Project 11, 3rd Edition (upcoming) Modern Construction Case Studies - Precedent: CDG Airport T1, Paris designed by Paul Andreu
Designing the Future – Bridging the Experience Economy and Intellectual Engagement
Project 11 draws inspiration from the design of Terminal 1 at Paris's Charles de Gaulle Airport (CDG), created by Paul Andreu. Terminal 1 features a central hub with radiating spokes that connect to satellites, allowing aircraft to dock more efficiently than if they were arranged around the hub itself. This concept of spatial efficiency and modularity not only responds to functional needs but also exemplifies the power of design thinking in addressing complex logistical challenges. The application of this design framework is adopted in Project 11, where satellite-like activities evolve as the visitor attraction develops. This framework facilitates dynamic growth, maintaining flexibility while ensuring a cohesive and engaging visitor experience.
Located in Orlando, Florida, Project 11 is a space-themed visitor attraction that blends STEM education with hands-on exploration, offering a fun and engaging way to inspire visitors. The attraction emphasizes the fusion of futuristic design with real-world engineering principles. This concept aligns closely with the theoretical framework of the Experience Economy, a term popularized by B. Joseph Pine II and James H. Gilmore in their seminal work The Experience Economy: Work is Theatre & Every Business a Stage (1999). According to Pine and Gilmore, businesses and attractions can no longer solely provide goods or services; instead, they must deliver memorable experiences that engage customers in a personal and meaningful way. The “experience” in Project 11 is designed to transcend entertainment by focusing on interaction, engagement, and learning, making the visitor an active participant rather than a passive observer.
The Experience Economy framework emphasizes that consumer expectations have evolved, particularly in the context of entertainment and attractions, where visitors demand more than just passive entertainment—they expect a high degree of personal involvement, immersion, and active participation (Pine & Gilmore, 1999). This shift from providing goods to offering experiences is underpinned by a growing desire for emotional and intellectual fulfillment. In this context, Project 11's emphasis on STEM (Science, Technology, Engineering, and Mathematics) education, combined with interactive exhibits, appeals to visitors’ curiosity and intellect, offering them an opportunity to both learn and have fun. This is a critical shift from traditional forms of amusement parks or themed attractions, where the focus often centers on spectacle and sensory overload.
Project 11 also reflects the principles of experiential marketing, a strategy designed to engage consumers in direct, memorable ways that go beyond traditional advertising or product offerings. As described by Pine & Gilmore, (1999), experiential marketing focuses on creating compelling experiences that foster emotional connections and reinforce brand identity. The design of Project 11 allows for the seamless integration of narrative, interaction, and engagement, tapping into visitors' desires for intellectual enrichment while also providing entertainment. This creates a deeper bond between the visitor and the attraction, enhancing brand loyalty and encouraging repeat visits. In addition, the more reflective and immersive nature of Project 11 contrasts with the quick, high-impact stimulation found in many American attractions, where there is often a prioritization of immediate emotional payoff over deeper engagement.
From a theoretical standpoint, Project 11 also engages with concepts from theory of place branding and narrative architecture. Place branding theory asserts that spaces—whether they are physical locations or thematic attractions—must tell a story that resonates with their audience. This narrative must not only reflect the identity and values of the space but also align with the visitor's personal values and desires. By focusing on intellectual engagement and narrative depth, Project 11 draws on these branding principles to craft a coherent, immersive experience that is intellectually stimulating while still appealing to broader audience desires for fun and excitement.
Project 11 is an experience that invites visitors to engage with complex themes, explore scientific concepts, and reflect on the future of space exploration—all while still offering a sense of enjoyment and novelty. This slower, more deliberate pace contrasts with the “fast” experience economy typically seen in American entertainment, where instant gratification and bold, dramatic effects often dominate.
To bridge the gap between these distinct approaches, Project 11 incorporates elements of high-impact, immediately gratifying experiences that American audiences expect, while maintaining its intellectual depth and subtlety. This blending of “slow” intellectual engagement with “fast” emotional payoff reflects the importance of creating a balance between the two, a concept proposed by Richard Florida (2002) in his work on creative economies. Florida suggests that the success of creative spaces relies on their ability to combine innovation with accessibility, engaging diverse audiences while maintaining a distinct identity.
References:
Pine, B. J., & Gilmore, J. H. (1999). The Experience Economy: Work is Theatre & Every Business a Stage.
Florida, R. (2002). The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community, and Everyday Life.
