Urban Entertainment Destinations (UED) Urban Entertainment Destinations (UED) are a new form of development consist of pushed economic projects that mix retail, entertainment venues and icon restaurants as a solution for inviting visitors back to the city city !he di"erence between these destinations and the traditional shopping mall is the experience gained when leaving the destination #s a result, many cities have well$thought$out Urban Entertainment Destinations as a developmental means for revitali%ing the city center &t is usually an urban u rban economic center that is family$oriented entertainment destinations !hese 'entres combine oces, shopping and recreation with entertainment to form an overall experience *etail *etail needs entertainment to draw people in and entertainment needs needs retail to support support the overall operation !he basic aim of a UED for a city or developer is, perhaps, to create economic hub, or to sell food, or merchandise, or to get revenue but for the visitor the basic concept is to have fun and sociali%e !he basic need of people that is entertainment with eateries and other fun games are catered here # UED has to be created as a 'entre with the right balance of retail and entertainment, if the centre contained too much retail it read to the visitor as an ordinary shopping mall, conversely, if there were too many entertainment options people forget to make purchases UE's are created on the fundamental of partnership between retail and entertainment 'ombinations of this partnership provide variations of UE's which can be adopted depending on the culture and heritage of the city +tudies showed the importance of six key strategies that play vital role in it . 0 2 4 5
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/ost important aspect of placed on place making is designing gathering spaces, pathways, material choices, spatial relationships, and programmed land use with emphasi%ing on incorporating incorporating the history, culture and the sites sense of place place !hese strategies were were used as a basis for developing developing a set of design design criteria for development of economy and social life of people !he components that, typically, form a UE' are as listed below7
/ovie halls
.
*estaurants
0
+ports complex
2
+hopping complex
4
!heme parks
5
8alk ways
9
/useums: art galleries
;
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3owadays, many developing cities are facing major challenges of crime and violence, lack of sociability, poor economic development urban decay, and unstable real estate values #s a result, many cities have considered Urban Entertainment Destinations as a developmental model for revitali%ing the city core
HISTORY AND ORIGIN OF URBAN ENTERTAINMENT HISTORY OF URBAN ENTERTAINMENT 7 Entertainment has been essential part of human life !he basic idea of human life is to play and sociali%e by homo ludens &n the west, the years ;=4$=0>, known as the ?olden #ge because the cities transformed their leisure life into places full of amusement parks, theaters, nightclubs, and stadiums !he working class spent their leisure time in saloons, cheap variety theaters, restaurants, beer h alls, and bowling alleys and the higher class used to go to clubs spa and parties &n the east there variety of entertainment, like derra, tea shop, barber shop and neighborhood center where people spent their leisure time but with the advancement of cities we have lost our culture and segregated ourselves in the boxes surrounded by technology 3ow the leisure and urban entertainment were growing at a considerable rate due to stressed life, boring routine, no leisure time and activity, technology, advertising, and population -eoples want to stress out and relieve themselves for daily routine, this brought a demand for attractive, non$threatening, and a"ordable destinations !his increase sparked ideas of environments that would reverse the separation of race, class, gender, and ethnicity and give them alternate to boring life During the ?olden #ge came the @culture of pastiche,A a new cultural form of popular entertainment that shifted the street experience into a new commerciali%ed culture !his culture initiated 6roadway musicals, Blms, and stand$up comedians to the close theater and segregated %ones Entrepreneurs and promoters shifted these destinations (variety theaters, dance halls, etc) into safe and controllable environments, merging all classes once single unit 6y the =0>s, signs of decline were beginning to show throughout cities /ix programing that enhance social life and mix of interest got segregated and culture start disappearing +oon after the end of 8orld 8ar &&, entertainment districts were experiencing a serious crisis Entertainment %ones in city downtowns began to disappear, as they lost clients to television, suburban theme parks, movie theaters, and shopping malls +oon there was no need of interest which attract people to city centre #s an after e"ect, cities were seeing a signiBcant decline in urban life and activities in cities which was the decline of cities 6y =59, only twenty$two percent of #mericans desired to live in the city #nthony Downs and #ssociates, from !he 6rookings &nstitution in 8ashington D', identiBed @2> !heories of Urban DeclineA depicting a rationale for the decline of #merican cities in the =5>s and 9>s Downs @2> theoriesA can be summed up in six di"erent categories7 in order for
cities to survive, something had to be done to encourage visitors to come back to the cities Cane Cacob also explained it in her book @death and life of great #merican citiesA #s a result, the Urban 1and &nstitute developed a new concept of the festival market, phrasing it as an Urban Entertainment Destination
ORIGIN OF URBAN ENTERTAINMENT DESTINATIONS: aneuil all, a historic meeting hall for 6oston organi%ers during the #merican *evolution, has become the single most inFuential retail project in the 'ity of 6oston and perhaps in all of urban #merica aneuil all /arketplace, designed in =90 by 6enjamin !hompson and #ssociates for the *ouse 'orporation, is a vital redevelopment project that attempted to save and restore historic buildings in the area, while developing a market area for the city &nitially, the project created an exciting retail market that serves city residents, downtown workers, and suburban shoppers in e"ort to draw them back to the city E"orts were made limiting the number of national chain st ores allowed in the market, encouraging local merchants, and adding over forty pushcarts to the pla%a presenting an illusion of high concentrations of commercial activity aneuil all /arketplace was an immediate success, drawing in ten million visitors its Brst year 6etween its opening in =95 and ===, the market attracted over twelve million visitors annually &n ==0, another signiBcant urban renewal project designed speciBcally for entertainment was 3ew Gork 'itys !imes +Huare -rior to releasing a new master plan for the redevelopment of !imes +Huare, this midtown /anhattan area was comprised of pornographic theaters and stores that forced out legitimate businesses and catered to a new clientele of drug addicts, prostitutes, runaways, con artists, and criminals owever, the low rents made the area a"ordable, attracting galleries and artists 2.nd +treet had the worst crime rate in the entire city for more than twenty$Bve years, making the area the @frightening underbelly of all that glittered in 3ew GorkA 6y =;, 3ew Gork +tates Urban Development 'orporation (UD') and 3ew Gork 'itys -ublic Development 'orporation (-D') decided that a change was necessary to secure a future in 3ew Gork 'ity !heir vision involved altering the speciBc character of the area, bringing back the image of old !imes +Huare, and encouraging investments to midtown /anhattan (+orkin =4) Eager to Bnd willing investors for the 2.nd +treet, 9th #venue, and 6roadway area, these groups acHuired a I.2 million credit that would aid in the redeveloping process $ closing, relocating, and demolishing businesses unBt for the new vision of the area (Cudd 4) &n ==, the UD' and -D' introduced an architect to the project after ten years of numerous attempts and failures *obert #/ +tern was to develop a master plan and direct the guideline study process initiated by the state !his included the renovation of theaters and construction of a hotel and retail shops !he aim of the project, known as @2.nd +treet 3ow,A was to create an entertainment destination that generates excitement and reFects the speciBc culture the area had prior to 8orld 8ar && !oday, 2.nd +treet is a major destination with themed restaurants and
entertainment$related enterprises, including /!Js !otal *eHuest 1ive and #mericas largest 3ew Gears Eve 'elebration, to which twenty$Bve million visitors come annually !he redevelopment of !imes +Huare convinced other cities concerned with deteriorating downtowns that entertainment is a necessary means for salvation (*ussell =0) !he project presented a signiBcant shift in the way city planners viewed urban economic development (Cudd, 4>) or decades, cities have seen a dramatic decrease in their manufacturing industry, resulting in unemployment, derelict structures, and declining morale Entertainment %ones diminished as people relocated into the suburbs where outdoor leisure$time activities, suburban theme parks, movie theaters, and shopping malls were plentiful #merican urban downtowns became synonymous with @images of physical blight, vice and escalating crime, prompting suburban commuters to stay awayA (annigan 00) 8ith downtowns being primarily a businessoriented district, cities are becoming @ghost townsA after regular business hours as a result of improper %oning and failure to create proper mixed$use environments (6eyard ;) 'onseHuently, cities are now seeking urban revitali%ation strategies, attempting to draw residents and tourists back to the downtown, providing a twenty$four hour experience, while improving the communitys Huality of life ('aldwell 4) 'ities are attempting to overcome challenges of crime and violence, urban decay, and unstable real estate values 6oston, +an #ntonio, and +an rancisco are among a few cities strategi%ing to promote themselves to tourists and conventions (<3eill =5) 6oston promotes itself as @#mericas 8alking 'ityA and is working diligently on developing marketing strategies that will increase its tourism base !he 'onvention and Jisitors 6ureau of 6oston teamed up with downtown businesses developing the @Kids 1ove 6ostonA guidebook and the reservation service @6oston 6y -honeA +an #ntonio, the @forward$thinking city,A already o"ers major tourist attractions, including the #lamo, the *iverwalk, and two major theme parks7 +ea 8orld and +ix lags +an #ntonios 'onvention and Jisitors 6ureau is now marketing itself as a center for #rts L 'ultural #"airs, hosting over forty various festivals and events +an rancisco whose mission is @to sell and market itself as a site for conventions, trade shows, and vacation travel,A prides itself with its diversity of architecture, culture, and cuisine, attracting tourists from around the world (<3eill 4) !oday, tourism no longer focuses on the historic monument, concert hall, or museum &t is now the whole urban scene !ourism is not only an encounter that occurs between people, people and space, and people as sociali%ed and embodied subjects, but about expectations and experience ('rouch ) !ourism has become an essential element in societys way of life &t allows people to escape from the dismay related to the mundane pressures of contemporary life !oday, middle class consumers are living increasingly hectic lifestyles, making it dicult to manage the typical family vacation 8ith parents and childrens conFicting events, it is nearly impossible to mesh schedules together and go away for an extended period !herefore, the tourism and entertainment industry are relying on Urban Entertainment Destinations as one solution to satisfying family needs, o"ering destinations that combine shopping, dining, and entertainment components that focus on producing a memorable and fun experience
URBAN ENTERTAINMENT DESTINATIONS: !here is no easy way of deBning Urban Entertainment Destinations (UEDs) !he oxford dictionary deBnes as @ Theac t i ono fpr o vi di ngorbei ngpr o vi dedwi t hamus emento r e nj o y me nt ”a nd#merican eritage Dictionary deBnes entertainment as a way @to hold
the attention by engaging with something amusing or diverting Destination is deBned as @the place to which one is going or pushedA &t is the need based push to attract people to a place in a glamori%ed way by fulBlling their needs and demands -ythagoras deBnes social aspect as @&n this theater of manMs life, it is reserved only for ?od and angels to be lookers$on /en need to deBne their social need and groom themselves by club cultureA !he Urban 1and &nstitute of U+#, which created the term @Urban Entertainment Destination,A deBnes it as @a leisure entertainment center, or retail dining entertainment that o"ers a synergistic combination of entertainment, food and beverage, and retail by making it economic ecient,A and takes the @development of land for progressive revenue and energi%e the city center by giving employment and economic development to cityA UEDs are a new form of development comprised of pushed retail projects, animated with a mix of entertainment venues and icon restaurants that serves as a solution for revitali%ing urban and new regional centers for communities and regions !he major di"erence between these places and the traditional shopping mall is simple, visitors returning home from an entertainment destination not only bring home a bag of tangible goods, and they also come home with memorable experiences !his is not to say that shopping malls cannot be classiBed as UEDsN case in point, @fortress stadium,A located in 1ahore 'antt, has a joy land as a primary attraction #s part of these joy land , stadium it also have hotels eateries and hypermart that add experience to an ordinary shopping !hese destinations provide an atmosphere of human$scale architecture and spaces and an assortment of distinct tenants determinant for its success UEDs are not only found in large citiesN they can also be found in suburbs that contain similar Hualities of urbanism, density, vitality, and eclecticism -lacement of these destinations needs consideration based on location, ease of access, and whether there are a signiBcant number of people present *etailers view these destinations as a new wave for shopping malls *etailers believe that adding entertaining environments providing adventure help lure shoppers who might otherwise choose to shop at home using catalogs, television, or computers Entertainment companies describe them as the next generation theme park !hey are a new form of the =;>s festival marketplace, which typically occupies a multicity block that adds value by providing an entertainment ambience drawing in visitors on repeat occasions !hese destinations intend to entice visitors from a twenty to thirty mile radius, o"ering a two to four hour diversion from their everyday lives Entertainment destinations serve as magnets for drawing potential visitors out of the house *ising crime rates and the availability of in$house technology foster a tendency for cocooning, withdrawing from society by staying at home !his is a challenge for todays operators in leisure, tourism, and hospitality industries owever, UEDs are beginning to increase renewed interests in entertainment outside the home -eople of all socioeconomic levels have demonstrated a need for excitement, experiences, and a sense of community !his is the primary reason for the surge in development of UEDs7 @-eople want to go where other people are O to mingle, to people watch, to eat $ in other words to be entertainedA #mericans are tired of homogeneous environments with the same entertainment features #mericans need to be entertained and stimulated *ichard *ich of ?ordon ?roup oldings sums up the importance of entertaining destinations stating, @Entertainment per se has reached proportions where people are expecting to be entertained from Pcradle to grave and people are Bnding ways to accomplish thatA
-eople are attracted to visual, intellectual, and emotional experiencesN therefore, developers are seeking ways to entertain in more exciting ways 8ith the publics appetite for fantasy and escape from lifes everyday reality, promising a fun and engaging place becomes essential 'ritics believe developing UEDs have negative repercussions in revitali%ation !hey feel UEDs are explicitly for escape and gratiBcation Escaping from reality @widens the gap between the city on display and the city beyond our viewQlosing any connection they might have had to the art of building real citiesA UEDs promise to relieve the visitor from the burden of seriousness and reality 'ritic /arc 1evine, a professor of istory and Urban #"airs from the University of 8isconsin, believes this form of development is not the best approach 1evines research reveals that isolation occurs providing little economic spillover to local businesses and communities *arely do tourists travel beyond the destinations boundaries, leaving existing local businesses worse o" than before 1evine also critici%es Cack *ouses festival market designs for being too similar and lacking authenticity
DESIGNING ENTERTAINMENT DESTINATIONS7 #nother aspect of creating a successful entertainment destination is design /any design principles within these destinations derive from public spaces +uccessful public spaces generally carry a theme or storyline as their basis for drawing in guests +tory$lines and themes unify a destination and create bonds between the center and its guests, bringing them into an imaginary world and stimulating all Bve senses 8hat gives a destination its character, what draws people to it, and what makes it appear to be sites of fantasy and pleasure is the implementation of a story *etail environments combining fantasy with themes that entertain and stimulate tend to encourage more shopping !hemes can also be cultural and value$based, giving a place soul, something lacking in most retail environments +oul, in combination with Huality operations, extends the visitors stay at a given destination7 @!hemes can take intimidating ideas and make them accessible !hey help bind us together 8ithout them and their sense of shared experience, we do not have cultureA 'areful consideration in developing the theme is criticalN the theme should n ot be too strong and overpowering for the guest Cack *ouse of *ouse and 'ompany states that @there is a need to have a strong concept and a consideration in the type of experience the visitor is supposed to have, including what factors should be
contained in the destination, and how the en tire theme will be tied togetherA Destinations without some story$line or theme have the highest failure rate in the industry Key Strategies: Urban Entertainment Destinations share similar design and development characteristics while employing entertainment$enhanced strategies that draw and retain visitors some identiBed strategies driven form public space are these components7 -lace /aking /ulti$#nchoring 'ritical /ix L /ass 'ontextual 1inks -rogrammability 6randed &dentity Place Making creates a sense of place that is authentic to its region Destination developers often borrow from three di"erent design categories7 +cenography design !raditional or neo$traditional urban design *esort and entertainment industries -rojects are programmed to encourage a variety of visitors need and experiences, adding a theatrical dimension to place making, enhancing visitor perceptions, individual exploration, and social encounters -lace making is becoming a common paradigm for social need used by designers acting more holistic approach to town planning, community, and economic development Multi-Anchoring, intends to create a @combined pullA extending the destinations programed range and economic penetration /ulti #nchoring comprises three types of core push factor7 a mix of signature restaurants, icon and lifestyle retailers, and a major entertainment venue Entertainment Destinations, unlike shopping centers, which use large department stores as anchors, use a cinema or similar venue as the anchor encouraging visitors to extend their stay #n example is Downtown Disneyland 'hicago, anchored by #/' cinema, and several signature restaurants ritical Mi! an" Mass refers to the physical scale and diversity of the retail, dining, and entertainment o"ered at the destination 'ritical mix involves tenant diversity, ensuring a sucient number of core tenants occupying eighty$Bve percent of the space with smaller specialty and regional tenants making up the remainder onte!tual #inks deBnes itself as the existing activities, attractions, and amenities surrounding entertainment destinations 'ontextual links are important to an area because they provide support, draw in visitors, and inFuence the developments success +port facilities, museums, and theme parks are just a few contextual links that help draw people to the vicinity #s an example, 'hicagos 3avy -ier relies on the areas world$class museums and sports stadiums as its contextual link for enticing visitors to the area Progra$$a%ility for entertainment developments is a key component necessary in achieving a high level of repeat visitation by local residents and visitors from a larger geographical region /aintaining an ever$changing calendar of events full of Huality performances provides variety in entertainment !his encourages visitors to stay three to four hours • • • • • •
• • •
Entertainment destinations consist of several di"erent kinds of performances and entertainment venues including, A$%ient Entertain$ent is the lowest form of entertainment that sets the mood and helps make the center more enjoyable such as festive architecture, dynamic signing, bold landscaping, special lighting, and uniHue @streetA elements #uthentic -erformances include street musicians, actors, magicians, and jugglers performing along the sidewalks and streets Due to their unpredictability, these performers are not often allowed within certain private destinations +anctioned -erformances are a higher form of performance that are often permitted or contracted out !his may include costumes or stage setups that need scheduling at times appropriate to its target audience Examples include magic shows and small concerts Progra$$e" Entertain$ent is a temporary form used in drawing crowds and is comprised of fashion shows, craft shows, displays, and seasonal character visitations such as +anta 'laus &mpulse Entertainment features attractions where guests participate on a whim7 these include carousels and rock$climbing walls, often an e"ective form of ambient entertainment where people gather around to observe &ran"e" I"entity, or giving it a name, is essential in reinforcing the individuality of the development as a regional identity Designating a uniHue name to a place helps the visitor see and remember the place as being exceptional
'hoices and
$ foot erris wheel, a major entertainment component in the destination #ppropriate +cale maintains a comfortable environment for people aving s cale complement its surrounding elements provides a balance within a destination, creating a Huality place Universals 'ity 8alk wanted to uphold urban characteristics and its density in a human$scale environment !hey achieved this by constructing building facades at one$and$a$half times their normal scale (+teele ;4) +everal components necessary for developing a sense of connection to the environment are good lighting, imaginative landscaping, and people$friendly architecture7 @# sense of place can be part of a building or the creation of a common space or courtyard for people to gather and mingleA (+teele 4) 1arge open pla%as and amphitheaters are often implemented in a design, creating places for gathering #dding entertainment to a sense of place creates a magical outcome !oday, traditional places are being replaced with a @homogeni%ed ecient setting that has no variety, surprise, or traces of their own history and developmentA (+teele ;) # sense of place provides an emotional element connecting visitors to the environment (6rill 5;) !his distinguishes entertainment destinations from a traditional shopping mall -laces achieving this allow people to identify with their surroundings, provide a sense of security, and provide a sense of control over their own fate 8hile a sense of place is important, the spirit of place should not be neglected -eoples experience in their setting or sense of place includes emotions, perceptions, behaviors, and outcomes based on the location # spirit of place is a combination of attributes that gives a location a special @feelA or @personalityA including physical features, the spirit of people, and mystery (+teele 4) #nother attribute in designing a sense of place is understanding various peoples preferences #ccording to +teele, there are three types of people7 !hings -eople, -eople, and -lace -eople !hings people are mainly interested in what they do in the setting and what activities are o"ered Destinations, such as Easton !own 'enter, o"er a variety of programmed activities and attractions that appeal to !hings -eople -eople are attracted to destinations that draw a wide variety of participants Downtown Disney attracts this group by o"ering entertainment that accommodates people from a variety of demographics -lace people are satisBed if they can relate
to their immediate surroundings !hey enjoy exploring unknown settings, using maps, or just looking, Bxing, or tinkering (+teele 20) !he &rvine +pectrum accommodates this group by strategically placing numerous maps and kiosks throughout the site /emories are also essential to a sense of place /emories are referred to as a @whole class of images, thoughts, and feelings, which when experiencing them, have the Huality of coming back to us from the pastA /emories can be stimulating several di"erent ways7 o +mell is the most powerful memory enhancer +mell is very distinguishing and is the most accurate signal in recalling speciBc moods and memories o +ounds are not as strong as smell, but they allow people to tie certain memories with times and places !he most obvious sound is music o Jisual 'ues are the least prominent memory enhancers due to the overabundance of visual information in our everyday settings !wo visual cues important in stimulating memory are color and texture 8hen designing the most appropriate environment setting for stimulating memories, +teele strongly suggests a place of fantasy e argues that fantasy settings help in imaginings, daydreams, and scenarios encouraging a strong spirit of place antasies o"er @freedom to play with images, scenarios, and moods, and imagine life any way you wish without having permanently committed yourself to anythingA !hey help one escape from reality, a desire in tourism and entertainment destinations antasy contributes to a setting rich in identity and cultural symbolism 8alt Disney theme parks are strong examples utili%ing this strategy 'reating a place high in Huality is not to be taken lightly +teele gives a list of Hualities visitors seek in a development7 Jisitors enjoy being there Jisitors take pleasure in activities there Jisitors are stimulated to think of themselves in a setting full of new possibilities Jisitors are stimulated by rich images, fantasies, memories, or feelings Jisitors are free to do what they would like Jisitors can relate to other people Jisitors are not degraded by process of being in the setting and do not destroy it for others !here is a sense of being somewhere speciBc that has identity and image 8hen contributing to a high Huality destination, developers must provide good facilities for activities, bring in rich traces of history, create a strong sense of identity, o"er a mood or mystery, designate a boundary or enclosure di"erentiating a setting from its surroundings, and generate opportunities that cannot be experienced elsewhere !his experience reHuires a holistic approach to every factor, sense, and interaction the guest may have with the environment aptic perception is often used in psychology describing a more holistic way of understanding the visitors physical environment &t is involved in the integration of th e senses including touch, personal awareness, balances, sound movement, and memories of previous experiences and is often referred to as simultaneous perception aptic perceptions allow a person to know a place in a more intimate, uninhibited way that visual sensibilities cannot describe /emories and fantasies are the key ingredients in providing place experience, therefore, it becomes crucial to incorporate all Bve senses in the environment Jisitors do not want a designed landscape that can be seen on an • • •
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everyday basis # destination must become a distinguishable place not resembling a place the tourist is leaving behind En tertainment destinations need to be distinct !he @cookie cutterA approach, which may have worked in the past, will no longer work due to greater competition and consumers high expectations !o ensure success, downtown destinations must not resemble the average suburban mall and retail stores must adapt to each location !he most successful destinations embrace what is great about the city 'ulture, eritage, and 1andmarks7 -ersonali%ation and customi%ation provide a better appreciation for the visitor 'reating special environments and paying attention to details from the moment the visitors step out of the car help support a memorable guest experience (*ubin .) >>) 'ultural activities and heritage tend to enhance cultural signiBcance to local citi%ens by @preserving and developing a local cultureA Euro Disney is a case in point where understanding the culture of the area is essential in creating a successful attraction Euro Disney, also known as Disneyland -aris, tried unsuccessfully to force #merican culture onto Europeans &t has been working to overcome signiBcant challenges since its opening in #pril ==. rom the initial negative publicity and poor attendance, the theme park had to make proper decisions to ensure its survival in the European market #fter reBnancing and implementing European culture back into the theme park, making it more European in heritage and less #mericani%ed, Euro Disney is on its way to becoming a successful destination !he heritage industry creates @a whole new breed of attractions and intermediaries that supply culture speciBcally for tourist consumption,A connecting speciBc places with traditional industries 'ulture involves @both the property of cultivated people and a general way of lifeA &t is seen as a way of improving the Huality of everyday life, helping people escape from loneliness and isolation 'ulture also helps with the well$being of people and developing a belonging to space !he heritage of downtowns provides @a collective memory of objective achievement and sentimental attachment to place &t marks the oldest ring of continuous settlement, and the place where the tallest structure of each era is builtA &t is a space where cultural values and consumer goods provide a signiBcant shopping experience Downtown /anhattan was explained in 3ew Gork /aga%ine as being @a style, a sensibility, a state of mind reFected in the art world, Bction, restaurants, fashion, and the way people liveA 1andmarks reassure local residents a sense of belonging to a place by giving it a distinct identity and permanence 'ities are becoming places of monochromatic structures focusing on functionality, revealing few to no symbolic embellishments 1andmarks emphasi%e the citys diversity, di"erentiating them from other cities !oday, #merican cities are increasingly placing emphasis in conserving and enhancing the character of old and run $down areas 1andmarks are becoming objects of interest in cities and need saving from demolition and major alterations -ratt +treet -ower -lant, a relic of 6altimores historic past, remained an eyesore for
the inner harbor 8ith its four brick smokestacks soaring =. feet, the derelict plant was listed on the 3ational *egister of istoric -laces because of its signiBcance to the citys past #fter numerous failed attempts to redevelop the power plant, a proposal was developed to create a mixed$use entertainment destination +everal years later, the I.. million renovation plan began as portions of the brick walls were ripped out and replaced with large windows -arts of the roof were also replaced with glass to allow patrons to view the smokestacks from within the 4>$ foot atrium !oday the award winning renovated power plant is comprised of oce spaces and popular attractions including E+-3 Rone, ard *ock 'afS, ?olds ?ym, and 6arnes and 3oble
Security: +ecurity is critical in the success of Urban Entertainment Destinations -roviding a sense of security plays an essential role to a place Ensuring personal safety is the primary reason people come out of the suburbs and spend time at these destinations -erceptions of high crime rates in the city are major obstructions to reinvestment with the increase of police presence downtown, people are given a feeling of a safe environment !he safety factor is essen tial in making visitors feel at ease, not having to worry about the homeless, panhandling, and violence perceived by suburbanites as occurring in the city -eople are most comfortable in spaces well$ lighted, in which they feel safeN therefore, designing spaces for visibility becomes critical !here is a need to be seen by other people to feel safe, no matter how bright the lighting or the amount of security cameras
