AMC Theater finally getting a replacement at Downtown Disney

Robbiem

Well-Known Member
What also fascinates me is that they added "multi-cultural design" into the mix of this complex that allegedly also uses "Southern California mid-century modern" architecture.

As we can see from their sketch, it looks only vaguely mid-century. And if it weren't for the two amoeba shaped security screening structure and patio shade structure, there would be nothing remotely "mid-century modern" about any of it.

But Mid-Century Modern is anything but "multi-cultural". If anything, Mid-Century Modern is the design language of WASP Capitalism and its descendents of the Mayflower (to continue the Thanksgiving theme). Mid-Century Modern in SoCal was defined by banks and professional buildings on the Upper Class end, to bowling alleys and coffee shops on the Middle Class end. There's no ethnicity to be found in Mid-Century Modern design in SoCal except for white bread suburbia, middle class car culture, and big business capitalism.

If I were looking for something legitimately "multi-cultural" in this design, I would be highly offended by that. It's pandering, if not outright lying, to claim this type of mid-mod architecture is somehow ethnic and "multi-cultural"....

SoCal's Mid-Century Modern Business, Banking & Commerce Architecture...

Coachella Valley Savings & Loan

2chase.jpg


Robinson's at Fashion Island (Yes, those are giant brass bells on the side of the tower. They were fab!)
6170366441_c45a24fcb4_b.jpg


SoCal Mid-Century Modern Car Culture Suburbia Architecture...

Sambo's Pancake House, Huntington Beach
16422962861_e30b3827e7_z.jpg


Covina Bowl, Covina
wc-bowl1-1024x678.jpg


There's nothing multi-cultural about Mid Century Modern architecture, unless you want to claim Tiki themed motels are honoring Pacific Islander culture. :rolleyes:

They really seem to be pandering to claim that anything in this image below is somehow "multi-cultural". It's almost as if there's a rule they have to use either that phrase, or the word "inclusion" in every press release, regardless of whether it's accurate or not.

View attachment 602624
Really interesting. The savings and loan looks like something oscar Niemeyer would have built In Brasilia. It looks like Disney are trying to repeat the Disney springs approach of looking to the local areas idealistic past for design rather than taking inspiration from further afield.

The ‘horned’ building reminds me of the original magic kingdom tomorrowland entrance which I always liked.
 

FerretAfros

Well-Known Member
This discussion of the word-salad press release reminds me of the over-the-top description of the Harbor Blvd tram area when it first opened.

It was one of the first elements of the Disneyland Resort makeover project that would forever revolutionize the one little theme park into a true vacation destination, including a second theme park, shopping district, high-end hotel and spa, and extensive updates to the parking, landscaping, and general placemaking of the surrounding area. Disney brought in Martha Schwartz, a celebrity landscape from Boston, to design it, and the description had everybody excited to see it. As the first element of the new Resort to open (since it would allow the existing bus and tram infrastructure to be displaced), it generated a lot of early buzz:

The Theme Park Entry Esplanade project is composed of three distinct areas: the Central Plaza Area, the East Tram Area or “Hyper-Highway”, and the West Tram Area. All three spaces are distinct in terms of character and function; however, they are conceived of as a series of spaces which, although different in expression, form a choreographed sequence of events. The three distinct spaces are organized in a linear fashion, inspired by gardens of the classical Baroque Period, where episodic events or spaces are joined through a linear progression of the pedestrian through the spaces. This journey, or pathway, links and brings coherence to the site. The use of geometry and its rhythm through the plantings and elements create a continuity which ties all parts of the design together.

The “Hyper-Highway” concept was conceived as a tool to create clear boundaries between vehicular and pedestrian areas. Exaggeration and repetition of highway motifs, such as pedestrian crosswalks, traffic cones, and highway lights are used not only to help create clear and defined spaces, but also to create fantastical places. As a visitor turns into the environment of the “Hyper–Highway”, he or she will experience the world as a bright and more vivid place, as the visual language of the highway becomes bigger, bolder, and more colorful.

Shuttle buses from area hotels drop off and pick up passengers along linear traffic islands. These glorified traffic islands are marked by an insistent and oversized pattern of “cross–walk” to indicate clear, strong pedestrian access to the entry. Each traffic island is flanked by formal rows of highway lighting standards. The light standards have a metallic color finish. They glow a different color in each island. The brightly colored light provides not only a dazzling field of glowing colors at night, but also aids in way–finding and orientation.

The bollards, shaped as oversized traffic cones, painted green, allude to clipped topiaries in the European Garden Tradition. A single line of bollards winds through the entire East Esplanade on a five foot wide strip of bright yellow “detectable warning” tile. The tile provides the ultimate visual and tactile separation between pedestrians and vehicles.


Sounds pretty elaborate, huh? Well, here's what was built:


82_big.jpg


Disneyland-East-Esplanade-3.jpg


Disneyland-East-Esplanade-2.jpg


Disneyland-East-Esplanade-4.jpg

It feels just like Versailles, right?


For those who haven't been in the online Disney fan community long enough to remember when this opened, this area was mocked. Mercilessly. For many, many years. Martha Schwartz's name became a punchline for overhyped news and lackluster products.

And while it certainly has its quirks, the style of writing is actually consistent with how architects speak to about their work. This wasn't empty fluff dreamed up for a press release to the public, it was done in earnest; in fact, the text is still on Martha Schwartz Partners' website to this very day as a brag-worthy example of their work. And ultimately, the description clearly reflects the design intent, even if the end result was more utilitarian and less whimsical than implied.

The entire area was repainted in the late 00's to make the color scheme less garish, but somehow also made it more mediocre. Instead of being wacky and whimsical with a clear vision, now it's just ugly and awkward. It isn't as harsh on the eyes (particularly at night, with the removal of the color-coded lights), but now it lacks a cohesive vision for why things are the way they are. Instead of having guiding principals that make wayfinding easier (like the color-coded drop-off locations), it's all just sort of an inoffensive blob of earth tones and frustrating small signage sprinkled over vast expanses of pavement. But at least the trees have grown in and there are more shade structures now!

2014-10-13-at-16-16-19.jpg


In many ways, the fate of this area parallel's how WDI's work has evolved over the years: they're less bold and more risk-averse than ever, yet somehow the end result is a muddled mess that just doesn't quite work as well as it should. Instead of trying to make a bold statement or make something that's flawlessly functional, we get things that are just-okay enough to be largely ignored and forgotten.
 

TP2000

Well-Known Member
This discussion of the word-salad press release reminds me of the over-the-top description of the Harbor Blvd tram area when it first opened.

It was one of the first elements of the Disneyland Resort makeover project that would forever revolutionize the one little theme park into a true vacation destination, including a second theme park, shopping district, high-end hotel and spa, and extensive updates to the parking, landscaping, and general placemaking of the surrounding area. Disney brought in Martha Schwartz, a celebrity landscape from Boston, to design it, and the description had everybody excited to see it. As the first element of the new Resort to open (since it would allow the existing bus and tram infrastructure to be displaced), it generated a lot of early buzz:

The Theme Park Entry Esplanade project is composed of three distinct areas: the Central Plaza Area, the East Tram Area or “Hyper-Highway”, and the West Tram Area. All three spaces are distinct in terms of character and function; however, they are conceived of as a series of spaces which, although different in expression, form a choreographed sequence of events. The three distinct spaces are organized in a linear fashion, inspired by gardens of the classical Baroque Period, where episodic events or spaces are joined through a linear progression of the pedestrian through the spaces. This journey, or pathway, links and brings coherence to the site. The use of geometry and its rhythm through the plantings and elements create a continuity which ties all parts of the design together.

The “Hyper-Highway” concept was conceived as a tool to create clear boundaries between vehicular and pedestrian areas. Exaggeration and repetition of highway motifs, such as pedestrian crosswalks, traffic cones, and highway lights are used not only to help create clear and defined spaces, but also to create fantastical places. As a visitor turns into the environment of the “Hyper–Highway”, he or she will experience the world as a bright and more vivid place, as the visual language of the highway becomes bigger, bolder, and more colorful.

Shuttle buses from area hotels drop off and pick up passengers along linear traffic islands. These glorified traffic islands are marked by an insistent and oversized pattern of “cross–walk” to indicate clear, strong pedestrian access to the entry. Each traffic island is flanked by formal rows of highway lighting standards. The light standards have a metallic color finish. They glow a different color in each island. The brightly colored light provides not only a dazzling field of glowing colors at night, but also aids in way–finding and orientation.

The bollards, shaped as oversized traffic cones, painted green, allude to clipped topiaries in the European Garden Tradition. A single line of bollards winds through the entire East Esplanade on a five foot wide strip of bright yellow “detectable warning” tile. The tile provides the ultimate visual and tactile separation between pedestrians and vehicles.


Sounds pretty elaborate, huh? Well, here's what was built:


82_big.jpg


Disneyland-East-Esplanade-3.jpg


Disneyland-East-Esplanade-2.jpg


Disneyland-East-Esplanade-4.jpg

It feels just like Versailles, right?


For those who haven't been in the online Disney fan community long enough to remember when this opened, this area was mocked. Mercilessly. For many, many years. Martha Schwartz's name became a punchline for overhyped news and lackluster products.

And while it certainly has its quirks, the style of writing is actually consistent with how architects speak to about their work. This wasn't empty fluff dreamed up for a press release to the public, it was done in earnest; in fact, the text is still on Martha Schwartz Partners' website to this very day as a brag-worthy example of their work. And ultimately, the description clearly reflects the design intent, even if the end result was more utilitarian and less whimsical than implied.

The entire area was repainted in the late 00's to make the color scheme less garish, but somehow also made it more mediocre. Instead of being wacky and whimsical with a clear vision, now it's just ugly and awkward. It isn't as harsh on the eyes (particularly at night, with the removal of the color-coded lights), but now it lacks a cohesive vision for why things are the way they are. Instead of having guiding principals that make wayfinding easier (like the color-coded drop-off locations), it's all just sort of an inoffensive blob of earth tones and frustrating small signage sprinkled over vast expanses of pavement. But at least the trees have grown in and there are more shade structures now!

2014-10-13-at-16-16-19.jpg


In many ways, the fate of this area parallel's how WDI's work has evolved over the years: they're less bold and more risk-averse than ever, yet somehow the end result is a muddled mess that just doesn't quite work as well as it should. Instead of trying to make a bold statement or make something that's flawlessly functional, we get things that are just-okay enough to be largely ignored and forgotten.

Absolute. Perfection. 😍

Thank you so much @FerretAfros for not forgetting Martha Schwartz and the laughs you and I and many others all had twenty years ago at her expense on that other website!

The only thing I can add looking back on it now, Ms. Schwartz' hiring was the first clear example that Disneyland was falling into the hands of leaders who didn't actually like to visit their own theme parks, didn't quite understand what all the fuss was about over a silly theme park, and had no idea how their own paying customers used their theme parks.

It was a trend that has retreated and advanced at times over the last 20 years, but the current crop of TDA and Burbank executives seem to be firmly in the Martha Schwartz camp. ☹️
 
Last edited:

Sailor310

Well-Known Member
This discussion of the word-salad press release reminds me of the over-the-top description of the Harbor Blvd tram area when it first opened.

It was one of the first elements of the Disneyland Resort makeover project that would forever revolutionize the one little theme park into a true vacation destination, including a second theme park, shopping district, high-end hotel and spa, and extensive updates to the parking, landscaping, and general placemaking of the surrounding area. Disney brought in Martha Schwartz, a celebrity landscape from Boston, to design it, and the description had everybody excited to see it. As the first element of the new Resort to open (since it would allow the existing bus and tram infrastructure to be displaced), it generated a lot of early buzz:

The Theme Park Entry Esplanade project is composed of three distinct areas: the Central Plaza Area, the East Tram Area or “Hyper-Highway”, and the West Tram Area. All three spaces are distinct in terms of character and function; however, they are conceived of as a series of spaces which, although different in expression, form a choreographed sequence of events. The three distinct spaces are organized in a linear fashion, inspired by gardens of the classical Baroque Period, where episodic events or spaces are joined through a linear progression of the pedestrian through the spaces. This journey, or pathway, links and brings coherence to the site. The use of geometry and its rhythm through the plantings and elements create a continuity which ties all parts of the design together.

The “Hyper-Highway” concept was conceived as a tool to create clear boundaries between vehicular and pedestrian areas. Exaggeration and repetition of highway motifs, such as pedestrian crosswalks, traffic cones, and highway lights are used not only to help create clear and defined spaces, but also to create fantastical places. As a visitor turns into the environment of the “Hyper–Highway”, he or she will experience the world as a bright and more vivid place, as the visual language of the highway becomes bigger, bolder, and more colorful.

Shuttle buses from area hotels drop off and pick up passengers along linear traffic islands. These glorified traffic islands are marked by an insistent and oversized pattern of “cross–walk” to indicate clear, strong pedestrian access to the entry. Each traffic island is flanked by formal rows of highway lighting standards. The light standards have a metallic color finish. They glow a different color in each island. The brightly colored light provides not only a dazzling field of glowing colors at night, but also aids in way–finding and orientation.

The bollards, shaped as oversized traffic cones, painted green, allude to clipped topiaries in the European Garden Tradition. A single line of bollards winds through the entire East Esplanade on a five foot wide strip of bright yellow “detectable warning” tile. The tile provides the ultimate visual and tactile separation between pedestrians and vehicles.


Sounds pretty elaborate, huh? Well, here's what was built:


82_big.jpg


Disneyland-East-Esplanade-3.jpg


Disneyland-East-Esplanade-2.jpg


Disneyland-East-Esplanade-4.jpg

It feels just like Versailles, right?


For those who haven't been in the online Disney fan community long enough to remember when this opened, this area was mocked. Mercilessly. For many, many years. Martha Schwartz's name became a punchline for overhyped news and lackluster products.

And while it certainly has its quirks, the style of writing is actually consistent with how architects speak to about their work. This wasn't empty fluff dreamed up for a press release to the public, it was done in earnest; in fact, the text is still on Martha Schwartz Partners' website to this very day as a brag-worthy example of their work. And ultimately, the description clearly reflects the design intent, even if the end result was more utilitarian and less whimsical than implied.

The entire area was repainted in the late 00's to make the color scheme less garish, but somehow also made it more mediocre. Instead of being wacky and whimsical with a clear vision, now it's just ugly and awkward. It isn't as harsh on the eyes (particularly at night, with the removal of the color-coded lights), but now it lacks a cohesive vision for why things are the way they are. Instead of having guiding principals that make wayfinding easier (like the color-coded drop-off locations), it's all just sort of an inoffensive blob of earth tones and frustrating small signage sprinkled over vast expanses of pavement. But at least the trees have grown in and there are more shade structures now!

2014-10-13-at-16-16-19.jpg


In many ways, the fate of this area parallel's how WDI's work has evolved over the years: they're less bold and more risk-averse than ever, yet somehow the end result is a muddled mess that just doesn't quite work as well as it should. Instead of trying to make a bold statement or make something that's flawlessly functional, we get things that are just-okay enough to be largely ignored and forgotten.
Boy, 'go to the yellow lane' would be a lot better than twenty signs saying 'this way'.
 

mickEblu

Well-Known Member
A little off topic but my hope is that the only thing that comes to DL Resort proper with Disneyland Forward is a DCA expansion. Although I was at the park on Saturday and that CM door made of logs behind the Splash Mountain exit (that makes the new Frontierland gate envious) looks pretty wide and could potentially be a path to some new lands without destructing the quaint tucked away feeling in the area if done right. With that said, I’m nit sure what’s back there or if this is possible.
 

NobodyElse

Well-Known Member
What also fascinates me is that they added "multi-cultural design" into the mix of this complex that allegedly also uses "Southern California mid-century modern" architecture.

As we can see from their sketch, it looks only vaguely mid-century. And if it weren't for the two amoeba shaped security screening structure and patio shade structure, there would be nothing remotely "mid-century modern" about any of it.

But Mid-Century Modern is anything but "multi-cultural". If anything, Mid-Century Modern is the design language of WASP Capitalism and its descendents of the Mayflower (to continue the Thanksgiving theme). Mid-Century Modern in SoCal was defined by banks and professional buildings on the Upper Class end, to bowling alleys and coffee shops on the Middle Class end. There's no ethnicity to be found in Mid-Century Modern design in SoCal except for white bread suburbia, middle class car culture, and big business capitalism.

If I were looking for something legitimately "multi-cultural" in this design, I would be highly offended by that. It's pandering, if not outright lying, to claim this type of mid-mod architecture is somehow ethnic and "multi-cultural"....

SoCal's Mid-Century Modern Business, Banking & Commerce Architecture...

Coachella Valley Savings & Loan

2chase.jpg


Robinson's at Fashion Island (Yes, those are giant brass bells on the side of the tower. They were fab!)
6170366441_c45a24fcb4_b.jpg


SoCal Mid-Century Modern Car Culture Suburbia Architecture...

Sambo's Pancake House, Huntington Beach
16422962861_e30b3827e7_z.jpg


Covina Bowl, Covina
wc-bowl1-1024x678.jpg


There's nothing multi-cultural about Mid Century Modern architecture, unless you want to claim Tiki themed motels are honoring Pacific Islander culture. :rolleyes:

They really seem to be pandering to claim that anything in this image below is somehow "multi-cultural". It's almost as if there's a rule they have to use either that phrase, or the word "inclusion" in every press release, regardless of whether it's accurate or not.

View attachment 602624
PXL_20211126_225838758.MP.jpg
Still here (as of today). Just FYI.
 

TP2000

Well-Known Member
Still here (as of today). Just FYI.

Thank you! I shouldn't have used past tense, as indeed the bells themselves are still there, even though Robinson's is long gone from SoCal.

Fashion Island, as the centerpiece of Newport Center, is a treasure trove of later Mid-Century Modern design. Newport Center was master planned in the mid 1960's by famous California architect Welton Becket, who was a nearby neighbor and friend of Walt Disney's in Holmby Hills and who designed the GE Progressland Pavilion for Imagineering for the 1964 World's Fair. Mr. Becket has been called an "Honorary Imagineer" for his design work for Disney in the 1960's.

Welton Becket's Progressland building is also another fine example of what actual Mid-Century Modern architecture looks like (rather than a boxy strip mall with a few ornaments slapped on the side).

Walt and Mr. Becket inspect a model of GE's Progressland Pavilion
Walt%2Band%2BWelton.jpg


But what Progressland was NOT was "Multi-Cultural", and even a 28 year old Parks Blog writer on their third Starbucks can't make it "Multi-Cultural", no matter how many trendy adjectives they use incorrectly. :rolleyes:
 

mickEblu

Well-Known Member
Yup that’s one side of Esplanade 2… which I hope never happens on the Disneyland side.

I just want to be able to point at the Stitch lot one day and day “you see kids, that is a surface lot, these were parking lots in my day and it’s the last bit of the original Disneyland parking lot that’s left.”
 
Last edited:

chadwpalm

Well-Known Member
In the Parks
No
That space was most likely designated for retail in the DisneylandForward plans anyway, so they decided to move forward with it and even if DLF doesn't happen it will still be a replacement for what was lost and they will just finish off the rest of that end of DTD.

Was it ever officially said if there would be entries/exits for the theme park extensions in that area or was that just speculation?

NVM, the map clearly shows entrances.
 
Last edited:

DCBaker

Premium Member
A few closing and demolition dates -

"Three Downtown Disney businesses have set closing dates as the Anaheim shopping mall next to Disneyland prepares to undergo a major renovation that will see several stores demolished to make way for a new midcentury modern-designed addition.

Sugarboo & Co. (Jan. 15) and Earl of Sandwich (Jan. 27) have announced their last days of operation at Downtown Disney while Starbucks West plans to close in late January, according to Disneyland officials.

The former AMC Theaters along with Starbucks West, Earl of Sandwich and Sugarboo & Co. will be demolished as part of a multi-year project that will reimagine the Downtown Disney outdoor shopping center. Demolition work is expected to begin by Feb. 1.

The Disneyland Monorail will close Feb. 14 to accommodate the demolition of the former AMC Theatres building in Downtown Disney. The Monorail is expected to reopen on March 6.

Earl of Sandwich could return in some form at Downtown Disney during construction, but plans have not yet been finalized."

 

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