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806 Themed Environments<br />

Theming has also found its way into the health<br />

care sector. As Brian Lonsway discovered, in the<br />

late 1990s, the Disney Institute in Florida began to<br />

train health professionals in a new service approach<br />

that emulates the thematic model of the entertainment<br />

industry. Disney itself brought this model to<br />

Celebration Health, the hospital in its town in central<br />

Florida. Thus, Seaside Imaging, the hospital’s<br />

medical imaging center has been rebranded as “A<br />

Day at the Beach.” Housed in a building designed<br />

to resemble a sand castle, the center offers a theatrical<br />

patient experience that includes a boardwalk<br />

floor, barium drinks served with paper umbrellas,<br />

Adirondack chairs in the waiting room, and<br />

Hawaiian shirts in lieu of gowns.<br />

It is generally acknowledged that themed environments<br />

are not unique to the present era. In his<br />

seminal work, The Theming of America, Mark<br />

Gottdiener traces theming back as far as classical<br />

Athens, Rome, and Beijing. Traditional and <strong>ancient</strong><br />

<strong>cities</strong>, he notes, were completely organized by cosmological<br />

and religious meanings whose purposes<br />

were to enhance fertility, to celebrate empire, to<br />

glorify rulers and gods, to achieve harmony with<br />

nature, and to promote good fortune. In medieval<br />

Europe, the symbolic content of city spaces pertained<br />

to the Catholic cathedral and, in some<br />

cases, Jerusalem and the Holy Land.<br />

With the growth of the modern industrial city in<br />

the nineteenth century, functionalism removed the<br />

symbolic canopy from most urban spaces. By the<br />

turn of the century, a new vision of planning and<br />

architecture had begun to emerge, celebrating<br />

progress and technological efficiency while downplaying<br />

thematic representations of leisure, fantasy,<br />

and traditional cultures. As the century<br />

proceeded, however, fantasy-themed environments<br />

began to emerge in concert with the new consumer<br />

society. Progenitors of contemporary themed environments<br />

include turn-of-the-(twentieth)-century<br />

amusement parks such as Coney Island’s Luna<br />

Park and Dreamland, expositions and world fairs,<br />

and roadside diners, restaurants, and motels.<br />

According to Gottdiener, themed development<br />

has come into its own since World War II due to<br />

an important shift in marketing to segmentation<br />

and its reliance on themes. That is, marketers in<br />

the United States went from appealing to a largely<br />

homogenous population to targeting a more diverse<br />

demographic arrayed according to consumer types<br />

based on income, education, stage in the life<br />

course, family status, urban–suburban location,<br />

ethnicity, race, and preferred lifestyle. This shift to<br />

market segmentation permitted advertisers to construct<br />

and exploit a much wider range of thematic<br />

motifs that tapped into consumer fantasies.<br />

Another important contributing factor has been<br />

described as the de-differentiation of consumption—a<br />

general trend whereby the forms of consumption<br />

associated with each other become<br />

interlocked and increasingly difficult to identify<br />

separately. This is embodied in the eroding distinctions<br />

between casinos, hotels, restaurants, shopping,<br />

and theme parks in Las Vegas. Most recently,<br />

John Hannigan identified the emergence of the<br />

casino city as a global model of urban development<br />

and consumer culture. Casino <strong>cities</strong> thrive at<br />

the intersection of three complementary commercial<br />

spheres: the luxury goods and services industry,<br />

the corporate gaming (gambling) sector, and<br />

the international tourist trade. In aggressively<br />

themed environments such as the new generation<br />

of casino-hotels in Macau, the lines between shopping<br />

and entertainment are deliberately blurred in<br />

the interests of hyperconsumption.<br />

Gottdiener argues that the increasing use of<br />

theming is a corporate strategy for coping with an<br />

escalating competition for consumer dollars during<br />

the present period of highly mobile shoppers,<br />

alternate consumption locations, and increasingly<br />

diverse lifestyle choices. Along with branding, this<br />

is seen as a way of cutting through a marketplace<br />

that is saturated with signs and symbols.<br />

Furthermore, themed environments are conceived<br />

in the context of increasing spatial competition.<br />

Whereas initially this was among individual retail<br />

destinations such as shopping malls, it has now<br />

been extended to a global competition between<br />

<strong>cities</strong> and regions.<br />

Theming and Branding<br />

Some discussions of theming link it with the allied<br />

concept of branding. Within this context, theming<br />

is treated as a method of sharpening brand awareness<br />

and strengthening its core identity and value.<br />

Thus, Australian (Aussie) and Irish-themed bars<br />

and pubs, ubiquitous in entertainment districts<br />

across the globe, enhance not only the brand of the<br />

local establishment but also that of the brewery

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