers of Seville Expo ’92. They had just completed a “competition of ideas” for the Master Plan for Expo ’92. In reviewing the submissions, they were challenged by the diversity of the proposals, which ranged from the highly fanciful to the very conventional. They were also concerned about how the proposals addressed the legacy phase and how the site could be utilized after closing day. During my meeting with the Director of Site Development, the late Jacinto Pellon, he asked how past Expos had resolved various master planning issues. This seemingly simple inquiry turned into a study assignment which our team undertook over a period of several months. During that study effort we learned how little information is (even now) readily available about the master plans of prior Expos. A guidebook here, an old newspaper diagram there, a photo book or two, but really, there was very little to be found in the way of detailed plans and descriptions. We successfully completed the study, but as additional consulting assignments came up at later Expos, the need for additional research came up time and again. More recently, in 2012, when I was working as an adviser to the Izmir (Turkey) Expo 2020 Bid Committee, I met Arman Akdogan of IND [Inter.National.Design]. The Izmir Master Planning team included Zaha Hadid, West 8, IND, supported by engineering and environmental consultants. Arman had put together a booklet illustrating the Zaha Hadid Concept Master Plan for Izmir which also included numerous diagrams and graphics of prior Expos. I could see that they were on that same path of inquiry that I had been on for Expo ‘92. Subsequently, Arman and I agreed to collaborate on a book that would expand on his initial work and incorporate the substantial body of additional material which I’d collected in my own research over the years. What were the challenges you encountered in producing the book?
Over the years, conducting research for various world’s fair organizers and would-be organizers, I found the materials contained many inconsistencies and contradictory statements that, once published in a magazine or book, tended to be repeated and carried forward to other, later publications. Also, from one unique event to another, the style and language of information presentation differed, making it difficult to compare one to another. In embarking on this effort, I felt that it would be important to try to move past these shortfalls and obstacles, and deliver the most accurate information we possibly could, along with a clear, consistent method of comparison. Once we’d embarked on the project, Arman’s team did a great job in sorting through the various styles of maps, plans, and diagrams and coming up with a graphic style which was then utilized to draw new versions of all of the master plans. These new versions utilized a similar legend of elements that enables the reader to compare the various types of land use as well as other features. We also came up with an extensive typology of data for the Expos which Arman’s team, led by Teresa Papchristou, then produced as a series of infographics which allow the reader to quickly and easily compare and contrast the various features of the different Expos. Of all the Expo Master Plans, is there one that stands out?
When you look at the various plans in the book it’s clear that there is no typical or standard Expo Master Plan. Each plan is responsive to a variety of factors which we have analyzed in order to provide a comparative framework for the reader to understand what they’re looking at and why things turned out as they did. Thus, it’s really not possible to say that one is necessarily better than the others, rather that each responds in different ways to the forces which shape the Plan. Our research revealed that most of the Universal Expos (this category is now labeled Registered and refers to larger scale events of 6 months’ duration), such as Expo ’92 in Seville and Shanghai 2010, had orthogonal plans with rectangular or square plots. This made it easier to subdivide the overall site into various sizes of plots for development of pavilions and buildings. However, this formal structure has, perhaps, diminished opportunities for pavilions to capture the character of a special or unique site, instead being compelled to adapt to a fairly rigid framework. Perhaps, having this wealth of historical information now readily to hand in the form of our new book, the organizers of a future Expo will be inspired to explore a different, more organic, layout. I should also mention that the new Recognized Expo format (which has replaced the Specialized Expo category and refers to smaller scale events of 3 months’ duration) has imposed a very specific maximum area requirement of 25 Ha. (60 Ac.) for the international participants which has had a significant impact on master plans. In theory, the area restriction reduces the footprint – and the costs – of the buildings which are to be provided by the organizers to accommodate the international participants. In practice, this has resulted, at Zaragoza 2008 and Yeosu 2012, in three-story structures that require escalators and elevators to move guests and goods between the levels – and the capital and operating costs of such offset any potential savings in site development. I think that the master plans for this Expo format can be improved upon with a little ingenuity.
What else is in the book?
The Expo Master Plan Book also contains relevant material on the subject of Expo buildings and facilities. This is another area where the organizers and planners of today can greatly benefit from studying the experience of prior events, and as an architect it is a natural direction for me. When you look at most picture books of Expos, it’s usually the theme and international pavilions that are featured. Of course, these are the most impressive and dramatic features of the Expo environment. However, the more basic facilities which are also part of an Expo, such as guest services, are usually not shown or discussed. It’s important that Expo committees and designers have access to information about all of the buildings and facilities requirements. It’s also important that readers understand how the requirements vary from one Expo category to another.
Have you got another book in mind for a continuing series?
We’re planning one about Expo Guidebooks. While gathering materials for the Master Plan Book, I added to my collection of guidebooks acquired at various Expos and realized that there is some interesting history in the evolution of guidebooks in terms of design, graphics, and information provided. Some of the recent Expos have explored other means of communicating with guests, such as mobile phone apps, so future guidebooks may take on different forms than we have known in the past, so it will be useful to understand this part of the history of Expos. • • •
The vacation getaway that is Mexico’s Yucatan peninsula is a study in extremes. The fabricated beach scene of Cancun on one end of the spectrum is complemented by the ancient Mayan ruins scattered across the land. Perhaps it’s no surprise then that a vibrant eco-tourism attractions market has arisen, offering visitors the opportunity to explore all the natural beauty of this region while keeping all the comforts of home close at hand.
One of the most recognizable brands bringing eco-tourism to the Yucatan is EXPERIENCIAS XCARET (pronounced ESH-car-ett). The company’s major properties include XelHa, a sun-soaked and water-drenched natural animal habitat; Xplor, a thrill and adventure based park through underground rivers and treetop zip-lines; and Xichen, a tour operation that takes guests to popular landmarks, including the iconic Chichen Itza.
Photo courtesy Xcaret
The company’s namesake park, and the one that seems to have a little of everything from their portfolio, is Xcaret. In 1985, architect Miguel Quintana Pali began developing a vision of a socially responsible company that showcased many of the region’s natural assets while excelling at corporate responsibility, focusing on human rights issues, preserving the natural and cultural heritage of Mexico and dedicated to sustainable development of the surrounding communities. The result was Xcaret.
Xcaret is somewhat difficult to define. It’s not quite a traditional theme park, nor is it a zoo. It’s experience- and exploration-based, and of course very much tied in with the natural landscape. From an operational standpoint, the company runs very much like an amusement park, and they don’t mind comparisons to industry giants such as Disneyland, with whom they feel common cause in terms of mission and dedication to the guest experience.
“The difference [to Disney] is that there are no mechanical attractions – with the exception of an observation tower,” declares Daniela Munoz, of EXPERIENCIAS XCARET. “We are sure that our visions are similar for wanting to be unique parks in our genre and always focused on our guests, employees, and the respect and preservation of the environment and our traditions.”
The core experience at Xcaret centers around the park’s three underground rivers. Armed with snorkel gear and life vests, guests float or swim down the winding rivers, which oftentimes lead to dark caverns and seemingly endless pits. The rivers are a common feature of the peninsula and remain unenhanced, allowing their natural beauty to shine.
Scattered around the park are a number of ancient ruins, natural animal habitats, and a variety of man-made attractions. One, somewhat hidden gem is the Mexican Cemetery. Built on a mound, actual graves from real cemeteries in Mexico City are recreated here in all their colorful glory.
Photo courtesy Paul Williams
Beneath the cemetery lies a series of hidden chambers that eventually open up to a larger chamber in the deepest region. Inside, water spirals down from the top of the room along the sides of the walls in channels cut out of the stone, until it reaches the floor and continues into the center of the room. It’s architecturally stunning and was designed by the park’s owner from the ground up. The chamber is regarded as a spiritual space, lit by natural light and the glow of hundreds of electric candles.
The park features a standard selection of restaurants and souvenir shops, as well as a full slate of entertainment, most of which revolve around cultural exhibitions or animal interactions. The pinnacle of the park’s entertainment offering comes in the form of the nightly spectacular. Housed in a giant, theatrical arena, the two-hour show features over 300 performers who guide guests through Mexican history and folklore. The production seems worthy of an Olympics opening ceremony, and leaves everyone full of Mexican pride after the finale.
Tickets are sold in two tiers. General admission can be upgraded to a plus ticket that includes premium changing facilities, snorkel gear for the rivers, and a buffet lunch. Premium experiences at the park are also available, including dolphin swims, animal encounters and specialized tours.
The company’s marketing strategy for all their properties is to blanket the landscape with advertising. Brochures, billboards, roadside signage and ads are omnipresent, almost seemingly a part of the cultural landscape. The company works closely with the Mexican Ministry of Tourism and promotional organizations in Cancun and the Riviera Maya but the company is independent and privately owned.
Photo courtesy Paul Williams
EXPERIENCIAS XCARET has continued to expand, moving more in the direction of simulated environments with the recent opening of Xoximilco, a boat cruise modeled on the historic floating gardens of Mexico City (Xochimilco) created out of an abandoned quarry. Strategically located close to Cancun, the evening dinner cruises provide an array of food, beverages and entertainment. A new park, Xenses, is set to open in late 2015 or early 2016. Although not much has been revealed about the new park, it is described as being designed to “play with guests’ senses.”
The eco-tourism model that EXPERIENCIAS XCARET has set up has been successful, and one that they feel could also succeed in other regions. The Riviera Maya’s steady stream of international tourists interested in exploring the natural beauty of the land has helped the company grow and prosper. However, EXPERIENCIAS XCARET has no apparent plans to move beyond the borders of its own country.
“While there are thousands of places that could develop our sustainable tourism model, right now we are only focused on the Yucatan,” explained Munoz. “But generally the locations for our parks find us first, and then the park design follows according to the ecosystems and beauty of the land.” • • •
[quote]Tyler is a proven leader in the event production marketplace. Coupling that production experience with his entrepreneurial spirit and strategic thinking makes him a perfect fit for Thinkwell.” — Kelly Ryner, Thinkwell Senior VP of Global Business Development[/quote]
Burbank, CA, USA (Jun. 3, 2014) — Thinkwell Group, a leading design and production agency headquartered in Burbank and with offices in Beijing and Abu Dhabi, announced the appointment of Tyler Thornberg to Director of Business Development.Thornberg will focus on growing the agency’s experiential marketing clientele while maintaining a strong foothold in the exhibit, attraction and theme park industries.
Thornberg has more than fourteen years of experience in the event production and film/television industries; where he has held roles as producer and production manager. Prior to Thinkwell, Thornberg was most recently a Producer at Global Experience Specialists (GES), where he worked on a variety of touring exhibits, including Harry Potter: The Exhibition. Additionally, Thornberg has seven years of experience in film and television production, where he worked for high-profile clients, such as Universal, Dreamworks, Columbia Tri-Star, Turner Broadcasting, MTV Networks, ABC and CBS.
This announcement comes following Lionsgate’s statement last Friday that it will launch a U.S. tour of “The Hunger Games: The Exhibition” and bring Jenefer Brown, a Thinkwell Director of Business Development, in-house, naming her to the newly created position of Senior Vice President, Branded Attractions. Lionsgate is partnering with Thinkwell Group for the traveling exhibit set to open in the summer of 2015, as the studio explores additional opportunities for the brand. “Thinkwell…is spearheading the initiative for line extensions of The Hunger Games and all of our other brands,” said Lionsgate CEO Jon Feltheimer.
Alexandria, VA, USA (June 2, 2014) – The International Association of Amusement Parks and Attractions (IAAPA) announces Pablo Moragrega will join its IAAPA Europe office located in Brussels, Belgium, in July 2014 as senior manager of European operations.
Moragrega will be responsible for recruitment and retention of IAAPA members in Europe and will also develop and implement educational offerings, including conference sessions at the Euro Attractions Show, regional events, and webinars. He will manage all IAAPA communication materials for European members, including newsletters, IAAPA News Flash Extra: Europe Edition, direct mail campaigns, and more.
Moragrega comes to IAAPA with an extensive 16-year career in the attractions industry. Most recently, he was general manager of Serena Villas, Waterpark & Ski Resort in Helsinki, Finland. Previously he was country manager at Neverland Park in Madrid, Spain, and regional operations manager for Ares SA in Buenos Aires, Argentina.
Moragrega earned an MBA from IE Business School in Spain, and holds bachelor degrees from the Universitat Oberta de Catalunya and the National University of Quilmes. His native language is Spanish and he also speaks English, German, and Italian.
Milan, Italy — Italy pulled together its network to promote Expo Milano 2015 around the world on Italy’s National Day, June 2, 2014.
In 180 of Italy’s diplomatic offices, the Italian Government and the management team of Expo Milano 2015 acted as ambassadors for the Theme: “Feeding the Planet, Energy for Life,” that will place Milan and Italy at the center of global attention.
In 123 Embassies, 48 Consulates General and nine Permanent Representations, materials were distributed, translated into ten languages including Arabic and Korean.
The initiative was presented last Thursday by the Minister of Foreign Affairs, Federica Mogherini, with the Commissioner for Expo Milano 2015, Giuseppe Sala. At all the diplomatic offices taking part, meetings were held dedicated to the Expo, with 16 locations being particularly involved: Abu Dhabi, Berlin, Bern, Brasilia, Sao Paulo, Buenos Aires, Los Angeles, San Francisco, London, Miami, New York, Paris, Vienna, Seoul, Tel Aviv, Tokyo, and Washington.
Taking part in these meetings – besides the representatives of the Italian Government, Institutions and the world of culture – were communities of Italians living abroad and the Commissioners General of Participating Countries.
From May 1 to October 31, 2015, Expo Milano 2015 will bring to Milan 147 Official Participants. With 60 Pavillions – a record number, exceeding 2010 Shanghai – and for the first time in the history of Universal Expositions, the participation of all United Nations agencies.
Milan Expo 2015 has already collected important confirmation of the value and importance of the theme Feeding the Planet, Energy for Life and the approach proposed that aim to enhance the intangible legacy of the event, leaving behind trails real and tangible solutions to build a sustainable future for all.
There are 20 million visitors whom Expo Milano 2015 seeks to attract during the six months of the Exposition, offering them an extraordinarily rich and multi-sensory experience. The Exposition Site of over 1 million square meters will be structured as a Digital Smart City , an urban model of technological and sustainable development where every visitor can learn, see and try foods from around the world, a full program of events, day and night, the extraordinary architecture and technological innovations in the national Pavilions and practical solutions to reduce the current food imbalances in the world, in a context of sustainable development and promotion of new dietary and lifestyle habits.
