THEME PARK – THE MAIN CONCEPT OF
TOURISM INDUSTRY DEVELOPMENT
Theme parks are star players in the tourism industry, and play a special and important role in
generating tourism demand. Theme parks are the main motivators for tourism trips to many
destinations and core elements of the tourism product.
Competition in the theme park market is growing also in terms of an increasing number of parks,
but also relative to other uses of leisure. But in different areas, the theme park market in seems
to be reaching its saturation point and the parks have to cater for visitors who are getting more
and more experienced and demanding. Given these trends of growing theme park supply,
environmental constraints and increasingly discriminating consumer demand, it can be
concluded that theme parks, to survive in this competitive market, must optimize is, given an
ever increasing number of parks and future trend of consumer behavior.
THE THEME PARK CONCEPT
In general, theme parks can be defined as a subset of visitor attractions. Visitor attractions are
described as permanent resources which are designed, controlled and managed for the
enjoyment, amusement, entertainment, and education of the visiting public There are the main
types of managed attractions for visitors: ancient monuments; historic buildings; parks and
gardens; theme parks; wildlife attractions; museums; art galleries; industrial archeology sites;
themed retail sites; amusement and leisure parks.
Another definition of visitor attractions is regarded by specialists as “single units, individual sites
or clearly defined small-scale geographical areas that are accessible and motivate large
numbers of people to travel some distance from their home, usually in their leisure time, to visit
them for a short, limited period of time”. Although this definition excludes uncontrollable and
unmanageable phenomena the definition does imply that attractions are entities that are
capable of being delimited and managed. The adepts of this definition consider four main types
of attractions: features within the natural environment (beaches, caves, forests); man-made
buildings, structures and sites that were designed for a purpose; other than attracting visitors
(churches, archeological sites); man-made buildings, structures and sites that were designed to
attract visitors and were purposely built to accommodate their needs, such as theme parks
(theme parks, museums, waterfront developments); special events (sporting events, markets).
These four types are distinguished by two aspects. Firstly, the first three types are generally
permanent attractions, while the last category covers attractions that are temporary. Second,
tourism is often seen as a threat to the first two types, and is generally perceived to be beneficial
and an opportunity for the last two types. Managers of the first two types of attractions in
general deal with problems caused by visitors, such as environmental damages and pollution,
while managers of the other two types tend to aim to attract tourists, increase visitor numbers,
and maximize economic input.
The main features that distinguish theme parks from other kinds of visitor attractions are:
• a single pay-one-price admission;
• charge;
• the fact that they are mostly artificially created;
• the requirement of high capital investments.
Theme parks attempt to create an atmosphere of another place and time, and usually
emphasize one dominant theme around which architecture, landscape, rides, shows, food
services, costumed personnel, retailing are orchestrated. In this definition, the concept of
themes is crucial to the operation of the parks, with rides, entertainment, and food all used to
create several different environments. Examples of types of themes used in contemporary
theme parks include history-periods, fairy tails, animals, water, marine and futurism. These
themes are used to create and sustain a feeling of life involvement in a setting completely
removed from daily experience. Most theme parks are isolated, self contained units.
Furthermore, it needs to be noted that most theme parks are developed, targeted and
managed as private sector companies, and are commercial enterprises. The world’s best
known theme parks arguably are the Disney parks, such as Disneyland, Disneyworld and Euro
Disney.
THE TOURISM GENERAL ENVIRONMENT OF THE THEME
PARKS
The theme park and its total tourism environment need to be a place in which the entire array
of physical features and services are provided for an assumed capacity of visitors. The tourism
supply and demand market is the two sides that require close examination for theme park
planning. Insight in market developments is necessary for taking a longer term perspective in
theme park planning.
THE ECONOMIC ENVIRONMENT OF THEME PARKS
The planning efforts of theme park are mostly directed towards improving the economy,
because the economic impact of theme parks is generally positive including: increased direct
and indirect employment, income and foreign exchange; improved transportation facilities and
other infrastructure for tourism that residents also can
utilize; generation of government revenues for improvement of community facilities and
services; the multiplier effect within the local and regional economy.
Although improving the economy is an important goal, it will not be achieved unless planning
for the economy is accompanied by three other goals, enhanced visitor satisfaction, protected
resource assets, and integration with community social and economic life. For example, some
theme parks use imported goods and services instead of taking advantage of locally available
resources. Also, tourism can cause inflation of local prices of land, goods and services.
THE SOCIO-CULTURAL ENVIRONMENT OF THEME
PARKS
The impact of theme park operations can bring both benefits and problems to the local society
and its cultural patterns. A theme park in an area generates contact between residents and
visitors. This can be problematic in areas where the traditional cultural pattern of the residents
differs extremely from that of the visitors of a park. Also, when there is a substantial
socioeconomic difference between the visitors and the residents this may cause a problem. For
example, problems may include over crowding of facilities and transportation, over
commercialization, misunderstandings and conflicts between residents and visitors because of
differences in languages, customs, and value systems, and violation of local dress and behavior
codes. Theme parks especially have peak attendance figures, and therefore the concentration
of visitors in space and time is a major problem. On the other hand, tourism in an area may
improve the living standards of people and help pay for improvements to community facilities
and services if the economic benefits of tourism are well distributed.
THE PSYCHICALLY ENVIRONMENT OF THEME PARKS
Theme parks’ environmental impact is mostly negative and a cause for concern. As theme parks have
been designed specifically to accommodate the modern visitor, the environmental impact of theme
parks can include visual pollution like unattractive buildings and structures, and large unattractive car
parks. The space occupation of parks is enormous and mostly involves destruction of parts of the
natural environment. Other environmental problems are air and water pollution, noise,
vehicular and pedestrian congestion, and land use incompatibility. Therefore, an essential
element of theme park planning is determining the carrying capacities or use saturation levels
of the area.
THE TRANSPORTATION OF THE THEME PARKS
Passenger transportation is a vital component of the theme park system. Theme parks have a
relationship with transport systems in a number of ways:
- The transport networks make theme parks physically accessible to potential visitors and
therefore are an important factor in determining the number of visitors a theme park is
likely to attract.
- The existence of major theme parks and attractions leads to the development of new
public transport services to meet the demand of visitors.
- The transport is also important within destinations to make travel between theme parks
and attractions and between attractions and services as easy as possible.
- The modes of transport can often be an attraction in themselves with passengers being
encouraged to see using them as a type of special event.
- The novel methods of on-site transport are used to move visitors around the theme park
in ways that will add to the enjoyment of their visit.
- The planning of inter modal transportation centers is needed for domestic local, as well
as outside, visitor markets.
THE INFRASTRUCTURE OF THEME PARKS
In addition to transportation facilities, other infrastructure elements include
water supply, electric power, waste disposal, and telecommunications. These
components are usually planned by the public sector. Even though private and
independent decision making are valued highly by most enterprises in all tourism
sectors, each will gain by better understanding the trends and plans by others.
The public sector can plan for better highways, water supply, waste disposal, when
private sector plans for attractions and services are known. Conversely, the private sector can
plan and develop more effectively when public sector plans are known.
FACILITIES OFFERED BY THE THEME PARKS
Accommodation, hotels and other tourist facilities, provide services so that tourists can stay
overnight during their travels. Other facilities necessary for tourism development include tour
and travel operations, restaurants, retail
outlets, souvenir shops, financial facilities and services, tourist information offices, public safety
facilities and services of police and fire protection.
A theme park and its environment need to be planned in such a way that the entire array of
physical features and services is provided for an assumed capacity of visitors. It is important in
planning the services businesses to realize that they gain from clustering. Food services,
lodging, and supplementary services must be grouped together and within reasonable time and
distance reach for the visitor.
THE INSTITUTIONAL ENVIRONMENT
The institutional elements need to be considered in planning the theme park environment.
From national to local governing levels, statutory requirements may stimulate or hinder tourism
development. For example, policies on infrastructure may favor one area over another. Also,
the administrative laws and regulations can influence the amount and quality of tourism
development in a particular area. Policies of the many departments and bureaus can greatly
influence how human, physical and cultural resources are applied.
THE DEVELOPMENT OF THEME PARKS
The theme park market worldwide has grown dramatically during the last decades.
For example, in the USA (where most of the theme park trends originated), theme parks have
more than 200 million paid attendees each year.
This strong consumer demand has resulted in the development of many parks. These parks are
not only growing rapidly in size and importance, but also are investing substantial amounts in
new entertainment and facilities, and extending their services into relatively unexplored areas
such as catering and accommodation..
Also, Asia is the theme park market for the new millennium. Even more, several Asian cities,
like Bangkok, Singapore and Kuala Lumpur, want to become ‘tourism hubs’, and theme parks
are central to these plans.
Although in the Asian countries a shift from hopping centers to theme parks can be seen, the
opposite can be observed as well indicating a growing role of retailing in existing theme parks.
The relationship between merchandising and theme park visits clearly has potential for further
growth, and the advantages of stimulating this demand are becoming increasingly recognized
by theme park operators. They are racing to obtain more profits out of their rides, activities and
exhibits by linking rides to merchandise and placing goods at spots where visitors are most likely
to buy, and that is close to the key rides, activities and exhibits The objective is to give people
a part of the park to take home and share with others.
In Europe most theme parks were built in the last 25 years. First, theme parks were more a
Northern Europe phenomenon, but recently, several regions and countries in Southern Europe
have supported the growth of theme parks as an attractive option to increase economic input.
Due to all these new parks built, the theme park market is saturating. Consequently, the
competition in the European theme park market is growing. Not only in terms of the growing
number of new other parks, but also due to other uses of leisure time and discretionary
expenditure such as home-based entertainment systems.
Managers of large theme parks are concerned about the scale of the investments required to
add new exciting rides, activities and exhibits to their product. Especially, because a golden rule
is that a theme park every year has to expand their park with a new attraction, to attract the
required level of visitors
European theme parks invest in average twenty percent of their turnover on new or better
rides, activities and exhibits.
THEME PARKS CHALLENGES
The first challenge for theme parks managers is to integrate the elements in the park itself with
all the elements defining the theme park environment in the theme park development plan.
For example, theme parks cannot function without transportation possibilities to bring the
visitor to the park, or food supply or accommodation to support the visitor’s stay.
Planning a theme park requires significant public private cooperation. More and more public
governments turn to the private sector for the provision of services and the production of new
products However, in order for such processes to run smoothly in theme parks, greater
understanding of the roles of both sectors is needed. All private sector players on the supply
side of the theme park environment such as, attractions, services, transportation, etc., depend
greatly on investment, planning and management policies of government.
Conversely, governments depend on the private sector for many tourism activities and
responsibilities. Therefore, cooperation between the public and private sector is essent
THE FEATURES OF A THEME PARK
According to Kotler and Swarbrooke, there are three levels of product in a theme
park, and each level has its own features:
Level 1: Core product;
Level 2: Supporting (Tangible) product; and
Level 3: Facilitating (Augmented) product.
In fact, visitors visit a theme park for an expectation of a wonderful experience that
combines all the features from the three levels of product.
(Source: Kotler,1994; Swarbrooke, 1995)
Level 1: The Core Product
The core product is the most fundamental level and is what the visitor is really buying. The
product consists of benefits sought by the visitors but they are intangible in nature
Level 2: The Supporting Product (Tangible Product)
Theme park’s management needs to turn the core product in Level 1 into tangible product.
Furthermore, supporting product is extra products to offer the added value to the core
product itself and to help to differentiate it from the competitors (other theme parks).
Level 3: The Facilitating Product (Augmented Product)
Facilitating product is not the core product that visitor is buying, but it helps to make the
experience more satisfying and enjoyable. This includes all the additional services and
facilities that enhance the visitors’ experiences, and they are both tangible and intangible in
nature.
OVERALL ATTRACTIVENESS AND VISITORS’
EXPERIENCES
Theme parks should have the following major features to maintain viable in a highly
competitive market environment:
(I) Unique and interesting theme;
(II) Value for money / Variety of on-site attraction;
(III) Clean and pleasant environment;
(IV) Motivated and well-trained staff;
(V) Good location; and
(VI) Quality and consistency in services and facilities.
Chapter 1: Medium defines what themed design, themed entertainment, and theme parks are,
exploring their history, their product, and the reasons designers choose to theme their work.
Chapter 2: Business explores the business model of the themed entertainment industry, with the view
that to design a good themed attraction is to design something that can be financially sustained.
Chapter 3: Process describes the full design process for a themed project from blue sky design to post-
opening, and the individuals involved at each stage.
Chapter 4: Theme explores the difference between the manifestation theme and dramatic theme, and
physical theming itself: its styles, its content, and its use across the different scales of design.
Chapter 5: Story looks at crafting a story for the themed experience: incorporating the guest as a
character, structuring the experience, incorporating content, adapting Intellectual Property, writing,
and the story techniques used to communicate with guests.
Chapter 6: Design defines the techniques that apply to themed design regardless of scale, from the
styles of theme park design that are dominant, to techniques such as Forced Perspective, Intrusions,
and Doubly Duty, alongside a number of key design disciplines.
Chapter 7: Theme Park Design looks at the widest scale of themed design: theme park archetypes, park
layouts, how to coordinate an effective attraction mix, and exploring park-wide concepts such as
employees, marketing, and park maps.
Chapter 8: Land Design focuses on designing a themed area containing multiple stories: land layouts,
transition zones, designing the landscape and buildings, and what goes in them, such as restaurants,
shops, and restrooms. It also include shows, parades, fireworks, and other spectaculars.
Chapter 9: Attraction Design explores the design of singular story experiences, beginning with their ride
type and ride system, and carrying on into attraction layout, ride vehicles, show scene design, and more.
ICONS
Icons describe any large, visually interesting set piece within a land, often not traditional architecture,
given the term because of its ability to represent the themed area it appears in. Examples include Skull
Rock in Adventureland (Disneyland Paris, 1992), Monstro the Whale in Fantasyland (Disneyland, 1955),
Hogwarts Castle in The Wizarding World of Harry Potter – Hogsmeade (Universal’s Islands of Adventure,
2010), and The Marmaliser in X Sector (Alton Towers, 1998).
Icons are typically used as wienies because they are so visually distinctive, but icons are not necessarily
wienies. The Earffel Tower is an icon of Disney’s Hollywood Studios (1989), for example, but being
located on the backlot is not used as a wienie from within the park. Grizzly Peak at Disney California
Adventure (2001) is similarly an icon, but by virtue of its location is not a wienie.
These elements are important because, not only are they interesting by being different from the
everyday, but also because, more often than not, people simply do not remember buildings. Consider
the buildings along Hollywood Boulevard (Disney’s Hollywood Studios, 1989): not many of those
buildings will be likely to stick in your mind, but the Chinese Theater will. In understanding that if
everything is special nothing is special, not everything should be an icon: a land needs traditional
buildings to make up its bulk, but if laced amongst these are icons that not only represent the land and
park, but promote movement, aid orientation, and most importantly excite the guest, all the better.
Designer Eddie Sotto recounts this concept being imparted to him from designer Tony Baxter:
People remember ‘things’ or iconic objects more than architecture. So you always want to do the ‘Pirate Ship’,
the ‘Rocket’ or the ‘Mountain’ and not the building. Simply obvious, but in a big way ignored by architects.
Frank Gehry now makes his buildings into ‘things’ by making them sculptures, just as Gaudi did in Barcelona.
The Eiffel Tower is one of those ‘things’, it iconically separates itself in your mind from the city, you will fly to
see it, and it's still there! A simple truth.
Common elements for icons are listed in Table 8.8.
1035
Designer Tom Morris considers an icon strong if you want to want to have a model of it on your desk. Consider
Disneyland Paris (1992), which contains Big Thunder Mountain and Phantom Manor (Disneyland Paris, 1992) in
Frontierland (Disneyland Paris, 1992), Arabian towers, a treehouse, Skull Rock, the Jolly Roger pirate ship, the
Temple of Peril, and the Pirates of the Caribbean (Disneyland Paris,1992) fort with black flag flying high above, in
Adventureland (Disneyland Paris, 1992), Le Chateau de la Belle au Bois Dormant, Le Carrousel du Lancelot
(Disneyland Paris, 1992), the Cheshire Cat flowerbeds, and the “it’s a small world” (Disneyland Paris, 1992) façade
in Fantasyland (Disneyland Paris, 1992), and the Orbitron – Machines Volantes (Disneyland Paris, 1992), Space
Mountain – De la Terre à la Lune (Disneyland Paris, 1995), Nautilus submarine, Hyperion airship, and X-Wing
Starfighter in Discoveryland (Disneyland Paris, 1992).
Table 8.8
ATTRACTIONS HOTELS STATELY HOMES
Bell Towers Lighthouses Static Vehicles
(Rocket Ships,
Pirate Ships,
Riverboats etc.)
Carousels Mountains Statues
Castles Observation Towers Theaters
Clock Towers Pyramids Towers
Ferris Wheels Roller Coasters Train Stations
Flag Poles Sculptures Treehouses
Fountains Shapes (Geodesic Trees
Dome, etc.)
Gates Signs & Marquees Water Towers
REFERENCES :
1. Clave, Clark, Global theme park industry, Cab International, 2007;
2. Goelder, Ch., Tourism – principles, practices, philosophies 8th ed., Edit. John Wiley
3. & Sons, SUA, 2000;
4. Wright, Godwin, The Imagineering Field Guide to Magic Kingdom Park at Walt Disney
World
5. Disney Press, 2005;
6. [Link]
7. [Link]
College of Engineering, Architecture and Technology
De La Salle University – Dasmariñas
Architecture Department
DESIGN AND
PLANNING
PRINCIPLES OF
THEME PARKS
Submitted by:
Quitlong, Earl Daniel L.
201531074
ARC42
Submitted to:
Ar. James Tepace
March 20, 2019
