Themes, Entertainment
The theme park, as an experience design, differs from amusement parks in the critical design intent of its architects. Theme landscapes are developed to distill a glimpse of world /out of this world locations, not unlike a world's fair, at a single location. These entertainment complexes are familiar vacation territories for generations of the world's travel public, as theme parks are deliberately designed to be internationally-focused attractants. The successful dynamism of these landscapes designed for appeal and dependable itinerary offer assurances of what can be expected, with safety and value for the expense of time and money. Generally, themed landscapes perpetuate and promote folk history and cultural traditions, as these are exploited, yet celebrated, simultaneously.

Perception of space in the themed environment, without apologies, is inauthentic, but never-the-less successful, and delightful moments for the viewer. Intentionally, architecture is manipulated in order to impart the necessary factors which will aid in promoting happiness by use of ironic realism. Despite pretentions, everyone enjoys themed experiences at some level. Ambivalent designers are not undermined by the pristine and ineffectual notions the design profession propagates on what characterizes good design. Rather, the successful destination architect gives social value and art to underappreciated human elements in architecture. Human experiences and moments must include not just subtle design considerations, but the human emotional need for the bold and brash as distractions from the world of work, from which the viewer wishes to find relief. In fact, "work ethic" is irrelevant to the basic principles of successful theme vacations, and rarely coexists in any leisure or entertainment venue.

Theme landscapes are new as architectural constructs; however, are earning a successful reputation for a knowledge- base in infrastructure design that deals directly with the public. Such destination design expertise is finding increasing use in shopping malls, transportation systems, public spaces, etc. where demanding public expectations must be designed for repetitively, in order to ensure the development's success over time. The major physical reality of successful theme landscape resorts is, like civic community, this entertainment community can become massive. However, as private spaces, theme landscapes can be more efficiently-planned and self-sustainable than similarly-sized public domains. Many communities which manage fewer numbers of human participants are ineffective when efficiencies are compared with theme developments. In fact, the cubic foot of space in theme developments dedicated to the demonstration and perpetuation of history, culture and folklore exceeds that in the public domain in which it is often not available.

The quasi-realism design of the theme park is increasingly part of the modern world, both while on vacation, and at work or home. In fact, destination architecture principles are being developed and applied around the globe to what traditionally are not entertainment constructs, but deal more directly with societal needs at a basic level. The architectural environments of theme landscapes are designed to contrast fiction and factual reality to render them in such a way that, to the viewer and user, they appear interchangeable. This involves more than illusion; in fact, a dialog with history, context and human values must be balanced if the destination experience is going to be truly appreciated by the visitor. And in this context, spatial design and planning supersedes the limits of the imagination to wonder or discern what's possible or impossible. And it is precisely this inability to tell the difference or disinterest in trying to interpret the design that makes themed architecture exhilaratingly honest and fresh in the world of art and design.