This article deals with the staging of zoo landscapes. The Wilhelma Zoo in Stuttgart was examined using a phenomenological approach. In particular, aspects such as the perception of zoo landscapes and atmospheres as well as the question of how the tourist experience is influenced by the staged theme worlds are examined. First, the history and development of zoological gardens is outlined. This is followed by the theoretical framing, which combines social constructivist landscape research, the concept of atmosphere, phenomenology, Foucault's other spaces, theme worlds, landscape hybrids and the tourist experience towards the object of study. With the phenomenological approach, a strong interlocking of theory and empiricism is brought about. Therefore, the method of the phenomenological walk is also described in parallel, linked with theory and finally interpreted. In addition to the clearly more intensive engagement with the staged zoo landscapes due to the method, the focus on the tourist experience rather than on a realistic representation for the living beings is particularly noticeable. The representation of something different and an observable immersive effect are also aspects that will be discussed in more detail in this article.
Table of Contents
1 INTRODUCTION
2 SOCIAL CONSTRUCTIVISM AND THEME WORLDS AS THEORETICAL FRAMEWORK
3 A PHENOMENOLOGICAL WALK THROUGH WILHELMA ZOO
4 OUR SUBJECTIVE GAIN IN KNOWLEDGE AS VISITORS
5 CONCLUSION AND OUTLOOK
Research Objectives and Focus
This article examines the staging of zoo landscapes at Wilhelma Zoo in Stuttgart through a phenomenological lens. The study investigates how tourist experiences are shaped by atmospheric, staged theme worlds, exploring the interplay between physical environment and subjective visitor perception, while ultimately questioning the orientation of zoos toward tourist entertainment over authentic animal representation.
- Social constructivist grounding of landscape perception and visitor experiences.
- Application of the phenomenological walk method for objective-subjective empirical analysis.
- Examination of atmospheric and immersive effects in staged theme worlds.
- Critique of the tourist gaze versus realistic representation of animal welfare.
- Analysis of spatial "heterotopias" and hybridity within zoological gardens.
Excerpt from the Book
4 Our subjective gain in knowledge as visitors
We get off the train and without any clues that would have alerted us to the zoo, we suddenly find ourselves standing in front of the entrance to Wilhelma. It is fresh with wintry temperatures and there are scattered rays of sunlight coming through the cloud cover. Behind us, the noise of the traffic, we see the inconspicuous-looking entrance, which is surrounded by construction site fences, information signs about Covid-19 and, due to this, only has room for one door gap (Figure 1). The revolving doors are out of order, and we are greeted by two people standing on the small square directly in front of the entrance, checking our contact details and entrance tickets. The next moment we are already in the zoo and feel like we have been thrown in at the deep end. After a short period of uncertainty and confusion about this abrupt change of scene, we agree that now our tourist journey through Wilhelma begins. A comprehensive view shows us a spacious meadow, scattered enclosures on the horizon and a shop in close proximity where tourists can buy a souvenir. To our left is the entrance to the first building. As we want to follow the given map, but cannot find it at first try, we go back to the cashiers and ask. After we pass through the door of the first building, the next abrupt change of scene occurs and we enter a tunnel-like building with glass fronts. Our altered sensory perception begins with the fact that the temperatures are significantly higher and a dry climate is staged. The low building as well as the narrow corridor create an immediate immersive effect compared to the vastness of the outside we come from. The floor is paved and we feel that a sandy floor would suit the Sahara-like design adequately. However, we conclude that the tourist experience is in the foreground in this staging and with it the walkability through this passage. On the wall we see cacti in a glass box and are automatically tempted to take the position of the observer and look through the glass at the cacti. The heat lamps inside the box make us understand that there is a different climate inside than around us and influences our power of imagination regarding climatic differences.
Summary of Chapters
1 INTRODUCTION: This chapter introduces the theoretical context of zoos as staged spaces and outlines the research question regarding the influence of landscape representations on the visitor experience.
2 SOCIAL CONSTRUCTIVISM AND THEME WORLDS AS THEORETICAL FRAMEWORK: The theoretical foundation is established by combining social constructivist landscape research with concepts of phenomenology, Foucault’s heterotopias, and theme worlds to analyze spatial perception.
3 A PHENOMENOLOGICAL WALK THROUGH WILHELMA ZOO: This section details the methodology of the "phenomenological walk" as a means to capture multisensory, subjective visitor responses in a controlled empirical setting.
4 OUR SUBJECTIVE GAIN IN KNOWLEDGE AS VISITORS: The authors report their empirical findings from the walk, describing how specific architectural and atmospheric stagings evoke immersion, and how the visitor's perception shifts between observer and participant roles.
5 CONCLUSION AND OUTLOOK: This chapter synthesizes the results, confirming that modern zoo landscapes prioritize tourist experiences over naturalistic representations, and advocates for the phenomenological methodology in future scientific, spatial research.
Keywords
zoological garden, phenomenological walk, social constructivism, staging of landscape, visitor experience, atmosphere, hybridity, theme worlds, zoo landscapes, tourist gaze, heterotopia, empirical research, spatial perception, immersive environment, exhibition design
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on understanding to what extent zoo landscapes are deliberately staged and how these stagings influence the tourist experience at the Wilhelma Zoo.
What primary theoretical concepts are utilized?
The study primarily utilizes social constructivism, phenomenology, Michel Foucault’s concept of heterotopia, and the notion of "theme worlds" in tourism research.
What is the central research question?
The research asks how tourist stereotypes are used in landscape representations to provide added value for visitors and what influence these stagings have on the viewer's perception.
Which scientific method is applied?
The researchers employ a "phenomenological walk," an empirical approach that involves subjective, multisensory engagement with the environment to record and interpret the visitor experience.
What issues are explored in the main body of the work?
The main body explores the sensory transition between different animal enclosures, the impact of man-made structures on atmosphere, and the tension between animal welfare and the tourist-oriented design of exhibits.
Which keywords define this work?
Key terms include zoological garden, phenomenological walk, social constructivism, staging of landscape, visitor experience, atmosphere, and hybridity.
How does the zoo's design attempt to influence the visitor?
The design uses environmental factors like temperature, humidity, lighting, and acoustic cues to create abrupt "scene changes," forcing the visitor into an immersive, often curated, perspective of nature.
What is the researchers' conclusion about the "realism" of the zoo?
The authors conclude that the zoo increasingly serves the visitor experience, where "realistic" design is often sacrificed for the convenience of staff and the staging of "shows" to satisfy the tourist gaze.
- Quote paper
- Anonym (Author), 2022, To what extent are zoo landscapes staged? A touristic walk through the Wilhelma zoo, Munich, GRIN Verlag, https://www.grin.com/document/1565375
