See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/325022095

Landscape Immersion - UNDERSTANDING ZOO DESIGNS

Preprint · February 2015

DOI: 10.13140/RG.2.2.24915.48166

CITATIONS READS

0 3,472

1 author:

Amrita Kaur Slatch

School of Planning and Architecture
4 PUBLICATIONS   0 CITATIONS   

SEE PROFILE

Some of the authors of this publication are also working on these related projects:

Ecological Restoration of a River Valley_A case of highly industrialized Damodar River Valley View project

Role of Landscape in Urban Planning View project

All content following this page was uploaded by Amrita Kaur Slatch on 08 May 2018.

The user has requested enhancement of the downloaded file.

 Landscape Immersion

Landscape Immersion
UNDERSTANDING ZOO DESIGNS

Amrita Slatch (PA201314) | Master in Landscape Design (Faculty of Architecture)

CEPT University | Deepa Maheshwari & Sandip Patil

PAGE 0 OF 33
 Landscape Immersion

Contents

Abstract/Problem Statement/Research Questions -------------------------------------------------------- 2

Chapter 1 – Introduction & History ------------------------------------------------------------------------------ 3

1.1 What is Landscape Immersion? ---------------------------------------------------------------------- 4

1.2 Animal Keeping and its History ----------------------------------------------------------------------- 5

1.3 Development of Animal Exhibits ---------------------------------------------------------------------- 8

1.4 Naturalistic exhibit design ------------------------------------------------------------------------------ 9

1.5 Immersive exhibit design ------------------------------------------------------------------------------ 10

Chapter 2 – Behavior and Exhibit Study -------------------------------------------------------------------- 11

2.1 Human Behavior ---------------------------------------------------------------------------------------- 12

2.2 Animal Behavior and Exhibit Study ----------------------------------------------------------------- 13

2.3 Rationale for Naturalistic Exhibits ------------------------------------------------------------------- 24

2.4 The Role of Landscape Architecture --------------------------------------------------------------- 25

2.5 AZA National Exhibits Award and Manual -------------------------------------------------------- 26

2.6 Design Elements important to consider for Immersion Exhibits ----------------------------- 28

Chapter 3 – Inferences and Conclusion -------------------------------------------------------------------- 29

3.2 Criticism --------------------------------------------------------------------------------------------------- 30

3.2 Beyond Landscape Immersion ---------------------------------------------------------------------- 31

3.3 Way forward ---------------------------------------------------------------------------------------------- 32

References --------------------------------------------------------------------------------------------------------- 33

PAGE 1 OF 33
 Landscape Immersion
Abstract
Naturalistic and immersion exhibits—the current state-of-the-art in zoo exhibit design—offer
more for the wellbeing of animals, as they provide an enriching natural behavior setting
(Gibbons, 1994). Even though visitors may not get the chance to view animals up close, the
landscape as a whole is more pleasing, especially with animals behaving as they would in their
original habitat. Landscape design processes provide the means to resolve such conflicts
through careful design synthesis that can address animals’ needs and enhance visitors
experience. This requires a dynamic and complex environment that includes visitors, animals
and their surrounding environment. Understanding these physical and psychological needs
and translating that knowledge into a physical built environment is the role of the landscape
Architect (Polakowski, 1987).

This can be best accomplished through collaboration among multiple disciplines including
landscape architects, architects, environmental social scientists, veterinarians, zoo curators,
and horticulturists. The landscape architect should use his/her the expertise to develop design
recommendations that will fulfill the requirements of all the stakeholders. It cannot be denied
however that revenue from ticket sales is the main financial support for zoos to achieve their
conservational, educational and research mission. Zoos usually compete with other
recreational institutions with respect to visitor revenue.

Although zoos and aquariums have achieved the highest number of visitors of any recreational
institution, including sports games (AAZPA, 1990), there is no sufficient information or evidence
as to what drives visitors to choose a zoo visit. Most of the data involving “visitor experience”
originates from museum visitor research. Without this information, zoos cannot “help bridge
the gap between the intention of exhibit designers and the actual impact upon the visitor” (Aveni,
1989).

Guidelines have been developed for zoo design, including legislated codes for animal welfare
or the WAZA (World Association of Zoos & Aquariums) code of ethics, have focused
primarily on animal welfare. The main goal of this research is to propose a set of design
guidelines that encompass the visitor experience.

To create guidelines this research will:

 Identify the history of landscape immersion zoo design in relation to animal keeping
history.
 Define “visitor experience” through landscape.
 Evaluate the animal exhibits of 4 identified species.
 Infer certain design elements to consider as Landscape
Architects for Immersive Exhibit Design.
 Throw some light on AZA (Association of Zoos and
Aquariums) Awards.
 Conclude with concepts beyond Landscape Immersion.

PAGE 2 OF 33
 Landscape Immersion

CHAPTER-1
Introduction & History PAGE 3 OF 33
 Landscape Immersion

1.1 What is Landscape Immersion?

“An animal cannot be isolated, even conceptually, from the particular environment to which it
has become adopted during eons of geologic time without a serious misunderstanding of its
true nature” – Mary Akeley (1936)

It is the love for animals and their natural landscapes, which is inseparable, and has led most
directly to the development of a particular type of naturalistic animal display commonly
referred to as “landscape immersion” (Jones, et al 1976), “habitat immersion” or simply
“immersion exhibit”. Since this concept was introduced twenty years ago it has gained rapidly
in popularity until today it is represented to a large degree in most submissions to the AZA
(Association of Zoos and Animals) National Exhibits Award program.

Landscape Immersion (Jones et al 1976) – “is a term coined to describe exhibits in which
visitors share the same landscape (but not the same area) with the animals. In other words,
instead of standing in a familiar city park (known as zoological garden) and viewing the zebra
in an African setting, both zoo visitor and zebra are in a landscape carefully designed to feel
like the African savanna. Barriers separating the people from the animals are invisible and no
matter where the viewers turns, the entire perceptual context appears consistently and
specifically African; abstractions are minimized, specifics emphasized. The entire setting looks,
smell and feels as if one left the zoo and entered the African savanna.” (Coe 1985 p.206).

Despite this substantial acceptance by our zoological institutions and the visiting public,
education evaluation of the effectiveness of this type of display has lagged. How do we know
these exhibits produce better results than more conventional approaches? Measuring attitude
change in a highly complex, multidimensional environment is extremely challenging. Finally
after two decades field evaluations of good immersion exhibits and supporting data from
related fields are suggesting that immersion exhibits are educationally effective. It is time for a
status report to the zoological industry.

PAGE 4 OF 33
 Landscape Immersion
1.2 Animal Keeping and its History

Animal keeping evolved along with civilization. It is as old as the Egyptian civilization. Beginning
about 3000BC animals were kept for religious reasons (Loisel, 1976, p.I 9-17) and they were
deeply involved in the ancient Egyptian civilization and culture. Ancient Egyptians considered
many animals to be sacred, and they kept them either inside temples or nearby. Wall sculptures
in Mereruka tomb are one of the earliest illustrations of a known zoo (Bostock, 1993). Antelopes
(oryx, addax and gazelle) were shown tied next to their mangers, and some were being fed by
their attendants (Lauer, 1976).

Fig.1 Wall sculptures in Mereruka tomb

Source: https://egyptsites.wordpress.com/category/lower-egypt/saqqara-lower-egypt/page/3/

The Ancient Egyptian civilization held animals in high regard. Some considered them sacred
and worshipped them. Animals such as lions, crocodiles, baboons, etc. were pampered. These
“god” animals received their food and were bathed and perfumed. Each region of the old
Egyptian civilization selected an animal as its symbol and used these symbols in its drawings
on tomb walls to document that era. The Sphinx that still stands in Giza beside the pyramids
remains as a sign of appreciation of the ancient Egyptians towards animals. When the
pharaohs built the pyramids, they believed that they needed the wisdom of a man and the
courage and strength of a lion to protect such a great architecture, and so they built the Sphinx
with the head of a human and the body of a lion.

Fig.2 The Great Sphinx of Giza on the left has the head of a human and the body of a lion. The Great
Pyramid of Khafre is shown on the right.

Source: https://www.studyblue.com/notes/note/n/test-1/deck/13581458
PAGE 5 OF 33
 Landscape Immersion

In 2094-2047 BC in Sumer, Mesopotamia King Shulgi had a collection of lions that were held
in cages and pits (Oppenheim, 1977, p.44-46). In other parts of the Middle East, Babylonian
and Assyrian kings received animals as gifts and often purchased them for hunting or fighting
purposes. As in Egypt, animals were considered sacred in Greece. Lions, leopards, eagles
and snakes were kept in temples (Loisel, 1912, p.59-60). Romans treated animals differently.
Animals were brutally displayed in the Colosseum and other circuses. In Medieval Europe, wild
animals only existed as private property of kings and the elite (Loisel, 1912, p.I 162). Wild
animals provided the wealthy class with exclusive leisure activities (Hawkes, 1973). At that
time, wild animals were collected to demonstrate wealth and power.

The London Zoo (1828) was the first zoo to be designed. The intent of the zoo was to hold an
animal collection for scientific studies. Zoo design can be divided into the following three
phases: zoos as jails, zoos as art galleries and Zoos as conservation and education facilities.

1- Zoos as jails (mid 19th century - late 19th century)

In this early phase of zoo design, animals were kept in small cages, and zoos were like ‘jails’.
People viewed animals as beautiful pieces of art and not as living creatures—it was an era of
Linneaus and Darwin. Classifying plants and animals was a major preoccupation of the
scientific fields. Zoos that evolved at that time were built for the sake of science, but also acted
as a place for socialization. Aside from the cages for animals, the overall architectural style of
the buildings was of high aesthetic value.

Fig.3 Berlin Zoo, ‘Indian pagoda’ for pachyderms’ animals. The architecture of the building is very rich.
A History for Zoological Gardens in the West

Source: https://commons.wikimedia.org/wiki/File:Zoo,_Berlin_1900.png

PAGE 6 OF 33
 Landscape Immersion

2- Zoos as art galleries (Early 20th century - mid 20th century)

During the transition from the Romantic Movement to the Modern Project, zoos were designed
to be similar to art galleries. The Romantic Movement attempted to create a living landscape
like famous paintings rather than recreating ‘nature for moral sensitivities’. Exhibits were
designed as paintings or sculptures. After Modernism took hold, ‘form follows function’ became
the axiom driving zoo design. Exhibits were characterized by their simplicity. They were more
like modern sculptures than habitats.

3- Zoos as conservation and education facilities (mid-20th century – present)

A significant change occurred in zoo design when in the 1970s Jones and Jones designed the
Woodland Park Zoo. They decided to recreate the natural habitat in which animals would be
naturally seen. With advances in healthcare and ecology, captive animals began to be treated
for their physical and mental health while highlighting the importance of their natural
environment.

PAGE 7 OF 33
 Landscape Immersion
1.3 Development of Animal Exhibits

Although it might seem that the design of exhibits is mostly concerned with animals in captivity,
the reality is that exhibits are the “natural voice” of a zoo or aquarium (Coe, 1996). Exhibits are
considered one of the best ways to communicate the message of the zoo to the public. This
opportunity is usually overlooked. Exhibits do not only provide ways to display animals, but
also inform visitor attitudes towards animal 16 rights. In caged exhibits, animals are being
shown as an object on display just like museums.

These exhibits are usually barren and unappealing while the buildings in which these animals
are kept are usually well designed and historically significant. However animals are shown out
of context, and there is nothing that resembles their natural habitat. These types of exhibits
usually denote human power over nature (Fisher, 1967).

They offer very little for their residents let alone their visitors. The message that these exhibits
sends is that wild animals live in cages. The public cannot develop a sense of respect for
animals or wildlife when they see animals behind bars (Sommer, 1972).

They are either are left with a sense of sadness towards these creatures or are under the
impression that the confined animals are dangerous and should not be shown love or respect.

PAGE 8 OF 33
 Landscape Immersion
1.4 Naturalistic exhibit design

A new design trend called naturalistic exhibits gradually replaced cages. Naturalistic exhibit
design attempts to imitate nature through artificial methods. The first bar less zoo was in
Hamburg, Germany. The zoo used new techniques such as hidden moats, naturalistic
composition of vegetation and artificial concrete to create the illusion of the wild (Hangenbeck,
1909). Naturalistic exhibit design depends on imitating the natural landscape of animals in an
attempt to make them live in the same environment as if they were in the wild. The enclosure
context seems very safe, familiar and predictable (Coe, 1996).

Fig.4 This Singapore exhibit is an excellent example of habitat immersion.

Source: Landscape Immersion By Jacqui Tucker

PAGE 9 OF 33
 Landscape Immersion
1.5 Immersive exhibit design

Currently there is a completely different animal enclosure context: the ‘immersive’ exhibit
design, where visitors walk along narrow and rugged pathways through, over hanging trees
and through densely planted wild landscapes in an attempt to “immerse” visitors in a simulation
of the animal’s natural environment. Visitors look across invisible barriers to see the animal,
realizing that the animal dominates the enclosure. The immersed landscape not only attempts
to recreate the appearance and sense of the animal’s natural environment, but also to place
the visitor in a similar context. Nothing is allowed to spoil the sense of habitat immersion. All
utilities, staff access and other buildings are hidden from the public to highlight the wilderness
atmosphere. These enclosures provide a sense of excitement and adventure which also
makes visitors feel unsafe and uncertain. Even though there is no sufficient data evaluating
immersive exhibits, they are increasingly being built all around the United States. The
immersive exhibits seem to be gaining public acceptance and also design awards.

The three main principles for designing of immersive exhibit design are (Forthman Quick
1984):
 display of natural exhibit of species
 to encourage breeding
 to offer settings for research

As animal enclosures developed from cages to naturalistic and immersive exhibits, the
designer of these exhibits is gradually changing from the architect who used to design buildings
in which animals’ cages were placed to the landscape architect who would be able to design
either the naturalistic and immersive exhibits.

Both the naturalistic and immersive enclosures require a designer who is familiar with
landscape design, as they both attempt to imitate the animal’s natural habitat. Some knowledge
of ecology and awareness of biodiversity is necessary. Since planting these exhibits is what
gives them their wild appearance, the designer should be well acquainted with native plant
palettes and be able to choose them carefully; as using the wrong plant can give the wrong
message.

Although choosing the right plant list is important, “the landscaping of a naturalistic exhibit does
not begin and end with the simple selection of plants to represent a specific region of the world.
There must be a thoughtful landscape design” (Jackson 1996). The landscape architect has to
place these plants carefully so that they do not look artificial. They have to feel natural and
complex.

PAGE 10 OF 33
 Landscape Immersion

CHAPTER-2
Behavior and Exhibit Study PAGE 11 OF 33
 Landscape Immersion

2.1 Human Behavior

The understanding and manipulation of normal human behavior is (consciously or

unconsciously) fundamental to the design of immersion exhibits. While this subject is explored
in greater depth elsewhere (Coe 1985), I believe the following basic assumptions are important
to understanding the theory behind the exhibit approach.

1. Getting and Holding the Viewers' Attention. People tend to note that which appears as a
possible threat. For example a lion or bear may appear more dangerous if one cannot visually
confirm that it is confined.

2. Making the Experience Memorable. Combine elements of anticipation, surprise, novelty and
lack of distraction.

3. Dominance and Subordination in Learning. In human social interaction, we each alternate

between dominant and subordinate roles. In our dominate mode we seem to be predisposed
to leading, teaching and controlling our surroundings. In the subordinate role we are more likely
to follow, learn and accept our surroundings. Dominance among humans is signaled many
ways. Frequently the dominant individual stands in an elevated position (a podium, lectern,
altar, etc). If we place the animal being displayed in a higher, more dominant position, will
humans anthropomorphically react with a subordinate response? Casual observation suggests
this does in fact happen. Hopefully this response will make the viewer more predisposed to
learn from the animal and its surroundings.

On the other hand, displays which place humans in a dominant position relative to the animal
may predispose the viewer against learning and reinforce homocentric stereotypes.

4. Making the Message Clear. Traditional displays often present the animal in a prejudicial
setting, in pits, behind bars, or in a tile-lined laboratory context. This message of human
dominance and animal inferiority undermines conservation education despite the best efforts
of the zoo's education department (Coe 1982, 1987).

5. Making the Experience Specific. Whether in poetry or narrative, specific images are said to
be more powerful and memorable than generalities. This is also true in exhibit design. While
total accuracy in simulating nature is, of course, impossible, a landscape redolent with realistic
details is far more evocative than the generalized park landscape of the naturalistic era.

PAGE 12 OF 33
 Landscape Immersion

2.2 Animal Behavior and Exhibit Design

According to WWF the following species in India are on the list of priority species:

 Asian Elephant
 Bengal Tiger
 Snow Leopard
 Ganges River Dolphin

This section will discuss their behavior and exhibit design solution.

A. Asian Elephant (Elephas maximus):

Fig.5 Asian Elephant

Source: http://www.livescience.com/27320-elephants.html

I. Conservation Status: Endangered, Range/Habitat: Dry, thorn-scrub forests of Sri Lanka and
Southern Indian
II. Size: Largest land mammal in the world
 Height at shoulder: 6.6 – 9.8 feet
 Weight: 5000 – 11,000 lbs
III. Social Structure:
 While there is a clearly defined social structure, male and female elephants live extremely
separate lives. While males (bulls) live solitarily for the most part, females (cows) travel
together in a tight single-sex nomadic family group. These groups are guided by a
matriarch who is usually the oldest in the group.
IV. Reproduction:
 Time of year: Elephants have a brief window of ovulation which lasts only a few days per
year. A male will initiate the courtship, although the female is by no means passive during
mating. The males return to their solitary lives rather quickly.
 Number of young: Elephants typically give birth to only one calf at a time and have an
average of one every four years. The gestation period for elephants is the longest of any
mammal, lasting 22 months.

PAGE 13 OF 33
 Landscape Immersion
 Rearing / Mothering: Similarly to humans, elephants are not born with the innate survival
instincts as common to other mammals. It is imperative that they are taught survival
behaviours by their mothers and other adult females in the group. This period of learning is
relatively long - lasting years. Since elephants live well beyond their child rearing years,
older adults with grown offspring will often assist with rearing young belonging to others in
the group.
 Special exhibit needs: Breeding elephants traditionally is very difficult in the zoo
environment for a variety of reasons including transportation of the huge mates and
incompatibility. The aggression of males during mating behaviour can also be a dangerous
liability for a zoo, and requires separate yards dedicated to holding the bulls. Females in
captivity often have an irregular or non-evident oestrous cycle adding additional
complication. The most consistent method for breeding elephants in captivity is by careful
monitoring of hormones and artificial insemination. This method is best supported by a
qualified team of biologists and scientists in an adequate support laboratory.
V. Behaviour:
 Nocturnal vs. Diurnal: Diurnal & Nocturnal
 Elephants do not sleep very much. They have to forage for food nearly all the time to
satisfy the needs of their giant bodies
 Shy vs. Curious: Elephants can be extremely curious as they are quite intelligent
 Jumping Ability: None
 Water Speed: Estimated at 18-20 mi/hr, or about 30 km/hr
 Land Speed: Average land speed of about 5 mi/hr or 8 km/hour
 Unique Behaviours: Asian elephants have one finger like features on the end of their trunk
that they can use to grab small items
VI. Captivity:
Frequency in captivity: Common
Noteworthy exhibits:
 Oklahoma City Zoo “Elephant Nation”:
• Size: 9acres total a. Barn: 15,600 sf with 8 stalls, plus community stall with sand floor
• Bull Yard: ½ acre with 30,000 gal pool (max. depth of 8’)
• Flexible Yard: ½ acre with 4500 gal pool (ave. depth of 2’)
• Cow / Calf Yard: 2.6 acre with 214,000 gal pool (max. depth of 12’)
• Demonstration Amphitheatre for 400+ guests
• Number of Animals: Designed for 6 plus offspring, including 2 bulls
 Dallas Zoo “Giants of the Savanna”
• Size: 11.4 acres total
• Barn: 10,000 sf
• Off-Exhibit Yards: 2 totalling 11,000 sf
• Exhibit Yards: 2 totalling 156,000 sf, shared with other hoof stock species
• Watering Holes totalling 250,000 gal
• Number of Animals: Designed for 6 animals
 St. Louis Zoo “River’s Edge”
• Size: 10 acres total a. Barn: 13,000 sf
• Elephant Yards: 1.25 acres total, comprised of 3 exhibit yards and 1 off-exhibit yard
• Pools: 3 totalling 140,000 gal (10,000, 40,000, 90,000)
• Number of Animals: Designed for 10 animals
VII. Husbandry Regulations and Recommendations:
 AZA:
• Dry Rest Areas: Indoor area: 400 sq ft per animal, Outdoor yard: 1800 sq ft single adult
individual, 900 sq ft. additional animal
• Pool Size: Required in outdoor yards, but no size recommendations.
 Barriers: 3m wet moat; Dry moats unacceptable
 Water Temperature: 60 degrees F
 Air Temperature Range: Minimum 55 deg F
 Other:
• Must have access to outdoor yard with natural substrates including soil, grass, sand
• Must have access to large sturdy items such as rocks or stumps for rubbing
• All new exhibits must have capacity for at least 3 female elephants
• Exhibits must have ability to separate herd into smaller groups, and facilities looking to hold
bull elephants must create at least one yard specifically for bulls.

PAGE 14 OF 33
 Landscape Immersion
VIII. Enrichment:
 There are four main rules for environmental enrichment for elephants:
• Allow opportunities for appropriate social interaction.
• Provide conditions in which the elephant’s exploration is rewarded with new and useful
information, allowing it to make choices about its activities and some control of its
environment.
• Offer cognitive challenges, such as learning what a trainer is requesting, or solving a task.
• Provide opportunities for elephants to seek shelter, forage, exercise, etc, in a species-
appropriate way.
 Zoo Approved:
• St. Louis Zoo provides sensory stimulation, indoors as well as outdoors. Interactions with
visitors as well as mirrors and coloured lights stimulate the elephant’s sight. Apply perfume,
vinegar, and spices to play items to provide new and curious smells. Nature CD’s for the
elephants to listen to. Flavoured water, new fruits, and new vegetables are given as rewards
and tasty treats. Elephants use their sensitive trucks to explore objects. Bubbles, running
water, shredded paper, and rubber tires are provided. Mulch and pine shavings are
provided in the exhibit to encourage dusting and playing behaviour. The exhibit is long and
large with varying slopes to encourage exercise and walking. Pools are provided for play
and cleaning. Streams run through the habitat as well. One pool is large enough for the
elephant to be completely submerged. The other pool provides a waterfall for showering.
Heated overhangs are provided on the colder days. These areas also help provide a break
from the wind. Food is hidden in a variety of ways. Scattered, Feeder puzzles, Hanging
browse. The animals are rotated with each other throughout the days providing different
social interactions. The elephants are also provided rest days – days of no extra activities
so they can have a break.

• The Zurich Zoo keeps the elephants busy, to prevent boredom and abnormal behaviour.
Scratching trees and mud pools are necessary for hygiene but also keep the elephant
active. ‘Hiding’ food and making the elephants search for it encourages natural foraging
behaviours that occur in the wild. Hayracks are provided with narrow openings, divided by
metal bars, to make it difficult for the elephants to reach their food. This way they can only
pull out small amounts of hay, thus keeping them busy throughout the day. Thick and thin
tree branches are provided, making the elephants break them down into bite-sized portions.
Toys can be provided, but safety precautions have to be taken to prevent zoo visitors from
thrown objects. Large heavy solid rubber balls can be provided. The elephants like to push
this in the water, fish it back out, and push it in again. Metal beer barrels, suspended and
with hidden food, can keep the elephants busy as they roll it over and over to hear the noise
and be surprised by the food. Toys must be replaced, repositioned, or removed for weeks
so as to keep the animal’s interest. Elephants are taken out of their enclosure one at a time
and walked through the zoo as an enriching exercise. Direct contact must be provided at all
times, and elephants should only be taken out one at a time.

• Oregon Zoo uses toys for enrichment, while planning special events as surprises for the
elephants. 1. “Boomer balls” are balls with small drilled holes. These are filled with nuts,
raisins, and other food so that when they are moved around treats fall out. The elephants
love to kick these balls around, although some elephants like to step on them and destroy
them quickly. Food is hidden on the site, hidden in holes, under logs, and other surprise
places. Unique scents are provided splashed occasionally in the exhibit. They even use
tiger urine. Elephant exercise programs are provided to keep the animals fit. Oregon’s main
event with the elephants is the “Squishing of the Squash.” Large amounts of giant squash
are provided in the exhibit, allowing the elephants to trample through the squash and make
a fun mess.

• Ideas for U.S. Zoos (utilized in other parts of the world): Elephants are taken on a stroll in
other countries, but not provided the roaming walks here in the states. This could be
attempted, or perhaps the elephant’s enclosure could be near a hoof stock pasture that they
could stroll through. Some zoos provide painting opportunities for the elephants. This could
be tried, but on a larger scale. Events could be planned where a visitor group and the
elephant can share the same paint and produce pictures at the same time. Troughs of paint
can be placed in containers with separating glass on top. More opportunities can be
provided where balls on strings can be sent over the exhibit wall by both the visitor and the
animal, providing a ‘catch’ game.

PAGE 15 OF 33
 Landscape Immersion

Fig.6 Showing a cross-section detail of the sandfill pit and a layout of a typical elephant exhibit

PAGE 16 OF 33
 Landscape Immersion

B. Bengal Tiger (Panthera tigris tigris):

Fig.7 Bengal Tiger

Source: http://www.resimsi.com/bengal-tiger-24025.html

I. Conservation Status: Endangered

II. Size:
 Male: length of 13 feet, weight of 650 pounds,
 Female: weight of 100 and 167 kg.
III. Social Structure: Solitary and Territorial animal
IV. Reproduction:
 Time of year: occur all year round, more common in November and April.
 Number of young: equal number of cubs.
 Rearing / Mothering: Father takes no part in rearing. Cubs leave their mother around 2
– 2 ½ years.
 Special exhibit needs: breed well in captive.
V. Behaviour:
 Nocturnal vs. Diurnal: Nocturnal
 Shy vs. Curious: Curious
 Jumping Ability: they may jump high as 12 feet
 Land speed: speeds of 49 – 65 km per hour
 Water speed: excellent swimmers
 Unique Behaviours: vocal communications – moans, hisses, growls and chuffs.

VI. AZA Husbandry Recommendations:

 Pool: Tigers use bodies of water to cool off, swim and bathe. An ideal water
temperature for these purposes would be 78F. Tigers are strong swimmers but as it
goes with cats, hate getting their faces wet. A depth of 1.5-3’ would suffice and the
area should be no smaller than a minimum cage, 300sf. An organic footprint to the
pool, larger size and depth variation are preferred.
 Barrier: i. Walls: 16’ tall
 Moats: 25’ wide and 15’ deep
 Air Temp Range: Adult tigers can tolerate a wide temperature range. They must be
protected from extreme cold and heat above 85F, depending on species. Access to
shade is mandatory outdoors
 Other Recommendations: Raised shelves for sleeping and resting in view of visitors;
they do a lot of sleeping. Incorporate logs into exhibit for claw sharpening
PAGE 17 OF 33
 Landscape Immersion

VII. Enrichment:
 Main purpose of enrichment is to provide an outlet for the natural instinct to hunt.
Tigers spend the majority of active time stalking, killing, and eating and will travel up to
20 miles in one night in search of prey.
 Zoo Approved Enrichment:
• Predatory stimulation: Scents, Anything to pounce on or attack (burlap sacks, deer
hides, Boomer Balls, springs with toys attached, etc) Puzzle feeders Food on zip line,
Live fish
• Feeding schedule changes and fasting days
• Rotating yards with other tigers for social stimulation
• Training
• Pools / Streams / Other water
• Platforms and unusual resting / hiding places
• Climbing trees / Logs

VIII. Fun Facts:

 Tigers are the heaviest cats in the wild weighing up to 660 lbs.
 Tigers have canine teeth that can reach up to 4 inches in length.
 A group of tigers is called a streak.
 Tigers are strong swimmers and can swim up to 4 miles at one time.

Fig.8 Showing a typical layout and section of a Tiger exhibit

PAGE 18 OF 33
 Landscape Immersion

C. Snow Leopard:

Fig.9 Snow Leopard

Source: http://www.treehugger.com/endangered-species/buddhist-monks-are-protecting-snow-leopards-poachers.html

I. Conservation Status: Endangered

II. Size:
 Weight is 60 to 120 lbs (27 to 54 kg)
 Height at shoulder is 24 in (60 cm)
 Length (from head to rump) is 3 to 4.75 ft (0.9 to 1.15 m)
 Length of tail: up to 40 in (1 m)
 Males are approximately 30% larger than females
III. Social Structure:
 Solitary like most cats, they tend to travel alone
 Males and females may be seen together during mating season
 Cubs leave mother at age 2
IV. Reproduction:
 Mate in late winter, with gestation period of 90-100 days, with cubs born between April and
June
 Litter size: varies from 1-5 cubs; 2.2 average
 Cubs open eyes at 7 days, walk at 5 weeks, are fully weaned by 10 weeks and become
fully independent at 18-22 months
V. Behavior:
 Nocturnal vs. Diurnal: crepuscular (most active at dawn and dusk); may become primarily
nocturnal if living near humans
 Shy vs. Curious: very shy – Jumping Ability: 50 feet (15 meters)
 Land speed: up to 40-50 mph
 Water speed: can swim, but top speed unknown (not a typical behavior)
 Unique Behaviors:
• Regularly patrol home ranges that can cover hundreds of square miles. They tend to follow
low ridge lines or the bases of cliffs.
• Leave signs and markings for other snow leopards: scraping the ground, leaving markings
on trees and boulders, spraying urine and leaving feces
• Cannot roar. Instead, make a non-aggressive puffing sound called a ‘chuff’. Other
vocalizations include hisses, mews, growls, and wailing.
• Non-aggressive towards humans. There have been no verified attacks on humans.

PAGE 19 OF 33
 Landscape Immersion
• Among the world’s most elusive and rarely seen large animals. They are well-camouflaged
and shy, avoiding contact with humans and moving quietly (with the help of extra fur
between their toes). The first photograph of a snow leopard in the wild was taken in 1970.

VI. Captivity:
 Frequency in captivity: There are approximately 600-700 snow leopards in zoos around the
world.
 Noteworthy exhibits: Leopards in the Mist, Bronx Zoo
• Size: The exhibit was built at a cost of $10.6 million. There are two main pavilions
containing 3 cats.
• Number of Animals: 3 Total : 1 male-Bo (3 years old), 2 females-Zoe (3 yrs old) and
Chocolate (12yrs old)
 Studies:
• Snow leopards in the wild are generally solitary animals. Many times in captivity they are
kept with other leopards. The advantage to this social enrichment is apparent. The animals
will better cope with the stress of being viewed by humans when they have a companion.
• Maternal Behavior and Behavioral Development in the Captive Snow Leopard. Teresa
O’Conner and Helen Freeman
VII. Recommended or Required Husbandry Guidelines:
 AZA Recommended (1998):
• Min. Size Dry: 200 sf per first animal + 100 sf per additional animal
• Min. Size Pool: None required; Snow Leopards are not avid swimmers
• Barrier: Full enclosures as snow leopards are agile climbers
• Air Temp Range: Cold hardy, but may be sensitive to extreme heat
 Other: Native to rocky, mountainous terrain. Verticality of exhibit is important.
VIII. Enrichment Techniques:
 Zoo Approved Enrichment Techniques:
 Hunting Enrichment: Irregular shaped gourds, Rattles with seeds inside
 Scent: fresh herbs, spices, perfume, and even elephant dung enrich the cat’s noses! Snow
Leopards enjoy about any scent they encounter.
 Harvest Enrichment (Foraging Enrichment): Animal Carcasses for more realistic natural
feeding. Idea is for the cats to get into the bone and get some meat and some marrow.
 Habitat Enrichment:
• Scent
• Climbing Tree
• Lookout Mounds
• Lair
• Logs
• Water areas
• Feeding areas using unique feeding device

PAGE 20 OF 33
 Landscape Immersion

Fig.10 Showing typical layout and section of a Snow Leopard exhibit

PAGE 21 OF 33
 Landscape Immersion

D. Ganges River Dolphin

Fig.11 Ganges River Dolphin

Source: http://gangesriverdolphin.tumblr.com/

I. Conservation Status: Legally protected

II. Size:
 Male: 8 feet long and weighing 440-660 lbs.
 Female: Slightly smaller
 They can live over 40 years
III. Social Structure:
 Matrilineal – adult females forming the permanent basis of a group.
 They have a fission-fusion society – the composition of groups changing frequently as
individuals come and go.
IV. Reproduction:
 Females reach sexual maturity at about 8 years. Afterwards, they only mate every four
to five years, usually during spring or summer.
 Gestation: 12 months
 Number of young: One calf. Twins are rare
 Rearing / Mothering: Sometimes the suckling of calves may last for up to four years;
typically nurses 11 months to 2 years.
 Special exhibit needs: If breeding, will need dedicated pool for isolating breeding pairs,
then for birthing and mothering the calves. May need multiple pools for social
separation and to control breeding, especially if no breeding is planned and the
collection includes a male.
V. Behaviour:
 Nocturnal vs. Diurnal: They never completely sleep
 Shy vs. Curious: Very curious and highly intelligent
 Jumping Ability: 15 to 30 feet above water
 Water speed: Usually swim 3-7 mph with bursts of speed at 18-22 mph
 Unique Behaviours: Occasionally will ostracize a single dolphin and deny them the
group play and feeding
VI. Captivity:
 Frequency in captivity: none in India
 Noteworthy exhibits:
PAGE 22 OF 33
 Landscape Immersion
• Sea World Orlando: Size: 1 pool, 1.1 million gallons (13,000 sf), Number of Animals: 22
bottlenose
• Discovery Cove: Size: Shared exhibit and show pool, Approx. 1.25 million gal (6500 sf),
Number of Animals: 41 bottlenose

VII. Husbandry Regulations:

 USDA APHIS:
• Minimum Horizontal Distance: 24’
• Minimum Depth: 6’
• Minimum Surface Area: 452 square feet per 2 dolphins
• Minimum Volume per Additional Dolphin: 763 cubic feet (5707 gallons) Minimum
Surface Area per Additional Dolphin: 95.38 square feet
 Alliance of Marine Mammal Parks and Aquariums:
• Minimum Depth: 8.5’
• Minimum Volume: 7800 cubic feet per 4 dolphins (58,500 gallons)
• Minimum Volume per Additional 2 Dolphins: 4400 cubic feet (33,000 gallons)
 Water Temp per AMMPA: No less than 50 deg F and no more than 90 deg F

VIII. Enrichment:
 Zoo Approved Enrichment Ideas:
• Basic training: Meet and greet. Visitor’s presence sends a positive reinforcement to an
animal. Never reinforce the bad behaviour. All based on relationship sessions.
• Pick a toy and have a playtime sessions. Balancing ball on his rostrum. Tossing the
large disk, surfs on it.
• Backrub – for a positive reinforcement
• Playing sounds or music directly into the exhibit stimulate the excitement.
• Kolmarden Zoo in Sweden - Algae held and wrapped by the wooden triangle or plastic
toy – Natural setting and most of all dolphins enjoy this enrichment.
 Untested Enrichment Ideas: Large Rope – jumping enrichment, Large Plastic Storage
bins to stand and stroll

PAGE 23 OF 33
 Landscape Immersion

Fig.12 Showing a typical pool layout and section for Dolphins

2.3 Rationale for Naturalistic Exhibits

There are four main reasons for designing naturalistic exhibits (Gibbons, 1994):

Ethical treatment of animals: Disciplines such as animal behavior, ecology, physiology, and
veterinary medicine have revealed the link between biological and psychological requirements
of animals (Curtis, 1985). Deficiencies in the physiological and behavioral attitudes of animals
in captivity may affect the validity of scientific findings deduced from these cases (Weihe, 1988).

Breeding animals in captivity and maintaining them: Wild animal population has been
decreasing all over the world due to habitat destruction, poaching and illegal trade (Western
and Pearl, 1989; Wilson, 1989). Caged exhibit zoos do not provide the natural and social
behavior needed for husbandry and breeding. They also do not encourage animal natural
behavior and may promote for abnormal behavior that can affect animal health and well-being
(Hediger, 1969).

Scientific study of animal behavior: Naturalistic environments enable researchers to identify

physiological, morphological and cognitive mechanisms that stimulate animal behavior. They
provide scientists with opportunities to study animal behavior which they cannot do in the wild
(Hediger, 1969).
PAGE 24 OF 33
 Landscape Immersion
Education: Naturalistic environments serve as a tool to educate the public about animals,
wildlife, plants, the ecosystem, and the need to conserve not only animals but also their habitat
(Gibbons, 1994). After demonstrating the rationale for building naturalistic environments, it is
worth noting that exhibit design should balance between the need for “complexity and
observability” (Gibbons, 1994). For an exhibit to mimic nature and provide a challenging
environment, various elements should be placed with care such as baffles, barriers, nest boxes,
or branches. The exhibit layout should maximize visitors’ observability of the animals.

From the previous guidelines, it is clear that there are certain components in the animal exhibit
that affect visitor experience. These components, when manipulated by the designer, could
satisfy the requirements for a successful visitor experience. Zoolex, a leading website in zoo
design, declared exhibit components as the following:
Plants

Features dedicated to animals

Features dedicated to keepers

Features dedicated to visitors

Interpretation

The following are identified as the basic components that define the boundary of an exhibit:
Exhibit style

Exhibit setting

Exhibit furniture

Vegetation

Information panels

Barriers

Visitor viewing area

PAGE 25 OF 33
 Landscape Immersion

2.4 The role of Landscape Architecture

The animal exhibit is one way to communicate with visitors. The message that these exhibits
send can shape how people behave towards animals and wildlife in general. The exhibits have
to address the public intellectually and emotionally, and this can be achieved through proper
design. In essence, design is communication, where the landscape architect is viewed as
communicating with both animals and visitors. The landscape architect communicates with
animals through design by providing captive habitat that is similar to their natural habitat. The
exhibit design aims to connect animals to their habitat fulfilling their social, physical,
psychological and natural behavioral needs.

As mentioned earlier, naturalistic exhibits provide an answer for most of animals’ needs, as
nature is the perfect place for animals. The design intent to imitate the natural setting seems
like the obvious solution. Landscape architects look towards nature as a solution to zoo
problems, where nature is complex, unpredictable, and constantly changing. They start
designing animal exhibits with great complexity, using different soil materials, rocks, vegetation,
water, elevation changes and hiding places, thus creating spatial variation. This spatial
variation stimulates complex animal behavioral patterns, which entices active and natural
behavior. Caged animals on the other hand live in sterile exhibits and are isolated from nature
which results in animal boredom which can lead to behavioral problems.

At the same time, the landscape architect communicates with visitors through the design by
addressing visitor needs. Landscape architects recognize that people go to zoos to see
animals and therefore strive to design authentic animal exhibits which give zoo visitors “real”
wildlife experience.

Landscape architects design zoo exhibits with great care to enhance the visitor experience of
not only seeing the natural habitat (as in naturalistic exhibits) but also being part of it (as in
immersive exhibits). Specific features are employed to allow for this immersive feeling. Barriers
for example are hidden carefully so that there is no visual obstacle between animals and
humans. The viewing area is also chosen with great care so that it looks like visitors are
peeking on animals in their natural habitat.

These features and others make visitors feel that they are actually in the wild rather than just
watching it in artificial setting. The experience in immersive exhibits becomes highly enhanced,
where visitors find themselves walking on narrow rough trails, with tree branches hanging over
them and surrounding them, the same way as if they were in the animal exhibit. Visitors no
longer are spectators in this experience; they are rather active participants in the scene.

Therefore they tend to become more attuned to nature through the illusion of being in the wild.
Visitors realize that they share the same space with the animals, especially with features such
as the elimination of physical or visual barriers between people and animals. This message
enhances the visitors’ sense of conservation, not only towards animals but also towards natural
habitat in general (Kellert, 1996).

PAGE 26 OF 33
 Landscape Immersion

2.4 AZA National Exhibit Award and Manual

Animal captivity has increased world-wide. In addition to zoos and aquariums, circuses and
even research facilities keep animals today. Because of the urgent need to organize and
regulate ways by which animals are held in captivity, animal welfare organizations emerged to
supplement traditional law enforcement. Animal welfare organizations offer support, education,
information and expertise. They consider state, federal and international laws as minimum
requirements and expect their members to surpass them.

The Association of Zoos & Aquariums (AZA) is one of the WAZA’s associate members. AZA
has set very high standards for keeping animals in order to ensure their welfare. The AZA has
specific guidelines concerning animal display to make sure that the way animals are displayed
will induce respect for wildlife and nature. AZA standards are more detailed than WAZA’s code
of ethics. According to AZA, the way animals are displayed should focus on the following
principles (AZA, 2008):
 Human and animal welfare and safety should never be compromised.
 the way the animal is presented should convey a conservational message.
 the individual animal on display should be cared for at all times, and it’s physical, behavioral and nutrition needs should
be considered.

The accreditation standards for AZA focus mainly on: Animal Collection, Veterinary Care,
Conservation, Education and Interpretation, Research, Governing Authority, Staff, Support
Organization, Finance, Physical Facilities, Safety/Security, Guest Services and Other
Programs/Activities.

Although AZA accreditation standards are explained in detail in their manual, the regulations
become vague and unidentified when they describe acceptable animal exhibits and visitor
experience in zoos. The standards are very general and flexible, and do not provide a
comprehensive account of how they can be applied practically and specifically. Below are
some examples of AZA standards for animal exhibits.

In AZA’s accreditation standard, under the Animal Collection section, it is stated that: “Animals
should be displayed, whenever possible, in exhibits replicating their wild habitat and in numbers
sufficient to meet their social and behavioral needs. Display of single specimens should be
avoided unless biologically correct for the species involved” (AZA, 2008).

In their Guest Services section, AZA accreditation standards require accessibility for all visitors,
basic facilities (restrooms, food facilities and drinking fountains), common conveniences like
parking and gift shops, and the presentation of animals in a positive, ‘professional and
aesthetically pleasing environment’ (AZA accreditation standards) .

In the Physical Facilities section under Animal Enclosures, AZA requires that all enclosures
whether exhibits, holding areas, or hospital and isolation areas should be of sufficient
dimensions and complexity to enhance the animals’ physical, social, and psychological
wellbeing, and that the exhibits must work on the enrichment of the animals’ behavior.

All of the other AZA standards speak to the animals’ wellbeing, their health, and medical care,
how they should be held, in what environment, how to move animals from one place to another,
and the ethics of taking animals from the wild.

These standards have little to say about zoo visitors. There are only a few criteria which imply
what animal exhibit should look like and how important these exhibits are in giving visitors a
positive message about animals and wildlife. This message that the visitors receive either
consciously or unconsciously, affects the visitors’ behavior after they leave the zoo. It could

PAGE 27 OF 33
 Landscape Immersion

direct their attitude in a positive or negative manner regarding animals, wildlife and the whole
ecosystem (Sommer, 1972).

A research study conducted by AZA shows that visitors to accredited zoos and aquariums play
a role in conservation efforts (Flack et al., 2007). It also shows that visitors are convinced that
zoos and aquariums have an important role in conservation, that visitors who go to zoos and
aquariums show a higher level of knowledge about conservation and ecology and the study
shows that visitors go to zoos and aquariums for different reasons and that those reasons are
what drives the specific zoo experience.

PAGE 28 OF 33
 Landscape Immersion

2.6 Design Elements important to consider for Immersion Exhibits

This is what we mean by making the zoo or aquarium experience real. Not all exhibits succeed
in all details, nor are all exhibit designers and clients equally invested in this approach.
Nevertheless, I suggest the following elements are important to the creation of immersion
exhibits.

1. Landscape Simulation. The exhibit must simulate the specific or characteristic natural habitat
of the animal being displayed. Broad zoo/geographic representations such as "North America"
or "Asian" which embrace many dissimilar ecosystems do not meet this criterion. However,
somewhat generalized habitat-based presentations such as "rain forest," while pan-tropical,
may be considered immersion displays if they meet the other criteria. Advances in the relatively
new field of zoo horticulture have made the concept of landscape simulation a reality (Coe
1983).

2. Continuity. The created landscape appears continuous on both sides of the animal/people
barriers such that the visitors feel as though they were visiting in the animal's natural habitat,
with all its sights, sounds and smells.

3. Consistency. Elements which are inconsistent with the habitat being replicated are absent,
hidden or diminished to the extent they do not detract from the experience of the "natural"
setting.

4. Supporting concepts. While not strictly necessary to create the impression of being
immersed in nature, the following concepts are essential to support the conservation agenda
toward which the educational focus of the exhibit is directed.

a. The exhibit represents a bio centric or nature-centered perspective rather than a homocentric or man-
centered point of view.

b. The animals are displayed respectfully, such that their inherent beauty, dignity and worth
are emphasized. Generally this means that the animals are not looked down upon (placed below the
viewer), but rather are intentionally placed above the viewer (looked up to). Interpretive graphics and
presenters must not trivialize the animals or their behavior.

c. The areas are designed so that the animals appear to dominate the scene. They may have the central
location, the higher ground or the more dramatic setting. Viewers do not appear to surround the animal.
Cross views (vistas of other viewers seen from across the animal's area) are avoided or minimized.

d. Animals appear to have limitless areas available to them. This is often achieved by "borrowing"
appropriate background views from other areas of the park. Since containment barriers are hidden, it is
not possible to visually determine limits to the animal's area.

e. The circulation system is intentionally developed such that a given animal area may be seen from
several different viewpoints interspersed with views of other interrelated displays. For example, one may
see a lion basking on a promontory beyond an open plain occupied with zebra. Later the lion may be
seen behind other displays such as giraffe, rhinoceros, etc. Suddenly the viewer would come upon the
lion at close hand.

f. Cultural Resonance (Jones 1989): Many exhibits include replications of traditional human settlements
which also immerse the visitors. This has been a successful way to integrate visitor service needs such
as snack and toilet facilities as well as providing opportunities for multicultural education.

PAGE 29 OF 33
 Landscape Immersion

CHAPTER-3
Inferences and Conclusion
PAGE 30 OF 33
 Landscape Immersion

3.1 Criticisms of Immersion Exhibits

1. Cost of the Exhibit. While immersion exhibits are more expensive to develop and maintain
than facilities of turf and wire fencing, they are not necessarily more expensive than equally
elaborate displays of a modernistic or "high-tech" approach. In larger exhibits, the heavily
landscaped habitats require less constant maintenance than traditional park landscapes, but
do need more periodic and specialized care. The rapidly rising costs of all exhibits have more
to do with their increasing size, complexity, prominence and materials than with the specific
style.

2. Animal Visibility: Another common criticism is that the animals are frequently hidden from
the public. Good design should minimize this problem by placing areas most favored by
animals such as shady or basking areas, entrances to night houses, etc. very near public
viewing areas. Sometimes, however, even in the best habitats, animals need seclusion.

3. Restrictions to Animal Management Practices. One often hears the concern that popular
animal toys, such as beer kegs and boomer balls, cannot be used because they don't look
natural enough. Many zoos have solved these problems by finding more natural alternatives
such as fresh browse, crickets, and unprocessed vegetables.

PAGE 31 OF 33
 Landscape Immersion

3.2 Beyond Landscape Immersion

The exhibit display method, whether modernistic or immersion, establishes the context within
which animals and visitors interact. However, there are many other important dimensions which
must supplement this context to achieve optimal results. (Some of these items are still on the
horizon.)

1. Good Interpretation of the setting makes it intelligible and brings it to life for visitors.

2. Vernacular Cultural Exhibits such as simulated native villages or field research camps can
make exhibit areas more interactive and demonstrate the essential human dimension in
conservation.

3. Habitat Theater encourages novel ways to learn about animals and habitat and personalizes
the visitor's experience.

4. Behavioral Enrichment and Training results in more active animals behaving more naturally.
Training allows animals to be rotated through a series of exhibits, demonstrating natural
movement through a home range.

5. Underwater "swim through" simulated coral reef exhibits are adding new meaning to the
concept of immersion.

6. High Tech electronic systems which can establish the location and individual identity of
animals will add information and interactivity to exhibits.

7. Electronic Barriers can be hidden, or even portable allowing visitors to walk among herds of
hoof stock or troops of primates without conflict. Similar technology will more effectively protect
vegetation, creating even more realistic habitat simulations.

8. Nocturnal Exhibits are expanding to immerse visitors in indoor simulated night landscapes.

9. Overnight Safaris will greatly multiply the usefulness of simulated habitats and provide a
nocturnal experience without the present necessity of day/night reversal.

10. The Theory and Technology of immersion exhibits is already being used in planning a
visitor center in Kakum National Park in Ghana and in mitigating tourist impact to Nairobi
National Park. I predict that one day these techniques will be valuable in re-establishing
damaged wild habitats around the world.

PAGE 32 OF 33
 Landscape Immersion

3.3 Way forward

The landscape immersion approach arose from the naturalistic exhibit traditions of Hagenbeck
and Akeley. It is a response to our increased concern to protect wild animals and wild places
by educating and involving our urban populations. This approach benefited mutually from
parallel development in exhibit materials technology and craft and the introduction of contextual
exhibits in museums.

Use of immersion exhibits seems to give great scope to affective learning and, based upon its
present popularity, adds important recreational dimensions as well.

The papers which follow will discuss recent evaluations of a few excellent immersion exhibits,
but far more study will be needed before the complex interrelationship between context and
learning in immersion exhibits is fully understood. In the meantime, the approach will continue
to evolve with each new application.

We have already moved far beyond the initial experiments of the 1970's, but it is comforting to
realize that as these simulated landscapes continue to mature into their second decade
another generation of zoo visitors is enjoying an exciting experience of animals and landscape,
inseparable.

PAGE 33 OF 33
 Landscape Immersion

References:
1. Papers
• Coe Jon c 2003 “Landscape Immersion Exhibits & Beyond” in proceeding for Saga
• Coe Jon c 1994 “Landscape Immersion Origins & Concepts in Landscape Immersion”
• Coe Jon c 1989 “The Genesis of Habitat Immersion in Gorilla Exhibits”
• Coe Jon c 1987 “What’s the message exhibit design” for education in AAZPA 1987
regional conference proceedings American Association of Zoological parks and
aquariums
• Coe Jon c 2004 “Mixed species rotation exhibits” prepared for ARAZPA 2004 annual
conference
• David Hancocks 1996 “THE INSUFFICIENCY OF ZOOLOGICAL GARDENS”
American Zoo and Aquarium Association Annual General Meeting Seattle, WA
• “Design and Architecture: Third Generation Conservation, Post-Immersion and Beyond
• Environmentalism in Landscape Architecture” edited by Michel Conan
• Jungles of Eden: The Design of American Zoos Jeffrey Hyson

2. Websites
• www.jonesandjones.com/work/wildlife.html
• http://designingzoos.com/The Next Zoo Design Revolution?
• www.designing zoos.com /Landscape Immersion
• www.clrdesign.com/case studies
• www.jones&jones.com /work/wildlifehtm
• http://designingzoos.com/animal-of-the-month
• http://www.zoolex.org/about.html

3. Books
• David Handcocks 2001 A different nature “the paradoxical world of zoos and their
uncertain future” University of California press
• Melody Malmberg 1998 “The making of disneys animal kingdom them park” Hyperion
New York
• Anthony & Particia Wylson 1994 “Theme parks Leisure Centres Zoos & Aquaria”
• Marwa Gewaily 2010 “Visitor experience in zoo design: Design guidelines for Giza
zoo”
• Michelle Plaatsman 1996 “Zoo Exhibit Design: The Influence of Animal Visibility on
Visitor Experience”
• Donald W.Jackson “Landscape for Realism: Simulating the Natural Habitats of Zoo
Animals”

PAGE 34 OF 33

View publication stats