EPCOT’s Journeys In Space 

In honor of SpaceX’s Falcon9 launch, today, let’s take a look back at EPCOT’s long, and frankly, painful history of Space pavilion concepts designed for nearly iteration of the park. 

As early as 1975, the EPCOT Theme Center (Future World) boasted a Space Pavilion that would have featured a massive omnimover detailing the perils and positives of man’s history in space. (Image 4) NASA was actively courted by Disney so as to help with the direction and presentation of the pavilion. So sure were Walt Disney Productions on the completion of a space pavilion for EPCOT Center, that NASA frequently appeared in concept art and seemingly would have served as a official showplace for upcoming missions and new technology emerging from the Kennedy Space Center, only a few miles to the east. (Images 6 &7)

While not officially a sponsor, as NASA is a national entity, they could have appeared in the guise of a partnership in exhibition, as they did for many years with Listen to the Land and their antigravity testing. Only this time, the tests and technology would be much more relevant, and be honed in on the actual theme of the pavilion. Not to mention the credence NASA would give Walt Disney Productions, and EPCOT.

By 1978, plans for the Space Pavilion become a bit clearer, as the concepts for Future World had coalesced into a version thematically similar to what was finally built. Further, famed science fiction writer Ray Bradbury was brought into WED’s fold to lead an effort in planning and conceptualizing the forthcoming pavilion. Bradbury’s version of the pavilion retained the omnimover from the mid 70s, but also added a massive interstellar space vehicle, in which dozens of guests would travel into space by illusion of omnimax screens acting as windows out into the cosmos. (Image 5, as painted by Tim Delany) (Image 2, as seen with Ray Bradbury and Card Walker) 

The exterior of the planned pavilion was a departure from the sleek lines and contours of the rest of Future World. Designed to look like a launch station, gantries and space age texture defined the look of the structure. Only the entryway emulated Future World’s monumental and monolithic aesthetic, while taking a page out of Horizons’ iconic wedge like shape. (Image 1, as painted by Tim Delany.) 

Sadly, none of these concepts would reach fruition as Horizons and The Living Seas would all receive sponsors and funding first. However, all of these concepts reflect the ethos of early EPCOT Center.  Holistically in line with the EPCOT ideal of the park as being a place for “information transfer”, NASA in EPCOT is a clear cut example as EPCOT as a showplace, made for exhibiting and interacting with the technology and topics of tomorrow. 

Adventureland Skyline 

This 1972 postcard shows off the Vacation Kingdom’s icon…. but also how the original foliage of Adventureland was situated so as to allow for the Jungle Cruise’s landmarks to form part of the Magic Kingdom skyline. From the Seven Seas Lagoon, Adventureland’s verdant swaths of trees and plants were kept low, so as to reveal the tops of the Cambodian Ruins. The Swiss Family Robinson Treehouse also defines the backdrop of lush and iconic sights, originally providing guests a birds eye view of not only the immediate localities of Adventureland, but across the lagoon to the Polynesian as well. 

In the bottom right of this postcard, one can also spy the Skyway making its way from Fantasyland to Tomorrowland, and a small brown (probably discolored from the age of this scan) dome that appears to be the Crystal Palace. 

Today, this view is lost, and the skyline of the Magic Kingdom is only defined by the tallest of structures. The three mountains enjoy prominent positions, but if one knows where to look, the very top of the Sunshine Tree Pavilion can be see, along with parts of New Fantasyland, peaking out, from around Cinderella’s Castle. 

Expanded EPCOT: Italy’s Venetian Respite

When EPCOT Center opened in October of 1982, it was grossly over budget and already the largest private construction project in the world. In this, various parts of pavilions and rides were consigned to open at a later date, and part of the second “phase” of EPCOT Center’s opening. Horizons is the most notable of the pavilions that opened on a later date, but many casualties of the budget dwelled in World Showcase. Italy is an example of this. 

Dominantly featuring an Italian Piazza and a replication of the Doge’s Palace, the Italian Pavilion was originally conceptualized to have more depth to it, and to exhibit different and more exotic architecture from the south of Italy. Where the pavilion terminated in 1982 (Today, a fountain of Neptune shows where the border was) there should have been a second anteplaza with a second set of buildings, adding to the pavilion’s skyline. This can be seen in the renderings of the composite pavilion above. This main structure was to be modeled after a typical market-square city hall from the 15th or 16th century and an actual building found in the city of Bergamo. 

The Bergamo hall was planned to exhibit a very strong sense of historic identity, as plans reveal that the building was supposed to take on a well worn look, to reflect the centuries of ownership and construction that most Italian city buildings would endure. Compared to the rest of World Showcase, at the time, this level of grit is oddly rare. Most of the World Showcase pavilions show off the archetypical designs and ornamentation of the architectural culture of the nation in question. WED intended differently for Italy, however, and hoped to illustrate the true texture of an Italian town. Even a replica of Roman ruins were planned for Italy, but this, too, never materialized. Meanwhile, this type of rugged placemaking wouldn’t show up in EPCOT until Morocco joined the fold in 1984. 

What’s interesting though, is what was intended for the interior of Bergamo’s hall. Even though Italy already boasts an impressive menu, another restaurant was planned, but this one intended to me more of a thematic experience. 

Conceptualized to take place in the canals of Venice, this restaurant would have featured tiered seating, and room for a dinner show- on the water! Gondoliers were to be the main event of the restaurant’s entertainment, serenading guests as they ate. Sam McKim produced the rendering above in 1975, just as plans were coalescing for EPCOT to be comprised of both World Showcase and Future World. (Images 3 and 5, above) McKim details that the Bergamo hall would have featured a whole row of buildings as ancillary structures to hide the pool stage. This was re-illustrated in 1983 by Ron Bowman, as the concept was looked at once again before it was abandoned due to the afore mentioned ballooning budget. (Image 1, above) Dorothea Redmond painted the scene in 1979 of Italian sailboats at anchor in the restaurant, eluding to the mood and charm of the long planned Venitian Restaurant. 

Sadly, all of this was not to be. Italy’s northern end would sit vacant for the better part of the best 30 years…until in 2009 plans were dusted off to built an eatery on the back half of the plot. Although decidedly not as ambitous as McKim’s renderings for a boat show and dinner, Via Napoli, as it came to be built, at least echoes the planned aesthetics for the Bergamo hall. 

Horizons - The Technical Wonder of Future World 

Although revered amongst fans for being the ethos-charged thesis statement for Future World, Horizons also is worthy of recognition for the sheer scale and scope of the pavilion. Built a full year after EPCOT Center opened, Horizons’ possessed the same thoughtfulness, attention to detail, and bold daring that went into the original 6 pavilions. Horizons was laden with Audio Animatronics, screens, projections, and a myriad of special effects that place its stature perhaps even higher that it’s predecessors for how well all of these effects immersed guests of the pavilion. This blog has covered that topic before- Horizons was humanistic and warm, proving the future was a relatable and familiar dream. But what made that all tick, on a holistic and physical level? Scope, scale, technology and innovation. EPCOT Center’s own values were reflected in Horizons’ presentation AND its construction. 

The physical structure of Horizons beset the experience of the ride itself. Described as a “monumental gold gem” or as if a “space ship had settled down on the site itself”, by Disney’s internal documents on the pavilion, this grand scale mirrored the almost 15 minute spectacle of futurism shown off to guests. To achieve such a lengthy ride time, Horizons covered nearly three acres, had 1,346 feet of ride track that spanned two floors, and had 137,000 square feet of show space. This was achieved by utilizing 3,700 tons of steel, more of which was used in this pavilion than in Spaceship Earth. Horizons stretched 78 feet into the air and defined the Future World skyline from the central and commanding plot in Future World East. 

To traverse such a long length of track, guests boarded a hybrid of Disney’s omnimover system, designed to focus guest attention on the scenes and tableaux directly facing panning cars. Never before attempted by Disney (Futurama had a similar set up in 1964 at the New York World’s Fair) these hybrid omnimovers were a marvel in themselves. Suspended by tethers from the ceiling, the glided through the building with relative ease, even allowing for the cars to rock “back” and tilt during the finale of Horizons during the “choose your own tomorrow” flight sequence.  Each car also was equipped with infrared sensors to relay location and narration to the ride controls and to guests. This was conveyed with sub bass speakers located under the seat that could WIRELESSLY adjust volume depending on the scene guests were currently in. Viscerally, this is responsible for the memorable omnimax screen scenes, in which guests were surrounded my imagery, light, and sound. When the Space Shuttle Columbia took off on screen, one certainly could hear and feel the rumble  of the rockets… despite safely gliding by a screen, in a omnimover, 67 feet in the air. 

The omnimax screens were one of the key technological features of Horizons, themselves. Three screens, 80 feet high, and 12 feet wide, came at the middle of the Horizons experience and ushered guests from “looking back on tomorrow” to actually experiencing and seeing the marvels of the future world yet to come. These screens were so large that they had to be constructed separately from the main shell of the building, and helicopters were used to place the projector rigs in place. The omnimax structure can be seen in the header photos- look beyond the structural steel of Horizons, and look for a lattice pattern, curved so as to support the forthcoming projection surface. The same method of surrounding guests in a video projection is now employed in The Land’s Soarin’. Below, you can see George McGinnis, a key imagineer on Horizons’ creative team toying with a model of the omnimax dome and cars when the ride was to be called “FutureProbe” and had three tracks. However, the system of projection is the same, globular and lattice constructed. The projections of DNA, as seen here, were among the first computer aided graphics used for a theme park. 

Thus, was the scope and breadth of the Horizons experience. Not relying on Audio Animatronics alone, the pavilion’s memorable reputation was furthered by sheer scope, overwhelming proportion and imagery, and a reliance on technology that fit the main idea and purpose of EPCOT Center itself. Therefore, Disney and WED appeared to have really took their park’s message to heart when they embarked on building and creating Horizons. The technological thrills described here were done with a purpose and with a bold daring to be different and unique in the face of themed entertainment. The commonality in ideas and actions designed to stun, inspire, and further technological prowess in an exhibition space is what defined Horizons and EPCOT Center in those early, halcyon, formative years. And it is that spirit that most long for Disney to bring back to EPCOT Center. As the ride intoned, cheerily enough, if you can dream it, you can do it. 

Expanded EPCOT

Wonderful concept models of Mount Fuji and the Matterhorn, as planned for EPCOT and World Showcase in the mid 80s and 90s. 

Credit to @ProgressCityUSA for finding this wonderful image! 

Happy 25th Anniversary, IllumiNations! 

On this night in 1988, the first iteration of IllumiNations premiered on EPCOT Center’s World Showcase Lagoon. 

While not the first show to grace the skies above EPCOT, this presentation was the first to use synchronized spot lights on the pavilions, a classical score, and a central laser barge. IllumiNations 88 was the first “all inclusive” show, as the pavilion’s pin lighting was featured heavily, and were used to surround guests on the promenade in light and imagery. Featured heavily during the show, the pavilions would each be featured, individually, set to the refrains of classical music from their country of origin. This major sequence of the show was called the “pavilion chase” and is one of the more fondly remembered aspects of the first IllumiNations. Massive spotlights were used to sweep across the promenade directing guest’s attention to the pavilion currently being featured. Each pavilion, at this point, had its own unique special effect to show off to guests. France had a massive neon sign, Germany had projection mapped (Much like today’s Magic Kingdom “Celebrate The Magic” show) banners and murals magically appear, and the American Adventure was transformed from Federal architecture to our Neoclassical US Capitol.  This culminated in a dazzling pyrotechnic display. 

Previous to this, fireworks in EPCOT Center were not such a grand event. The inaugural show, Carnival De Lumiere and it’s successor, A New World Fantasy, were executed on a much smaller scale. These preformances only took place facing World Showcase Plaza, the entrance from Future World. They did, however, boast the first iterations of mist screens, used for projecting seamless videos on sheets of falling water. In 1984, Laserphonic Fantasy debuted, adding the spectacle of beams of laser light to EPCOT’s grand finale. 

IllumiNations’ debut in 1988 brought forth the technology and show infrastructure that we still enjoy today on the pavilions and structures of World Showcase. In 1996, however, this hardware was put to a new use and a new show. Walt Disney World celebrated 25 years, and ushered in IllumiNations 25. This new show dropped the afore mentioned pavilion chase” and focused on celebrating Disney’s momentous anniversary. In 1998, when the celebration wrapped up, classical music and ceremony returned to the shores of World Showcase lagoon with IllumiNations 98 and a return to a traditional show. 

1999 saw the most radical changes to IllumiNations. Rebranded as “IllumiNations 2000: Reflections of Earth”, the new show was given an wholly unique score and abstract narrative meant to evoke the passage of time, Earth’s history, and the humanistic triumph as recorded history entered the third millennium. In addition to sweeping thematic changes, the show underwent a physical transformation as well. A new “Inferno Barge” was built for the undertaking, designed to spew and spit flames 50 feet high, so as to illustrate the chaotic Big Bang at the beginning of time in the show’s new narrative. An “Earth Barge” was also built to be the centerpiece of the show, and is the first spherical video display to utilize LEDs in High Definition. At the finale of Reflections of Earth, the “Earth” unfurls in the shape of a lotus blossom, adrift on the water, and ignites a torch symbolizing the dawn of the 21st century. 

Now a nightly tradition, IllumiNations still concludes each day at EPCOT. Although different from the pageant that debuted in 1988, IllumiNations continues to draw upon the pathos of EPCOT and World Showcase, exciting guest with a celebratory and unifying capstone to their international and cultural experience. 

EPCOT Ceremony - The Dedication for the Fountain of Nations 

After three years of construction and a decade of planning, EPCOT Center was formally dedicated on Sunday, October 24th, 1982. The park, which had opened on October 1st, had held a month of pageantry and festival celebrating the new venture for Walt Disney Productions. This revelry came with the  dedication of each individual pavilion in days previous to the “main” event, as pictured above. Each subsequent sponsor held a ancillary ceremony to showcase their pavilion, but this was Disney’s time to shine. 

Calling in the West Point Glee Club, The All American Marching Band, all of the Disney Executives behind the creation of EPCOT Center, and Walt Disney’s widow, Lillian Disney, EPCOT Center’s dedication was a spectacle not seen since the opening of the Vacation Kingdom, 11 years earlier. The main event of the ceremony was the symbolic blending of international waters in the Fountain of Nations.

Formally, “The International Ceremony of the Waters and Dedication of the Fountain of World Fellowship”, the ceremony was lead by Lillian Disney and featured cultural representatives from all over the world, bringing vases of water to help fill the Fountain of Nations in CommuniCore Court. Bridging the themes of World Showcase and Future World, this symbolic gesture capped off the dedication ceremony and lent a legitimate and optimistic tone to EPCOT Center’s modus operandi. Pomp and circumstance presiding, the ethos of cultural oneness and togetherness was made all the more poignant with Lillian Disney’s inclusion.

Where the olympics has a flame, EPCOT has a fountain.