Designing Your Experience the Walt Disney World Way: Imagineering Technical Communication and Information Development

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“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
Imagination = Gathering, Storing, and Recombining Information
“Everyone goes through a process of gathering information, storing it, and recombining it with other
thoughts to produce something new.” – Tony Baxter SVP, Creative Development, Walt Disney
Imagineering
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
Copyright © 2018 Louis J. Prosperi

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In this section, we’ll look at what we mean by “Imagineering” to provide some context for the later
sections of the presentation.

Copyright © 2011 Louis J. Prosperi 9
In this section, we’ll look at the various stages in the Imagineering process, including:
• How WDI uses the process
• How the process can be applied outside the “Berm” to technical communication and information
development

The process presented in here is a simplification of a much more involved process.
For example, the “Design” stage above comprises several related stages, including:
• Facility Design
• Ride Design
• Show Design
Similarly, the “Construction” stage comprises:
• Construction and Production - construction of facility
• Rockwork Engineering
• Show Installation - installation of show elements
• Test and Adjust
• Etc.

The “Imagineering Process” as outlined in this presentation is an extreme simplification of the “real”
process. There are a number of reasons for this simplification:
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.

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Prologue: Needs, Requirements, and Constraints
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.”)

Imagineering Brainstorming Rules:
• Rule 1: There’s no such thing as a bad idea.
• Rule 2: We don’t talk yet about why not. There will be plenty of time for realities later, so we
don’t want them to get in the way of the good ideas now.
• Rule 3: Nothing should stifle the flow of ideas. No buts or can’ts or other “stopping” words. We
want to hear words such as “and,” “or,” and “what if.”
• Rule 4: There’s no such thing as a bad idea. (We take that one very seriously.)
from The Imagineering Field Guide to Disneyland
The Seven Agreements of Brainstorming (from HATCH):
Agreement #1: Start a Fire (Spread the word)
Agreement #2: Think Distinctively (Creative vs. Critical Thinking)
Agreement #3: “Yes, and…” (similar to Osborn’s rule about building upon each other’s ideas)
Agreement #4: No Blocking (similar to WDI’s Rule 3)
Agreement #5: More Ideas (similar to Osborn’s first rule)
Agreement #6: Wild Ideas (similar to Osborn’s rule about wild ideas)
Agreement #7: Critical Thinking (Grab, Group, and Grow)
• Initial filtering based on Requirements and Constraints
• Concept Designs can be expressed as, sketches, paintings, written descriptions, models, verbal
pitches, etc.
• Specific outcomes of the Blue Sky stage include Story (subject matter) and Creative Intent (the
experience you want your audience to have)

Concept Development
Blue Sky designs are typically not detailed enough for formal design to begin.
Concept Development is where those designs are fleshed out and developed enough so that real
design work can begin.
Concept Development vs. Concept Design
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.

Design
Referred to as “Schematic” by WDI
Macro: Facility Design, Ride Design, Show Design
Imagineering Disciplines:
Sound Design
Lighting Design
Interior / Exterior Design
Graphic Design
Ride Control Design
Show Control Design
Product Design
Development of documents and plans needed to bring the project to life:
• Blueprints
• Elevations
• Specifications
• Plans

Construction
The move from 2D to 3D.
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.

Models
Scale models created during each stage of the process
Used in Design and Construction
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
WDI uses computer models (Building Information Models) to
Detect clashes between facility and show designs
Project production schedule (4th dimension)
Project production costs (5th dimension)
Operations and maintenance (6th dimension)
Pre-visualization – virtual reality “models” of lands and attractions that allow Imagineers to
experience them virtually before construction begins
Prototypes and Playtesting
Toy Story Midway Mania
• Ride vehicle started as 2 chairs
• Shooter started out as an empty paper towel roll

Openings:
Attraction openings include previews, “Soft” openings, and Grand Openings.
Evaluations:
Feedback on attractions can lead to:
• Refurbishments
• Redesigns
• Closings (!)

In many cases, we can simply follow the process stage by stage from beginning to end.
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.

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Example:
When creating curriculum for a complex subject, you might begin the process at the “macro” level
(“Create implementer training for product XYZ”), but then realize you need to create multiple
courses. In such a case, you might then adopt the process at the “micro” level, where you follow
the process in the creation of each individual course.

Prologue:
In technical communication and information development, Needs Analysis asks questions such as:
• What objectives/goals should the content address?
• Who is the target audience?
• What are the topics I need to address?
What is the real need behind the initial request?
“People don’t want to buy a quarter-inch drill. They want a quarter-inch hole.”
Toyota’s “5 Whys” problem-solving technique.
Why do you need that? Why do you need that?
What are your real Requirements and Constraints?
Beware unquestioned assumptions (and “We’ve always done it that way”)
Embrace Constraints

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Techniques and the Imagineering Process - Which techniques/practices apply to which stage in the
Imagineering process?
Imagineering Process Checklist Questions - Questions to help us utilize Imagineering Techniques
and Practices when developing training

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It’s possible that every technique and practice outlined in this presentation can be applied during
each stage of the process, but the tables on this page and the next outline the most likely places
where the techniques and stages intersect.

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In this section, we share some recommended reading about Imagineering, and some closing
thoughts.

These are some books that played a particularly strong role in helping me shape the ideas in this
presentation, but are by no means the only books available on Imagineering.
More references can be found on page 48 (References – Books).

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References - Books
• Hahn, Don. 2008. The Alchemy of Animation: Making an Animated Film in the Modern Age. New
York, New York. Disney Editions, Inc.
• 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.

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Photo Credits
• “TEA’s Project Development Process Chart” on page 30 is Copyright ©1999, 2000, 2007 by The
Tea (formerly Themed Entertainment Association).
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”

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About the Author
Name: Louis J. Prosperi
Title: Senior Manager, Documentation and Curriculum
Organization: Utilities Global Business Unit, Oracle
Business Phone: 781-993-7545
Business Email Address: lou.prosperi@oracle.com
Primary Responsibilities / Background:
Lou Prosperi is the Senior Manager of Documentation and Curriculum for Oracle's Utility Global
Business Unit. Following a career in game design, Lou went to work as a technical writer and
instructional designer and has been in that role for the last 15 years, providing user and technical
documentation and training for enterprise applications used in the utilities industry. In his writing,
Lou looks for ways to present complex technical subject matter in a manner that helps his audience
learn more easily and efficiently. A self-proclaimed "Student of Imagineering," Lou's current area of
interest is how to apply the principles and practices employed by Walt Disney Imagineering to other
fields, including instructional design.
Education: Bachelor of General Studies, Roosevelt University, 1999
Other Contact Information / Social Media:
Personal Email: ljp1963@aol.com
Facebook: http://www.facebook.com/lou.prosperi
Twitter: www.twitter.com/louprosperi
LinkedIn: http://www.linkedin.com/pub/lou-prosperi/3/b99/4b3
Pinterest: http://www.pinterest.com/louprosperi/

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