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Prosperi 1
Copyright © 2018 Louis J. Prosperi 2
Copyright © 2018 Louis J. Prosperi 3
“There’s really no secret about our approach. We keep moving forward–opening new doors and
doing new things–because we’re curious. And curiosity keeps leading us down new paths. We’re
always exploring and experimenting… we call it Imagineering–the blending of creative imagination
and technical know-how.” -Walt Disney
As employed by Walt Disney Imagineering (WDI), “technical know-how” refers to disciplines used in
creating theme part attractions.
The principles and practices of Imagineering can also be applied to other creative endeavors and
disciplines, including:
• Marketing/Advertising
• Product Design and Development
• Game Design
• instructional design
• Technical Writing
• Information Architecture and Design
For example, the “Design” stage above comprises several related stages, including:
• Facility Design
• Ride Design
• Show Design
1. The process as outlined in this presentation focuses on the main creative steps in the process,
and does not address some of the more practical issues, such as project management,
budgeting, etc.
2. The “real” process is extremely detailed and complex – far too much for anyone to remember.
By reducing the process to “5 steps +2”, the hope is to present something that readers can
easily remember.
3. This representation of the process employs one of the design principles that we looked at
earlier: ‘“Read”-ability’. This is the practice of simplifying complex ideas so that audiences can
quickly and easily “read” (understand) them.
Example: The current location of “Stitches Great Escape” in Tomorrowland in Magic Kingdom at Walt
Disney World has been home to four attractions:
• Flight to the Moon (1971 – 1975)
• Mission to Mars (1975 – 1995) -
• ExtraTERRORestrial Alien Encounter (1995 – 2003)
• Stitch's Great Escape (2003 – Present)
In the case of each subsequent attraction, the Need was to update/replace an existing attraction. In
addition, each was designed to work within the constraints imposed by the existing facilities
(theatre-in-the-round).
Other examples:
Expedition Everest: Legend of the Forbidden Journey at Disney’s Animal Kingdom Theme Park
(“Animal Kingdom needs a thrill ride that fits within the overall theme of the park.”)
Concept Development is where those designs are fleshed out and developed enough so that real
design work can begin.
Concept design is where the ideas from a brainstorming sessions are fleshed out and developed
into project proposals.
Concept development is about taking those ideas and further developing them such that real
design work and project planning can be done to turn the idea into reality. As I understand it, the
distinction between the two can be summed up as follows:
• Concept Design: Initial development of an idea so that others will understand what is being
proposed and its creative intent.
• Concept Development: Further development of the idea so that it can be designed and built.
Feasibility: Before a project is greenlit for Design (Schematic), the project’s feasibility is evaluated.
Imagineering Disciplines:
Sound Design
Lighting Design
Interior / Exterior Design
Graphic Design
Ride Control Design
Show Control Design
Product Design
Includes:
• Physical construction of the facility
• Fabrication of ride vehicles, ride systems, sets, props, and show element
• Show Installation
• Test and Adjust
Example: During Test and Adjust on the Crush-n-Gusher water slide at Typhoon
Lagoon, lifeguards suggested changing the slides from 2 to 3 riders per slide.
Rockwork: Models are scanned, and surface areas are broken up into 6’ x 6’ chips (made from rebar
and wire mesh), which are laid on top of structural steel
Pre-visualization – virtual reality “models” of lands and attractions that allow Imagineers to
experience them virtually before construction begins
Evaluations:
Feedback on attractions can lead to:
• Refurbishments
• Redesigns
• Closings (!)
However, there are times when we reach a stage, and have to go back to a previous stage to re-
think or re-visit what we did previously. It’s also possible that new ideas might arise in a latter stage
and cause us to go back to a previous stage to better take advantage of the new idea.
For example, if new ideas arise during Concept Development, we might go back to Blue Sky to work
out the best way to integrate the new idea into the overall design. Likewise, if problems arise during
Design, we might go back to Concept Development to work out the best way to address the
problem in the design.
This flexibility isn’t unique to this process. The point here is that the processes we follow in our work
aren’t carved in stone, and can be adjusted when needed.
Embrace Constraints
• Hench, John. Peggy Van Pelt. 1998. Designing Disney: Imagineering and the Art of the Show.
New York, New York. Disney Editions, Inc.
• Imagineers, The. 2003. The Imagineering Way: Ideas to Ignite Your Creativity. New York, New
York. Disney Editions, Inc.
• Imagineers, The. Kevin Rafferty. 1996. Walt Disney Imagineering: A Behind the Dreams Look at
Making the Magic Real. New York, Hyperion.
• Imagineers, The. Melody Malmberg. 2010. Walt Disney Imagineering: A Behind the Dreams
Look at Making More Magic Real. New York, New York. Disney Editions, Inc.
• Kurti, Jeff. 2008. Walt Disney’s Imagineering Legends and the Genesis of the Disney Theme
Park. New York, New York. Disney Editions, Inc.
• Surrel, Jason. 2007. The Disney Mountains: Imagineering at Its Peak. New York, New York.
Disney Editions, Inc.
• Surrel, Jason. 2003. The Haunted Mansion: From the Magic Kingdom to the Movies. New York,
New York. Disney Editions, Inc.
• Surrel, Jason. 2005. Pirates of the Caribbean: From the Magic Kingdom to the Movies. New
York, New York. Disney Editions, Inc.
• Wright, Alex. 2008. The Imagineering Field Guide to Disneyland. New York, New York. Disney
Editions, Inc.
• Wright, Alex. 2007. The Imagineering Field Guide to Disney’s Animal Kingdom Theme Park at
Walt Disney World. New York, New York. Disney Editions, Inc.
• Wright, Alex. 2010. The Imagineering Field Guide to Disney’s Hollywood Studios at Walt Disney
World. New York, New York. Disney Editions, Inc.
• Wright, Alex. 2006. The Imagineering Field Guide to Epcot at Walt Disney World. New York,
New York. Disney Editions, Inc.
• Wright, Alex. 2005. The Imagineering Field Guide to the Magic Kingdom at Walt Disney World.
New York, New York. Disney Editions, Inc.
Acknowledgements
The author would like to thank the following people:
• Jason Grandt, for the wonderful and engaging stories he shared with my family and I during our
“Lunch with an Imagineer” in August 2010, for talking about Imagineering with me over dinner
at Ragland Road in February 2011, and for putting up with all of my questions.
• Imagineer Alex Wright, for answering questions about Imagineering, the Imagineering process,
and the Imagineering Field Guide series.
• The Themed Entertainment Association, for the use of the “Project Development Process Chart”