Disney A (Case Study)

Not all project managers are happy with their jobs, and they often believe that changing industries might help. Some want to manage "the world's greatest construction projects" while others want to design the next-generation cell phone or mobile device. However, the project managers who probably are the happiest are the Imagineering project managers who work for the Walt Disney Company, even though they probably could earn higher salaries elsewhere on projects that have profit and loss statements. Three Imagineering project managersJohn Hench, Claude Coats, and Martin Sklarretired with a combined 172 years of Imagi[1]neering project management work experience with the Walt Disney Company. But how many project managers in other industries truly understand what skills are needed to be successful as an Imagineering project manager? Is it possible that many Imagineering project management skills are applicable to other industries and we do not recognize it?

The PMBOK Guide is, as the name implies, just a guide. Each company may have unique or specialized skills needed for the projects it undertakes above and beyond what is included in the PMBOK Guide. Even though the principles of the Guide apply to Disney's theme park projects, other skills are needed that are significantly different from much of the material taught in traditional pro[1]ject management courses. Perhaps the most common skills among all Imagineer[1]ing project managers are brainstorming, problem solving, decision making, and thinking in three rather than two dimensions. While many of these skills are not taught in depth in traditional project management programs, they may very well be necessities for all project managers. Yet most of us may not recognize this fact.

Walt Disney Imagineering

Walt Disney Imagineering (also known as WDI or simply Imagineering) is the design and development arm of the Walt Disney Company, responsible for the creation and construction of Disney theme parks worldwide. Founded by Walt Disney to oversee the production of Disneyland Park, the company was originally known as WED Enterprises, from the initials meaning "Walter Elias Disney," the company founder's full name.

The term "Imagineering" was introduced in the 1940s by Alcoa to describe its blending of imagination and engineering, and used by Union Carbide in an in-house magazine in 1957, with an article by Richard F. Sailer called "BRAIN[1]STORMING IS IMAGINation enginEERING." Disney filed for a copyright for the term in 1967, claiming first use of the term in 1962. Imagineering is responsi[1]ble for designing and building Disney theme parks, resorts, cruise ships, and other entertainment venues at all levels of project development. Imagineers possess a broad range of skills and talents, and thus over 140 different job titles fall under the banner of Imagineering, including illustrators, architects, engineers, lighting designers, show writers, graphic designers, and many more.2 It could be argued that all Imagineers are project managers and all project managers at WDI are Imagineers. Most Imagineers work from the company's headquarters in Glendale, California, but are often deployed to satellite branches within the theme parks for long periods of time.

Project Deliverables

All I want you to think about is when people walk through or have access to anything you design, I want them, when they leave, to have smiles on their faces. Just remember that. It's all I ask of you as a designer. Walt Disney

Unlike traditional projects where the outcome of a project is a hardware or software deliverable, Imagineering project outcomes for theme park attractions are visual stories. The entire deliverable is designed to operate in a controlled environment where every component has a specific meaning and contributes to part of telling a story. It is visual storytelling. Unlike traditional movies or books that are two dimensional, theme parks and the accompanying characters come to life in three dimensions. Most project managers do not see themselves as storytellers.

The intent of a theme park attraction is to remove people from reality once they enter the attraction and make them believe that they are living out a story and possibly interacting with their favorite characters. Theme park visitors of all ages are made to feel that they are participants in the story rather than just observers. Some theme parks are composed of rides that appeal to just one of your senses; Disney's attractions, in contrast, appeal to several senses, thus leaving a greater impact when people exit the attraction. "People must learn how to see, hear, smell, touch and taste in new ways."3 Everything is designed to give people an experience. In the ideal situation, people are made to believe that they are part of the story. When new attractions are launched, Imagineers pay attention to guests' faces as they come off of a ride. This is important for continuous improvement efforts.

The Importance of Constraints

Most project management courses emphasize that there are three constraints on projects, namely time, cost, and scope. Although these constraints exist for Imagi[1]neering projects as well, there are three other theme park constraints that are often considered more important than time, cost, and scope. The additional constraints are safety, quality, and aesthetic value. Safety, quality, and aesthetic value are all interrelated constraints. Disney will never sacrifice safety. It is first and foremost the primary constraint. All attrac[1]tions operate every few minutes 365 days each year and must satisfy the strictest of building codes. Some rides require special effects, such as fire, smoke, steam, and water. All of this is accomplished with safety in mind. Special effects include fire that actually does not burn, simulated fog that people can breathe safely, and explosions that do not destroy anything. Another special effect is the appearance of bubbling molten lava that is actually cool to the touch. Reliability and maintainability are important quality attributes for all project managers but are of critical importance for the Imagineers. In addition to fire, smoke, stream, and water, there are a significant number of moving parts in each attraction. Reliability considers how long something will perform without requir[1]ing maintenance. Maintainability concerns how quickly repairs can be made. Attractions are designed with consideration given to component malfunctions and ways to minimize the down time. Some people may have planned their entire vacation around the desire to see specific attractions, and if these attractions are down for repairs for a lengthy time, park guests will be unhappy.

Brainstorming With traditional projects, brainstorming may be measured in hours or days. Members of the brainstorming group are few in number and may include marketing for the purpose of identifying the need for a new product or enhancement to an existing product and technical personnel to state how long it takes and the approximate cost. Quite often, traditional project managers may not be assigned and brought on board until after the project has been approved, added into the queue, and after the statement of work (SOW) is well defined. At Disney's Imagineering organiza[1]tion, brainstorming may be measured in years and a multitude of Imagineering personnel will participate, including the project managers. Attractions at most traditional amusement parks are designed by engineers and architects. Imagineering brainstorming at Disney is done by storytellers who must visualize their ideas in both two and three dimensions. Brainstorming could very well be the most critical skill for an Imagineer. It requires that Imagineers put themselves in the guests' shoes and think like children and as well as adults in order to see what the visitors will see. Those who design an attraction must know the primary audience. Brainstorming can be structured or unstructured. Structured brainstorm[1]ing could entail thinking up an attraction based on a newly released animated or nonanimated Disney movie. Unstructured brainstorming is usually referred to as "blue sky" brainstorming. Several sessions may be required to come up with the best idea because people need time to brainstorm. Effective brainstorming man[1]dates that people be open-minded to all ideas. And even if everyone agrees on the idea, Imagineers always ask, "Can we make it even better?" Unlike traditional brainstorming, it may take years before an idea comes to fruition at the Imagineer[1]ing Division. Imagineering brainstorming must focus on a controlled themed environment where every component is part of telling the story. Critical questions must be addressed and answered as part of Imagineering brainstorming:

How much space will I have for the attraction?

How much time will the guests need to feel the experience?

Will the attraction be seen on foot or using people movers?

What colors should we use?

What music should we use?

What special effects and/or illusions must be in place?

Does technology exist for the attraction, or must new technology be created?

What landscaping and architecture will be required?

What other attractions precede this attraction or follow it?

Before brainstorming is completed, the team must consider the cost. Regard[1]less of the technology, can we afford to build it? This question must be addressed during structured and blue-sky brainstorming sessions.

Guiding Principles

If I could pick any job here, I'd move my office to the Imagineering building and immerse myself in all that lunacy and free-thinking. Michael D. Eisner, former CEO, Walt Disney

When developing new concepts and improving existing attractions, Imagi[1]neers are governed by a few key principles. Often new concepts and improve[1]ments are created to fulfill specific needs and to make the impossible appear possible. Many ingenious solutions to problems are Imagineered in this way, such as the ride vehicle of the attraction Soarin' Over California. The Imagineers knew they wanted guests to experience the sensation of flight but weren't sure how to accomplish the task of loading the people onto a ride vehicle in an efficient man[1]ner where everyone had an optimal viewing position. One day an Imagineer found an Erector set in his attic and was able to envision and design a ride vehicle that would effectively simulate hang gliding.4 Imagineers are also known for returning to ideas for attractions and shows that, for whatever reason, never came to fruition. It could be years later when they revisit the ideas. These ideas are often reworked and appear in a different formlike the Museum of the Weird, a proposed walk-through wax museum that eventually became the Haunted Mansion.5 Finally, there is the principle of "blue-sky speculation," a process where Imagineers generate ideas with no limitations. The custom at Imagineering has been to start the creative process with what is referred to as "eyewash"the boldest, wildest, best idea a person can come up with, presented in absolutely convincing detail. Many Imagineers consider this to be the true beginning of the design process and operate under the notion that if it can be dreamed of it can be built.6 Disney believes that everyone can brainstorm and that everyone wants to contribute to the brainstorming process. No ideas are bad ideas. Effective brain[1]storming sessions neither evaluate nor criticize ideas. They are recorded and may be revisited years later. Imagineers are always seeking to improve on their workwhat Walt Disney called "plussing." He firmly believed that "Disneyland will never be completed as long as there's imagination left in the world," meaning there is always room for innovation and improvement.7 Ideas and eventually future attractions can also come from the animated films produced by the Walt Disney Company or other film studios. The brainstorming subsides when the basic idea is defined, understood, and agreed upon by all group members. It belongs to all of us, keeping strong a rich heritage left to us by Walt Disney. Teamwork is truly the heart of Imagineering . . . In that spirit, though Imagineering is a diverse collection of architects, engi[1]neers, artists, support staff members, writers, researchers, custodians, schedulers, estimators, machinists, financiers, model-makers, landscape designers, special effects and lighting designers, sound technicians, producers, carpenters, account[1]ants, and filmmakerswe all have the honor of sharing the same unique title. Here, you will find only Imagineers.

Imagineering Innovations

Over the years, WDI has been granted over 115 patents in areas such as ride sys[1]tems, special effects, interactive technology, live entertainment, fiber optics, and advanced audio systems.9 WDI is responsible for technological advances such, as the Circle-Vision 360 film technique and the FastPass virtual queuing system. Imagineering must find a way to blend technology with the story. Imagineer[1]ing is perhaps best known for its development of Audio-Animatronics, a form of robotics created for use in shows and attractions in the theme parks that allowed Disney to animate things in three dimensions instead of just two dimensions. The idea sprang from Disney's fascination with a mechanical bird he purchased in New Orleans, which eventually led to the development of the attraction the Enchanted Tiki Room. The Tiki Room, which debuted in 1963 and featured singing audio[1]animatronic birds, was the first to use such technology. The 1964 World's Fair fea[1]tured an audio-animatronic figure of Abraham Lincoln that actually stood up and delivered part of the Gettysburg Address (which incidentally had just passed its centennial at the time) for the "Great Moments With Mr. Lincoln" figure exhibit, the first human Audio-Animatronic.

Today, audio-animatronics are featured prominently in many popular Disney attractions, including Pirates of the Caribbean, the Haunted Mansion, the Hall of Presidents, Country Bear Jamboree, Star Tours: The Adventures Continue, and Muppet*Vision 3D. Guests also have the opportunity to interact with some Audio-Animatronic characters, such as Lucky the Dinosaur, WALL-E, and Remy from Ratatouille. The next wave of audio-animatronic development focuses on completely independent figures, or "autonomatronics." Otto, the first autono[1]matronic figure, is capable of seeing, hearing, sensing a person's presence, having a conversation, and even sensing and reacting to guests' emotions.

Storyboarding

Most traditional project managers may be unfamiliar with the use of storyboarding as applied to projects. At Disney Imagineering, it is an essential part of the project. Ideas at Imagineering begin as a two-dimensional vision drafted on a piece of white paper. Storyboards, which are graphic organizers in the form of illustrations or images displayed in sequence for the purpose of pre-visualizing the relation[1]ship between time and space in the attraction, assist the Imagineers in seeing the entire attraction. Storyboards also are used in motion pictures, animation, motion graphics, and interactive media. They provide a visual layout of events as they are to be seen by the guests. The storyboarding process, in the form it is known today, was developed at Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios. A storyboard is essentially a large comic of the attraction produced before[1]hand to help the Imagineers visualize the scenes and find potential problems before they occur. Storyboards also help estimate the cost of the overall attraction and save development time. Storyboards can be used to identify where changes to the music are needed to fit the mood of the scene. Often storyboards include arrows or instructions that indicate movement. When animation and special effects are part of the attraction, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence with a rough dialogue and/or rough sound track added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working together effectively. The storyboarding process can be very time-consuming and intricate. Today, storyboarding software is available to speed up the process.

Mock-ups

Once brainstorming has been completed, mock-ups of the idea are created. Mock[1]ups are common to some other industries, such as construction. Simple mock-ups can be made from paper, cardboard, Styrofoam, plywood, or metal. The modelmaker is the first Imagineer to make a concept real. The art of bring[1]ing a two-dimensional design into three dimensions is one of the most important and valued steps in the Imagineering process. Models enable the Imagineer to visualize, in miniature, the physical layout and dimensions of a concept, and the relationships of show sets or buildings as they will appear. As the project evolves, so too do the models that represent it. Once the project team is satisfied with the arrangements portrayed on massing models, small[1]scale detailed-oriented study models are begun. This reflects the architectural styles and colors for the project. Creating a larger overall model, based upon detailed architectural and engi[1]neering drawings, is the last step in the model-building process. This show model is the exact replica of the project as it will be built, featuring the tiniest of details, including building exteriors, landscape, color schemes, the complete ride layout, vehicles, show sets, props, figures and suggested lighting and graphics.

Computer models of the complete attraction, including the actual ride, are next. They are computer generated so that the Imagineers can see what the final product looks like from various positions without actually having to build a full[1]scale model. Computer models, similar to CAD/CAM modeling, can show in three dimensions the layout of all of the necessary electrical, plumbing, HVAC, special effects, and other equipment.

Aesthetics

Imagineers view the aesthetic value of an attraction in a controlled theme environ[1]ment as a constraint. This aesthetic constraint is more of a passion for perfection than the normal constraints that most project managers are familiar with.12 Aesthetics are the design elements that identify the character and the overall theme and control the environment and atmosphere of each setting. This includes color, landscaping, trees, colorful flowers, architecture, music, and special effects. Music must support the mood of the ride. The shape of the rocks used in the landscape is also important. Pointed or sharp rocks may indicate danger whereas rounded or smooth rocks may represent safety. Everything in the attraction is there for the purpose of reinforcing a story. Imagineers go to minute levels of detail for everything needed to support the story without overwhelming the view[1]ers with too many details. Details that are contradictory can leave the visitors confused about the meaning of the story. A major contributor to the aesthetics of the attraction are the special effects. Special effects are created by "Illusioneering," which is a subset of Imagineering.

Special effects can come in many different forms. Typical projected special effects can include:

Steam, smoke clouds, drifting fog, swirling effects

Erupting volcano, flowing lava

Lightning flashes and strikes, sparks

Water ripple, reflection, waterfall, flows

Rotating and tumbling images

Flying, falling, rising, moving images

Moving images with animated sections

Kaleidoscopic projections

Liquid projections, bubbles, waves

Aurora borealis, lumia, abstract light effects

Twinkling stars (when fiber optics cannot be used, such as on rear-pro[1]jection screen)

Spinning galaxies in perspective, comets, rotating space stations, pulsars, meteor showers, shooting stars, and any astronomical phenomena

Fire, torches, forest fire

Expanding rings

Ghosts, distorted images

Explosions, flashes

Perhaps the most important contributor to the aesthetic value of an attrac[1]tion is color. Traditional project managers rely on sales or marketing personnel to select the colors for a deliverable. At Imagineering, it is done by the Imagineers. Color is a form of communication. Even the colors of the flowers and the land[1]scaping are critical. People feel emotions from certain colors, either consciously or subconsciously. Imagineers treat color as a language. Some colors catch the eye quickly, and we focus our attention on it. "We must ask not only how colors work together, but how they make the viewer feel in a given situation. . . . It is the Imagineer's job to understand how colors work together visually and why they can make guests feel better."

"White represents cleanliness and purity, and in many European and North American cultures . . . is the color most associated with weddings, and with reli[1]gious ceremonies such as christenings. Silver-white suggest joy, pleasure and delight. In architecture and interior design, white can be monotonous if used over large areas." "We have created an entire color vocabulary at Imagineering, which includes colors and patterns we have found that stir basic human instincts - including that of survival."

Aesthetics also impacts the outfits and full-body costumes of the cast mem[1]bers who are part of the attraction. The outfits that the cast members wear must support the attraction. Unlike animation, where there are no physical limitations to a character's identity or mobility, people may have restricted motion once in the costume. Care must be taken that the colors used in the full-body costumes main[1]tain the character's identity without conflicting with the background colors used in the attraction. Even the colors in the rest rooms must fit the themed environment.

Imagineers also try to address queue design by trying to make it a pleasant experience. As people wait in line to see an attraction, aesthetics can introduce them to the theme of the attraction. The aesthetics must also consider the time it takes people to go from attraction to attraction as well as what precedes this attrac[1]tion and what follows it. "For transition to be smooth, there must be a blending of themed foliage, color, sound, music, and architecture. Even the soles of your feet feel a change in the paving explicitly and tell you something new is on the horizon."

The Art of the Show

Over the years, Imagineering has conceived a whole range of retail stores, galler[1]ies, and hotels that are designed to be experienced and to create and sustain a very specific mood. For example, the mood of Disney's Contemporary Resort could be called "the hello futuristic optimism," and it is readily apparent, given the resort's A-frame structure, futuristic building techniques, modern dcor, and the monorail gliding quietly through the lobby every few minutes. Together, these details com[1]bine to tell the story of the hotel. Imagineering is, first and foremost, a form of storytelling, and visiting a Dis[1]ney theme park should feel like entering a show. Extensive theming, atmosphere, and attention to detail are the hallmarks of the Disney experience. The mood is distinct and identifiable, the story made clear by details and props. Pirates of the Caribbean evokes a "rollicking buccaneer adventure," according to Imagineering Legend John Hench, whereas the Disney Cruise Line's ships create an elegant seafaring atmosphere. Even the shops and restaurants within the theme parks tell stories. Every detail is carefully considered, from the menus to the names of the dishes to the cast members' costumes. Disney parks are meant to be experienced through all sensesfor example, as guests walk down Main Street, U.S.A., they are likely to smell freshly baked cookies, a small detail that enhances the story of small town America at the turn of the nineteenth century. The story of Disney theme parks is often told visually, and the Imagineers design the guest experience in what they call "The Art of the Show." John Hench was fond of comparing theme park design to moviemaking and often used film[1]making techniques, such as forced perspective, in the Disney parks. Forced per[1]spective is a design technique in which the designer plays with the scale of an object in order to affect the viewer's perception of the object's size. One of the most dramatic examples of forced perspective in the Disney parks is Cinderella's Castle. The scale of architectural elements is much smaller in the upper reaches of the castle compared to the foundation, making it seem significantly taller than its actual height of 189 feet.

The Power of Acknowledgment

Project managers like to be told that they have done a good job. It is a motivational force encouraging them to continue performing well. However, acknowledgment does not have to come with words; it can come from results. At Disney's Imagi[1]neering Division, the fact that more than 132,500,000 visitors passed through the gates of the 11 Disney theme parks in 2013 is probably the greatest form of acknowledgment. The Walt Disney Company does acknowledge some Imagineers in other ways. Disney established a society entitled "Imagineering Legends." Three of their most prominent Imagineering Legends are John Hench (65 years with Disney), Claude Coats (54 years with Disney), and Martin Sklar (53 years with Disney). The contributions of these three Imagineers appear throughout the Disney theme park attractions worldwide. The goal of all Imagineers at Disney may very well be the acknowledgment of becoming an Imagineering Legend

The Need for Additional Skills

projects have special characteristics that may mandate a unique set of project management skills above and beyond what we teach using the PMBOK Guide. Some of the additional skills that Imagineers may need are summarized next.

The ability to envision a story

The ability to brainstorm

The ability to create a storyboard and build mock-ups in various stages of detail

A willingness to work with a multitude of disciplines in a team environment

An understanding of theme park design requirements

Recognizing that the customers and stakeholders range from toddlers to senior citizens

An ability to envision the attraction through the eyes and shoes of the guests

An understanding of the importance of safety, quality, and aesthetic value as additional competing constraints

A passion for aesthetic details

An understanding of the importance of colors and the relationship between colors and emotions

An understanding of how music, animatronics, architecture, and land[1]scaping must support the story

Obviously, this list is not all-inclusive, but it does show that not everyone can be an Imagineer for Disney. These skills also apply to many of the projects that most project managers are struggling with. Learning and applying these skills could very well make all of us better project managers

Questions(add references not more than 5years ago.)

1. Why do most project managers not recognize that they either need or can use the skills required to perform as an Imagineering project manager?

2. What is the fundamental difference between a ride and an attraction?

3. What are some of the differences between traditional brainstorming and Imagi[1]neering brainstorming?

4. How many project constraints are there on a traditional theme park attraction? 5. How would you prioritize the constraints?

6. Why is it necessary to consider cost before the Imagineering brainstorming sessions are completed? 7. What is Audio-Animatronics? 8. What is storyboarding, and how is it used on Disney projects?

9. What is meant by "project aesthetics," and how might it apply to projects other than at Disney?