Part 1

It’s Alive Co. provided production management & technical direction to Jeremy Railton’s Entertainment Design Corp. (EDC) on 3 attractions at
Resorts World Sentosa, Singapore. Currently IAC is providing the entire production team to EDC on multiple attractions at the Galaxy Casino in Macau.
Contact Bob Chambers at +1-818-370-3890 or Bob_Chambers@ItsAliveCo.com
www.ItsAliveCo.com
Trusted. Experience. Proven.
and
for
T H E H E T T E M A G R O U P
THE NATIONAL WWII MUSEUM
B E Y O N D A L L
B O U N D A R I E S
Project Development. Production Management. Technical Direction
It’s Alive Co.
is a proud member of
the project team providing technical
direction for all show systems from
concept design through commissioning.
Established 1995
®

T h e 1 7 t h A n n u a l T h e a A w a r d s p r e s e n t e d b y A E C O M
A Time to Celebrate, Reflect and Look to the Future!
From TEA President Rick Rothschild, FAR Out! Creative Direction
What an honor it is to participate in this annual event as we recognize the best of the best
in our industry for the 17th time.
Each year, theThea Awards Gala provides us all an opportunity to gather together as
members of an extraordinary community as we acknowledge achievements that represent
true excellence in the themed entertainment industry.
This year is certainly no exception. Fifteen new awards will be presented.This year’s recipients join a distinguished group of
more than 200 others that have been recognized withThea Awards sinceTEA hosted the first awards Gala in 1994.
It was at that first presentation that a truly remarkable individual - as special to our industry as he was to so many of us
and his family - was honored with the association’s firstThea Award for Lifetime Achievement.Appropriately, Harrison
“Buzz” Price was the single focus of that evening’s festivities. Sadly, we lost Buzz this past year.Yet, his passion for our indus-
try and his spirit live on – and we honor him at this year’s Gala and in this program.
Joining the esteemed group of awardees of which Buzz was the first is Kim Irvine, this year’s recipient of the newly dubbed
Buzz PriceThea Award recognizing a lifetime of distinguished achievements.
For over 40 years, the Exploratorium has been providing a truly immersive experience exploring the intersection of art
and science.Viewed by many in our industry as a benchmark of excellence in how to engage, inspire and stimulate an audi-
ence, it is fitting that this institution be recognized this year with theThea Classic Award.
In recognizing our 13 Awards for Outstanding Achievement recipients this year, we once again celebrate the power of
collaboration. Something all these extraordinary examples of excellence in themed entertainment share is a hefty and
impressive credit list.TheTEA is an association representing a wide collection of individual talents and skills, shared by a
remarkable community of passionate and dedicated people. Reading through the credit lists serves as a reminder of how
extraordinary our community is. Consider just how many it takes working collaboratively and collectively, united in their
desire to guide a fragile vision through to a reality filled with true magic and wonder, to create such wonderful experiences.
Along with the enjoyment that comes each year as we connect with colleagues and honor the award recipients, let us
also remember how important new talent and fresh perspective are to assuring continued growth and prosperity for our
industry.AsTEA moves towards its 20th anniversary this fall, it is important that we, the members of this extraordinary
community, endeavor to engage and encourage a new generation to join in the “fun,” assuring that we’ll see their names in
the credits of future awards as theTEA continues to acknowledge excellence and achievement in our themed entertain-
ment industry.
Finally, let us all remember that this event is made possible only by the hardworking and supportive efforts of manyTEA
members. First, theThea Awards Committee, headed this year by Larry Wyatt, that worked their way through well over
150 nominations to identify this year’s collection of awardees. Secondly, theThea Awards Gala production team, who (vol-
unteers all) worked tirelessly to produce this evening’s fabulous affair. And certainly not to be forgotten, all who provided
sponsorship and assistance, helping to make this evening a most memorable one for us all.
To all involved, thank you!
Rick Rothschild

TEA’s Thea
Awards
A History of Honoring
Excellence in Achievement
Like theTEA itself,theTheaAwards were created
to bring recognition to achievement, talent and
personal excellence within the experience
design and themed entertainment industry.
From a modest beginning in 1994, the Thea
Awards have become internationally recognized
as a symbol of excellence.
From its very beginning in 1991, the Themed
Entertainment Association (TEA) -a nonprofit
association representing design, creative,
fabrication and construction vendors-the
organization’s founder, Monty Lunde, felt
our industry represented some of the most
accomplished yet under-recognized talents
working in all of the industry. Therefore, after
launching the TEA and guiding it safely through
the first critical years, Monty’s next priority
was the creation of an award that would bring
recognition and prestige to the people of our
industry.
The Thea name was chosen for the award as a
play on three words:the first is“Thea,”the Greek
goddess from whom all light emanates.Thea was
the mother of Helios (the sun), Eos (the dawn),
and Selene (the moon).The second key word is
“Theater,” a word that derives from the goddess
Thea.The third word,of course, isTEA, the name
of our association. The original Thea and AOA
(Award for Outstanding Achievement) trophies
were designed by Barry Howard and Jeremy
Railton. The new Thea Award and logo, which
debuted in 2001 and was revised in 2004, was
designed by Zofia Kostyrko.
The first Thea Awards Judging Committee,
comprised of Bob Rogers, Pat Scanlon and Barry
Howard met in early 1994, and chose to honor
industry veteran, Harrison “Buzz” Price. He
would be the first recipient of the only award
to be given that year-the TEA’s Thea Lifetime
Achievement Award. In 1995, Walt Disney
Imagineering’s Marty Sklar was honored with a
Thea Lifetime Achievement Award.The Awards
were each presented at black-tie gatherings of
the industry.
In 1996, Thea’s third year, the Awards for
Outstanding Achievement (AOA) were
introduced, expanding the program into a
multi-award event. Ten AOA Awards were
distributed and several breakthrough traditions
were established that year that have come to
characterize theTEA’sThea Awards:
· The objective of the Thea Awards program
is simple: To find excellence and celebrate it. It
is not a judgment of winners and losers. The
achievements selected for awards are chosen
because they represent the excellence found
throughout the experience design and themed
entertainment industry. This simple philosophy
guides the entireThea Awards program.
· There are no surprise announcements, no
secret names in envelopes, no division of
attendees into winners and losers atTEA’sThea
Awards.Everyone walks in a winner and leaves as
a winner.This Thea tradition brings our industry
together for a completely positive evening.
· Membership in the TEA is not a requirement
or a consideration in judging. Excellence is our
only standard.
· Within the AOA Awards there are no set
categories. The TEA is free to honor several
achievements in the same category or skip
categories, as the year’s achievements warrant.
· The AOA Award honors the entire
achievement and everyone who worked on the
achievement, rather than individuals, such as Best
director or Best Art Director.We ask the owner
of the achievement to designate the individuals
who will come to the podium to collect the
award on behalf of all the people and companies
who contributed to the achievement. Thus the
Thea Awards become an event that brings us
together as an industry.
· To receive a Thea Award, the owner of the
achievement must publish credits. In this way, the
Thea Awards established the very first standards
and requirements for credits in our industry.This
tradition was immediately embraced by Disney,
Universal and many of the large companies that
had previously resisted publishing credits. The
creation of our industry’s first credits may be
Thea’s greatest accomplishment to date.
Also noteworthy in 1996, as a variation of the
usual Lifetime achievement Award, theTEA gave
a special AOA for Outstanding Individual to
Monty Lunde, the founder of the association.
In 1997, two additional special categories for
the AOA Award were created. Excellence on a
Limited Budget (assuring annual recognition for
one or more achievements created for less than
$5 million) and theThea Classic Award,honoring
achievements that have stood the test of time.
The TEA’s Thea Awards Gala has become THE
social event of the year within our industry.
In spite of limited budgets, our all-volunteer
production teams comprised of enthusiasticTEA
members have created a series of great awards
shows - each one topping the previous.
The TEA’s Thea Awards are now internationally
recognized as the equivalent of an Oscar in the
experience design and themed entertainment
industry. Each year, over a hundred highly
qualified achievements from all over the world
are considered for between 12 and 18 awards.
Traditional awards include:
The Buzz Price Thea Award – Recognizing
a Lifetime of Distinguished Achievements
(formerly the Thea Lifetime Achievement
Award)
The AOA (Award for Outstanding
Achievement) - Any Category
The AOA on a Limited Budget - Any
Category
The AOA forTechnological Achievement
TheThea Classic Award
But the overriding objective remains to find
excellence and celebrate it - a search for projects
that call attention to the excellence that exists
throughout our industry.
As we look to the future, the TEA’s Thea
Awards will continue to grow, evolve and
change, never forgetting their original objective
of bringing recognition to achievement, talent
and professional personal excellence within our
themed entertainment industry.
In 2011, the TEA will hold its 17th Thea Awards
Gala, sponsored by AECOM, on March 12 at
the Universal Hilton Hotel in Universal City.We
hope to see you there.

17TH ANNUAL THEA AWARDS
Awards Gala Saturday, 12 March 2010
Presented by AECOM
Awards Recipient List Table of Contents
Honoree Reviewed by Story Credits
Science Storms Martin Palicki Mattheis Carley 11
National Infantry Museum Joseph Kleiman 15
Glasnevin Museum George Walker 19
Walt Disney Family Museum Joseph Kleiman 21
Beyond All Boundaries Judith Rubin 25
World of Color Kimberly Rily 29
Flynn Lives David Cobb 35
Along the River During George Walker 37
The Qingming Festival
Exploratorium George Wiktor 39
ICT Mobile Device Richard Procter 41
The Wizarding World Brian Szaks 45
Of Harry Potter
Kim Irvine Martin Sklar 53
Harrison “Buzz” Price Richard Procter 55
gala production credits 8
gala sponsors 6
production bios 4
past thea award recipients 59
index of advertisers 7

LENNY LARSEN
Next Generation Creative
Show Producer/Creative Director
lenny@ngcreative.com +1 847 641-9478
Lenny Larsen is an accomplished creative director/
show designer for theatrical and themed enter-
tainment experiences. He holds a Bachelor’s degree in
themed entertainment design and a Master’s degree in
entertainment technology from Carnegie Mellon University’s
Entertainment Technology Center (ETC). Originally trained
as a theatrical designer and director, Lenny is responsible
for developing the creative vision behind numerous themed
attractions, museums, and theatrical productions. From
an early start as a performer at Walt Disney World to a
concept design role with Landmark Entertainment Group,
Lenny built an international repertoire of innovative and
immersive entertainment experiences. Building on his
passion for pushing the creative envelope and commitment
to growing the next generation of the industry, in 2006 he
launched Next Generation Creative, a resource for themed
entertainment projects blending imagination and advanced
technology to evolve experiences. Lenny also serves on the
board of directors for theWestern Division of theTEA.
KARLA
BRAUNESREITHER
Production Stage Manager
Karla Braunesreither is a Stage Management student
at UCLA. Her management experience ranges from
professional theatrical productions to educational and
community events. After two years in South Dakota,where
she worked at the Black Hills Playhouse, Karla relocated
to Southern California to continue her education at
UCLA and pursue a career in the entertainment industry.
TOM CLUFF
T. Edward Design
Production, Inc
Illusion Designer
tcluff@tedwarddesign.com +1 818 599-0915
In the course of a quarter-century, Tom’s designs have
spanned many theatrical disciplines. His roles have included
art direction of Mystic Rhythms at Tokyo DisneySea,
attraction design for Thinkwell Design Production
working on Universal Studios Special Effects Stage, scenic
and magic design for Imagine at the Luxor in LasVegas and
scenic/lighting design for theater director William Gaskil’s
The Trojan Women and Saint Joan of the Stockyard. Tom
was director forA Nighttime Spectacular Show that utilized
200 degree video on full scale buildings and video designer
of multi-plane motion image projection for corporate and
ice shows. Tom most recently created and art directed
Dark Harbor, The Queen Mary’s 2010 Halloween Event.
He contributed to two projects that receivedTheaAwards:
Fear Factor Live at Universal Studios Hollywood and Mystic
Rhythms atTokyo DisneySea.
SARAH-MICHELLE
COLBURN
Disneyland Resort
Vocal Director
sarahmichellecolburn1@gmail.com +1 925 395-1886
Sarah’s passion for music dates back to her early years when
she was often found singing in her crib and playing a Fisher-
Price piano. She received the “Most Valuable Singer” honor
multiple times during high school due to her natural musical
ear and ability to determine harmonies. Over the years she
performed in several different show choirs,vocal ensembles,
ensemble. In the past six years she has personally directed
and overseen the direction of 14 musical theater projects.
She is proud to be a current Cast Member at the Disneyland
Resort in Attractions Operations. Her goal is to continue a
career in themed entertainment and use her creativity and
passion for the performing arts as often as possible.
CASEY COLLINS
Disneyland Resort
Video Director
Casey.L.Collins@Disney.com +1 714 337-6825
Casey grew up fascinated with the technical aspects of
friends and a video camera attempting to make movies
and mimic complicated shots seen in some of the ‘80s and
‘90s epic movies. Casey was the 1st Assistant Director,
career,however,has focused onAttraction Operations with
an emphasis on brand new Attractions being prepared and
presented to Guests of the Disneyland Resort.He has been
a part of the ops project teams of the re-launch of Space
Mountain, The Mark VII Monorails, and Toy Story Midway
Mania. Casey was a credited contributor to the Finding
Nemo Submarine Voyage. He is currently Operations
Project Lead for The Little Mermaid - Ariel’s Undersea
Adventure.
STEFANIE
COSMAN
TEA Manager, Special Events and Relations
Producer/TEA Liaison
Stefanie@TEAConnect.org +1 818 843-8497
Stefanie Cosman is Manager of Special Events and Relations
at the Themed Entertainment Association. After receiving
her Bachelor’s Degree in English, she went into the non-
friendly movie awards show in Hollywood. Recently she
worked with a charity that focuses on humanitarian work
in Kenya.She also maintains a blog about her more than 300
life goals, writing as she checks each one off her list--a list
that includes everything from becoming a licensed pilot to
experiencing the “pink snowstorm” of Heron Island. Many
of theThea recipients tonight are on her “life to-do” list.
ANDY GARFIELD
Make it Cool
Music Director/
Sound Designer
andy@makeitcool.net +1 219 590-0661
From major interactive releases from DreamWorks to
working with James Cameron on innovating Internet
ventures, Andy has a remarkably diverse portfolio.
Recent projects include full post sound services for the
hit Showtime series: Adam Rifkin’s “LOOK,” numerous
trailers for Lionsgate, and the scores of several feature
the cult horror classics“HATCHET” and“HATCHET 2,”
all written and directed by Adam Green. Andy’s other
work in Television includes several animated series on
Fox Kids and Fox Family,“The Jeff Corwin Experience”
on Animal Planet, and numerous Discovery, Discovery
Health and Travel Channel documentaries and specials.
Andy has also contributed to major themed
entertainment attractions and shows. These include
House Halloween Party and the $80 million “MEN IN
BLACK:ALIEN ATTACK!” at Universal Studios Orlando.
Recently, Andy has provided music and post sound
services for Paramount Parks attractions such as“LARA
CROFT TOMB RAIDER: FIREFALL!,” SURVIVOR: THE
RIDE!” and the Christmas themed music for Universal
Studios Parks. Andy’s upcoming music projects include
horror-comedy anthology “CHILL-O-RAMA”, the new
TV series “BLOOD AND GUTS” with Adam Green and
Joe Lynch, and several more theme park projects.
GRAHAM HODGSON
Scenic Designer/CAD Designer
Graham@ngcreative.com +1 815 575-2638
Graham Hodgson is a passionate architectural designer
and concept artist with the heart of a futurist and
entertainer. While earning a Bachelor’s degree in
architecture at Illinois Institute of Technology, his
conceptual solutions to complex architectural challenges
and spirited critiques often drew him attention as a“Mad
Architect.” Graham describes his endeavors as “seeking
to “enlighten the Human spirit and bring to light in each
person the energy and passion that stirs within their
soul.” Relocating in 2007 to California and contracted
to Landmark Entertainment Group, he contributed
to theme parks and hotels, establishing a reputation
for the artistry of his drafting work. As the primary
architectural designer for Next Generation Creative,
Graham has developed a design proposal for a new
Mammoth Mountain Inn. He assisted in the production
of the 16th Annual Theas Gala.
17th THEA AWARDS GALA PRODUCTION TEAM

PATRICK KLING
Associate Producer
patrick@ngcreative.com +1 949 278-5124
Patrick Kling is happy to return to the Thea Awards. A
recent graduate of the International Business program
at Chapman University, Patrick has more than 10
years of operational theme park experience. While
pursuing his academic ambitions, Patrick assumed
various operational/coordination responsibilities as an
attractions lead and supported various testing teams
for projects at the Disneyland Resort. This on-the-
front-lines experience and working knowledge of the
complexities of making the magic real give him a unique
perspective in managing the day-to-day logistics of Next
Generation Creative projects.
RAE-MI LEROY
Universal Creative
Production Coordinator
Rae-Mi.LeRoy@nbcuni.com +1 818 622-3993
Rae-Mi LeRoy is a Project Coordinator with Universal
Creative at Universal Studios, Hollywood. She has
worked on Shrek 4-D, Revenge of the Mummy - The
Ride, The Simpsons Ride, and King Kong 360 3D. She
is currently working on the Transformers attraction at
Universal Studios, Hollywood.
SAMUEL DOUGLAS
MILLER
Show Writer
sam@ngcreative.com +1 312 672-9463
A young up-and-coming entertainment writer, Samuel
Douglas Miller is a product of the screenwriting program
at Columbia College in Chicago.As a new member of the
Next Generation Creative team, Samuel brings extensive
television to theater. Discovering his passion for writing
at an early age, Samuel wrote and produced several
an award-winning screenwriter, Samuel is embarking on a
new, ever-evolving array of projects.
JASON READ
Lightswitch
Lighting Designer
lightkinetics@gmail.com +1 508 642-2137
Jason Read is a lighting designer at Lightswitch,
specializing in theme park lighting design. He has
developed projects for Universal Creative, Disneyland
and SeaWorld parks, as well as contributing to lighting
tests at Walt Disney Imagineering. He holds a Master’s
degree in lighting design from Carnegie Mellon
University, where he specialized in architectural lighting
and interactive design.
NELSON RUGER
Concept Designer
nelson@ngcreative.com +1 757 377-0275
Nelson is a nationally recognized designer with a
portfolio of more than 100 conceptual and realized
designs.Working primarily in the theatrical environment,
Nelson brings artistic form and substance to themed
attractions, live stage productions, and special events.
His work has been seen across the United States, from
Broadway to Hollywood. His most notable projects
include lighting design for Wind in the Willows (off-
Broadway), Peter Pan (Syracuse Stage), and nearly every
lighting design at TheVirginia Stage Company in the last
three years. Nelson also spent 4 years as a professor of
theatre at Milikin University, and as a guest lecturer at
Syracuse University, earning a reputation as a trusted
mentor and inspiring educator.
MITCH RUSSON
Assistant Director/Show Writer
mitch@ngcreative.com +1 208 313-1429
Mitch Russon holds a business communications degree
from Brigham Young University and comes to the Next
Generation Creative team with a history of successful
endeavors in the creative entertainment and corporate
marketing industries.With extensive experience on both
the creative and the administrative sides of entertainment
development, Mitch oversees the launch of new projects,
manages clients and vendors,and supports projects as they
Before coming to Next Generation Creative,Mitch served
in a wide variety of marketing and public relations roles:
a Creative Audio/Visual Consultant with Clark Young
Consulting, a Press Writer with Brigham Young University
Media Relations, and a Senior Account Executive and
Image Consultant with i-Comm Media Relations. He also
worked as an associate withWeber ShandwickWorldwide.
RYANTANKER
Assistant Lighting
Designer/Programmer
www.ryantanker.com +1 818 383-7745
Ryan is a lighting designer and programmer who recently
has lived in LA for his entire life and has grown up with
a passion for the entertainment industry in television,
from several types of lighting to any production and
thoroughly enjoys being a part of the team. He likes to
be involved with details to make productions look their
most polished and run at the highest caliber.
ROBB WAGNER
Stimulated, Inc.
Media Producer
robb@stimulated-inc.com +1 818-729-9569
Robb Wagner has distinguished himself as a leading
producer of media content designed for synthesis with
physical elements such as lighting,scenery,special effects
and live performance. His work can be seen in Sony’s
closely with Jackson and Director Kenny Ortega as 3D
Film and Media Content Producer for Jackson’s planned
to resource for top-line live productions and events
such as the world tour of the Pussycat Dolls, Disney’s
Robb earned his membership in the Directors Guild of
America in 1998 and launched his own media production
company, Stimulated, Inc. in 2005, based on his passion
for innovation, creativity and fresh content. As a new
member of TEA, Robb now brings his talents, resources
and track record to the themed entertainment and
brand experience markets.
GEORGE WIKTOR
The GW Group
Theas Nominating Committee Liaison/
Social Media Producer
www.georgewiktor.blogspot.com
See George Wiktor’s bio on page 39

17th Annual Thea Awards Jazz Band
DANIEL RECKARD
Director, Orchestrator, Keyboards
MediaMation, Inc. an Interactive Attractions
Technology Company, is once again proud to
sponsor the Thea Awards Jazz Band with noted
Band Director, Daniel Reckard, a recent gradu-
ate of music from the University of Southern
California and last year’s pianist and band direc-
tor for theTheaAwards. He was asked to come
back, after a 6 month music stint in Brazil, to
lead the band into another amazing night of mu-
sical themes and entertainment. He is joined by
his jazz ensemble:Marcus Paul (trumpet),Drake
Smith (trombone), StephenTaylor (woodwinds),
Tim McKay (woodwinds), Eliana Athayde (bass)
and KevinYokota (drums).
17th ANNUAL THEA AWARDS GALA IS PRESENTED BY
SPONSORED BY:
Projection Support
Table CenterpiecesWine
Magic Special Effects
WITH ADDITIONAL SUPPORT FROM:
“Bartholomew” The Owl
Show Producer
Lighting Design
The Band
MediaServer
Media Production
Music Direction
Sound Design
Lighting Equipment Rigging Support
SPECIAL THANKS TO:
Bruce Healey, Senior Musical Director/Producer,
Disney Entertainment
Ernie Merlan, Merlan Creative (Green Screen Studio)
Warden Neil (Costumes)
The Crew at Universal Studios Hollywood and
The Globe Theatre
Dessert
Staging Support

INTERACTIVE ATTRACTION TECHNOLOGIES
Specializing in creative turnkey show control solutions to complex
shows and attractions for museums, aquariums, zoos, cinemas,
fountains, 4D/5D attractions, and more. See for yourself...
MEDIAMATION, INC.
2213 Border Avenue • Torrance, California 90501 • 310.320.0696 Phone • 310.320.0699 Fax • www.mediamat.com • sales@mediamat.com
4D/5D THEATERS/SHOW CONTROL/AUDIO/VISUAL SYSTEMS INTEGRATION
Abraham Lincoln Presidential Museum:
Show Systems Integration
Detroit Science Center
4D/5D Turnkey Theater
Ferrari World Fountains
System Design, Control,
Choreography
Yas Island, Abu Dhabi, UAE
Coca Cola Museum
Custom Interactive, Programming, Integration
Atlanta, GA
Legoland Discovery Centers
4D/5D Turnkey Theater
Schaumburg, IL
Grapevine Mall
Dallas, TX
San Diego Air
Space Museum
(above)
San Diego Air
Space Museum
4D/5D Turnkey
Theater
San Diego,CA (right)
MediaMation Ad 2_11:Layout 1 2/10/11 2:21 PM Page 1
Believe (from The Polar Express)
Written by Glen Ballard and Alan Silvestri
Vocal Arrangement byTeena Chinn
Band Arrangement by Andy Garfield Dan Reckard
Copyright ©2004 Warner Music Group / Universal-
MCA Music Publishing
Musical Selections
World of Color
Written by Richard and Robert Sherman
Arrangement by Mark Hammond and
David Hamilton
Vocal Arrangement by Sarah Michelle Colburn
Copyright ©2010 Wonderland Music Company, Inc.
Selections from Harry Potter
Written by John Williams
Arrangement by Sarah Michelle Colburn
Copyright ©2000 Warner Music Group
About the Gala
The 17th Annual Thea Awards Gala is a production
of the Themed Entertainment Association (TEA), the
international nonprofit organization representing the
creators of compelling places and experiences around
the world.
The Gala is presented in three acts, with two
intermissions. Dinner will be served immediately
following Act One and dessert will be served
immediately following Act Two. Please be mindful of
the banquet staff during these times.
At times, performers and members of the production
team may be moving through the audience area.
There may be fog, strobe lighting, or other effects used
during the show. For the safety of our performers and
the courtesy of others, please no flash photography or
video recording during the performance.
Advertiser Index
AECOM.........................back cover
AET..............................................14, 52
ETI................................................16, 55
Electrosonic....................................22
Entertainment + Culture
Advisors............................................55
ETC.....................................................23
Chicago Scenic Studios............13
Garner Holt............................24, 54
The Hetterma Group...............28
InPark Magazine...........................61
It’s Alive Co................inside cover
Jack Rouse Associates...............20
LA ProPoint....................................26
Lexington.................................12, 49
Lightswitch......................................24
Main Street Design.....................44
Make It Cool..................................44
MediaMation.....................................7
Mousetrappe.................................26
National FiberTechnology......33
Next Generation
Creative Group............................34
PRG Lighting...................................38
SATE......................................................9
Show Systems...............................30
Stimulated........................................54
Thorburn Associates..................40
tmb......................................................28
VisualTerrain..................................33
Zuber Taillieu.............................51

17TH ANNUAL THEA
AWARDS PROGRAM
© 2011Themed Entertainment
Association, all rights reserved
Publisher
Themed Entertainment Association
www.teaconnect.org
Executive Editor/Credits Lists
Gene Jeffers
Editor/Advertising Liaison
Judith Rubin
www.judithrubin.blogspot.com
Liaison to Thea Awards Recipients
Stefanie Cosman
Graphic Design
Martin Palicki, InPark Magazine
Cover Design
Main Street Design
Printer
Crescent Printing, Onalasaka,WI
TEA STAFF
Executive Director …………...... Gene Jeffers
Manager, Member Relations............ Brian Szaks
Manager, Special Events......... Stefanie Cosman
Office Manager .............................Anne Gallagher
Publications / PR /
Social Media...............................................Judith Rubin
Europe Middle East
Division Support...............................Annika Oetken
Martin Palicki, Graphic Design
www.inparkmagazine.com
TEA thanks Martin Palicki for the clean
and dynamic page design and layout of
this program - and for his ability to turn
the job around with efficient good humor.
Martin Palicki designs and edits the trade
publication InPark Magazine, now in its sixth
year of publishing. Focused on the themed
entertainment market, InPark is available as a
print publication and online resource.
Main Street Design, Cover Design
www.mainstdesign.com
TEA thanks Main Street Design for providing
the beautiful, elegant and communicative
cover design of the 17th AnnualThea
Awards Program. Main Street Design is an
internationally recognized leader in planning
and design, specializing in the development
and design of interpretive exhibits with
history, natural history and zoological
themes.As interpretive specialists, they offer
themed entertainment developers proven
capability and a complete package of storyline
development and design services.
PRODUCTION TEAM
Creative Director/Show Producer.......................................................................................................................Lenny Larsen
Show Producer/Production Manager..................................................................................................................Ian Schwartz
Associate Show Producer............................................................................................................................................Patrick Kling
Assistant Show Director............................................................................................................................................Mitch Russon
Production Stage Manager........................................................................................................................Karla Braunesreither
LiveVideo Director.......................................................................................................................................................Casey Collins
Camera Operators /Video Crew.......Brian Ford, Ryan Laslofy, Brian Brooks, Melissa Kenst, Jason Barret
Media Assistant..............................................................................................................................................................John Reynolds
Technical Director...........................................................................................................................................................Ian Schwartz
HouseTechnical Support.........................................................................................................................Rene Soto, Mike Zatz
Production Associates...........Dani Belko (ETC), Kourtnie Boev (UCLA, Susan Borders (UCLA),
Karla Braunesreither (UCLA)Hyemi Do (ETC), Rebecca Grabman
(ETC), Cassandra Ichniowski (ETC), John Reynolds (UCLA) Katherine
Rubenstein (ETC), Jake Rude (UCLA), Matthew Stewart (ETC), Ribon
Yasuda (UCLA) AlexanderYee (UCLA), MargaretYoon (ETC)

Creative Team
Show Writers...................................................................................................................................Mitch Russon, Samuel Miller
Production Designers.......................................................................................................Graham Hodgson, Nelson Ruger
Illusion Designer.....................................................................................................................................................................Tom Cluff
Lighting Designer.................................................................................................................................................................Jason Read
Assistant Lighting Designer..........................................................................................................................................RyanTanker
Media Producer..............................................................................................................................................................Robb Wagner
Media System Design..................................................................................................................................................Loren Barton
Media ProductionTeam...........................................................................................................................................Stimulated, Inc.
Video Editor.......................................................................................................................................................................Lenny Larsen
Video Segment Crew.................................................................................................................................................Kevin Susman
Nominating Committee Liaison........................................................................................................................George Wiktor
Social MediaTeam..................................................................................Jordan Coleman, Patrick Kling, George Wiktor
Event Team
House Manager.....................................................................................................................................................Lynn Almandinger
Event Service Manager...........................................................................................................................................Urbano Colom
Performance Team
Musical Director/Arranger.......................................................................................................................................Andy Garfield
Vocal Director/Arranger..........................................................................................................................................Sarah Colburn
Band Director/Orchestrations...............................................................................................................Dan Reckard (Piano)
Band Members...............Eliana Athayde (Bass), Tim McKay (Woodwinds), Marcus Paul (Trumpet),
Drake Smith (Trombone), StephenTaylor (Woodwinds), KevinYokota (Drums)
Vocal Ensemble........Gwendolyn Druyor, Lenny Larsen, Peter Miller, Michelle Moreno, Sywa Sung
GeorgiaTreharne, Mike Wolfe
Award Presentation Model.........................................................................................................................Michelle Camarena
OwlTrainer........................................................................................................................................Birds and Animals Unlimited
Special Thanks to:
Chip Largman -VP Universal Creative
Michael McGuire - Executive Assistant, Universal Creative
Rae-Mi Leroy – Project Coordinator, Universal Creative
Urbano Colom – Events Service Manager, Universal Studios, Hollywood
Frank Reifsnyder – Media Relations,Walt Disney Imagineering
Bruce Healy – Sr. Music Director/Producer, Disney Entertainment Productions
Vinny Pagliuca – Walt Disney Parks Resorts, Costuming
Andy Gordon – Walt Disney Parks Resorts, Costuming
Warden Neil – Costumer for Harry PotterVideo Sequence
Ernie Merlan – Merlan Creative Studio
Michael Chase – Cedar Stage Productions
Bob Rogers – BRC Imagination Arts
Nancy Emerson, Universal Creative
Don Marinelli, Carnegie Mellon University EntertainmentTechnology Center
Bob Qi, BRC Business Development Director, China
Karen McGee, BRC,Thea Awards Nominating Committee Coordinator

17th Annual Thea Awards
Nominating Committee
Chair: Larry Wyatt
Vice Chair: Brad Merriman
Board Liaison: Craig Hanna
Coordinator: Karen McGee
Committee:
Tony Baxter
Mark Fuller
Bob Gurr
Dawn Hollingsworth
Don Iwerks
Monty Lunde
Patricia MacKay
Steve McIntyre
Yves Pepin
Jeremy Railton
John Robinett
Bob Rogers
Jack Rouse
Nancy Seruto
Marty Sklar
Barry Upson
Bob Ward
George Wiktor

President: Rick Rothschild, FAR Out!
Creative Direction
Immediate Past President:
SteveThorburn,Thorburn Associates
Vice President: Alexander Bresinsky,
flying saucer GmbH Co. KG
Vice President: Christine Kerr, BaAM
Productions
Vice President: Brian Leonard,
Dillon Works!
Secretary: Ron Miziker,
Miziker Entertainment
Treasurer: Dan Christman, X-nth
Eastern Division President:
Brian Morrow, SeaWorld
Europe Middle East Division
President: Philip Hartley, Philip
Hartley Associates, Ltd.
Western Division President:
David Aion,The Aion Company
Directors:
Louie Allen,Adirondack Studios
Scott Ault, BRC Imagination Arts
Steve Birket, Birket Engineering
Chris Conte, Electrosonic
Chip Largman, Universal Studios
Hollywood
Michel Linet-Frion, Center Parcs
Scott Mallwitz, Cuningham Group
Architecture, P.A.
Jeff Mayer, Jeff Mayer Partners
Peter McGrath,Walt Disney Imagineering
Jan Maarten de Raad, JoraVision
Daren Ulmer, Mousetrappe, Inc.
John Wood, Sally Corp.
Associate Representatives:
Kevin Eld
Kathy Golding, PrincipalTechnical Services
George Head, Savannah College of Art
and Design
TEA International Board of Directors 2011

1 0 T h e 1 7 t h A n n u a l T h e a A w a r d s p r e s e n t e d b y A E C O M
For more information, contact Stefanie Cosman
Stefanie@TEAConnect.org
Did you know that YOU can submit a project for the
18th
Annual Thea Awards?
- Anyone, anywhere can submit a project that they feel is an amazing
example of a compelling place and experience!
- Deadline for submissions will be July 7th
2011
- You do not have to be a TEA Member to submit a project
-- You do not have to be the owner of the project or
even have worked on it!
- Submitting a project is easy! Just fill out the submission form found
in the back of this program or on our website.
Themed Entertainment Association 150 E. Olive Ave Suite 306 Burbank, CA 91502 +1 818 843-8497 Info@TEAConnect.org

T h e 1 7 t h A n n u a l T h e a A w a r d s p r e s e n t e d b y A E C O M 11
Science Storms at MSI Chicago
by Martin Palicki Mattheis Carley
Chicago’s Museum of Science and
Industry has a history of educating
with pizzazz. Science Storms, a boisterous
new exhibit unveiled in early 2010, is no
exception.The stunning 26,000-square-foot
experience spans two floors and unearths
the science behind natural phenomena.
This totally revamped exhibit hall is really
more of a raucous playground. Kids gleefully
dash about, pulling levers and learning via
amazing, large-scale interactives. Tactical
input and visualization are the name of
the game. Visitors can control a 40-foot
tall swirling tornado, shoot tennis balls off
balconies, drive a model maglev train, and
play with a number of other demonstrations
in varying degrees of intimacy. It all happens
under the searing crackle of 10-foot sparks
from a giantTesla coil suspended overhead.
There’s enough noise and excitement to
make any librarian cringe.
“Our main target for Science Storms is 10-
to-14-year olds,” explains Senior Exhibit
Developer Olivia Castellini, “but the reality
is they are not coming alone.” That’s why
the exhibit offers so much to see and do
for each of the main areas. If one of the big
icons doesn’t catch someone’s interest, one
of the smaller exhibits might. And the free-
flowing nature of the exhibit encourages
exploration on a personal level.
AVALANCHE
A spinning, 20-foot diameter disc filled
with garnet sand and white glass beads
mesmerizes visitors entering Science
Storms.This gigantic disc sits at an angle and
shows the unusual flow of granular material,
depending on the speed of rotation,
controlled by a steering wheel nearby.
As the disc’s speed changes, the particles
move, forming different types of motion
within the disc, and exhibiting visually how
granular materials can,en masse,behave like
liquids, solids, or even a gas. Guests pause to
stare in wonder at the hypnotic motion.
Surrounding the avalanche disc is an
assortment of experiments and hands on
exhibits that replicate lab experiments and
teach guests about motion, including a giant
Newton’s cradle,and a trajectory interactive
that launches tennis ball projectiles from
one side of the balcony to the other.
TORNADO
Standing an imposing 40 feet tall, a whirling
tornado twists from the floor all the way
up to the ceiling – all controlled by museum
guests. 48 ultrasonic misting foggers and
four giant fans in the museum’s ceiling
create a swirling airflow and draw the fog
up from the ground. Visitors operate side
dampers to change the vortex’s form. Its
undulating form shows how wind can get
its sheer destructive power.
Once guests pass through the tornado,
they can try their hand at building smaller
ones, play the role of a storm chaser, learn
about air pressure, and hop into a wind
tunnel booth to test their hairdos in 80mph
winds.
TSUNAMI
Behind the tornado,a 30-foot long plexiglass
tank contains waves that crash upon a
model shoreline. Typical ocean waves can
be contrasted with a tsunami-style wave.
Some children line up along the tank for an
impromptu race with a wave as it barrels
ashore. Nearby guests can explore waves in
Martin Palicki designs and edits InPark Magazine and writes for various publications in the industry. Visit www.inparkmagazine.com
Mattheis Carley is a regular contributor to InPark Magazine (IPM) and an active Themed Entertainment Association (TEA) member. He
graduated recently from the University of Tampa and is excited to use his theme park and haunt experience as he grows in the themed
entertainment industry. For more information, connect with him on LinkedIn or visit www.mattheiscarley.com.
With the giant Tesla coil (left), and the avalanche disk and tornado (below), Science Storms has
iconic demonstrations of science everywhere you look. Photos courtesy of Museum of Science and
Industry.

12 T h e 1 7 t h A n n u a l T h e a A w a r d s p r e s e n t e d b y A E C O M
various ripple tanks and through a 20-foot
tall oscillating waveform sculpture.
SUNLIGHT
The typically cavernous interior of the
museum is pierced by direct sunlight at this
station in the exhibit.A heliostat system on
the museum’s room directs sunlight down
through a skylight where it intersects with
four giant prisms. Each is 9 inches on a side
and 40 inches long.
The prisms are rotated remotely by guests
to create rainbows that dance and move
around the space. Below, the sunlight shines
down on photovoltaic cells that power small
electric cars on a racetrack. Nearby, exhibits
explore the visible light spectrum, fiber
optic technology, and a unique translucent
color room allows guests the opportunity
to add and subtract different wavelengths
of blue, green and red light to create some
surprising results.
LIGHTNING
For a truly shocking experience, guests
stand beneath the 1.2-million-volt show
performed by Science Storms’ enormous
Tesla coil. The unmistakable, hair-raising
sound can be heard echoing throughout
the museum’s main hall. Beneath the coil, a
variety of experiments on static electricity
and magnetism give guests the opportunity
to interact up close (and safely) with
electricity.
FIRE
Science Storms’ fireproof chamber, similar
to ones used by Underwriters Laboratories,
features a controllable flame with different
sprinkler heads above it. Guests perform a
live experiment to see which types of fire
suppression systems are most effective.
Lasers bisect the chamber revealing the
convection patterns formed from the heat
interacting with the cool mist.
ATOMS IN MOTION
Behind the fire exhibits a compact area
devoted to atoms and the elements contains
some of the most intriguing parts of Science
Storms. Tanks containing ferrofluid (an oily
liquid filled with small magnetic particles)
create bizarre, spiked shapes when the fluid
is exposed to magnetic fields. Guests can
playfully explore firsthand the properties of
unique materials such as shape metal alloy,
which reverts back to its original shape
once heated.
“Anyone can work the controls and move
through the exhibit,” says Castellini. “But
our goal at Science Storms is to inspire
wonder.The best part of this whole project
is coming out here and seeing the looks of
fascination in people’s faces. That’s when I
know Science Storms has been successful.”

Award for Outstanding Achievement
Science Storms
Museum of Science and Industry, Chicago, Illinois USA
(Museum/Science Center Exhibit)
Exhibit Development
Museum of Science and Industry, Chicago
Kurt Haunfelner,Vice President, Exhibits and Collections
Christopher Wilson, Senior Project Manager
Olivia M. Castellini, Ph.D., Senior Exhibit Developer
Rachel Hellenga, Project Director
J. Jeffery Johnson, Director of Facilities
Elizabeth Miller, Facilities Project Manager
Charles McGhee-Hassrick, Exhibit Developer
Mark Ewing, Project Manager
Kathleen McCarthy, Director of Collections
Margaret Schlesinger, Curator
Bridget Basta, Evaluation and Planning Manager
Todd Gieseke, Senior Evaluator
Phillip Keck, Education Coordinator
Chris Kustuch, Education Coordinator
Lindsay Bartholomew, Education Coordinator
Roger Harris, Senior Manager, Exhibit Maintenance
Bill Hogan, Exhibit Electronics
Lead Design Consultant
Evidence Design
Jack Pascarosa,AIA Partner, Project Director, 3D Design Director
Shari Berman, Partner, Director 2D Design and Media
Rondi M. Davies, Ph.D., Senior Content Developer
Len Soccolich, Senior Designer
Carlos Fierro, Senior Designer
Laura Sheedy, Exhibit Designer
Ari Nakamura, Senior Graphic Designer
Bruce Stutz, Concept Book Script Writer
Lead Label Writer
SJS Projects
Sharon Simpson, Lead Label Writer
Exhibit Engineering
TheTWT Group
Frank Weigand, Chief Engineer
Brad Borgman, Facility Interface Manager
Aidan Bradley, Concept Engineer
Dan Coats, Dynamics Analyst
Mike Gordon, Design Engineer
Edison Conner, Composites Engineer
Setpoint, Inc., Facility Interface
Blackdust Design,Video Capture
Media Design and Production
Cortina Productions
Lighting Design
Focus Lighting
Paul Gregory, Principal Lighting Designer
JR Krauza, Lighting Designer
Joshua Spitzig, Lighting Designer
Dan Henry,Assistant Lighting Designer
Kenny Schutz, Project Manager
We build Excitement!We build Excitement!
Learn more about this project and us at:
www.chicagoscenic.com
Chicago Scenic was pleased to partner with the Museum of
Science and Industry, Chicago on Science Storms, a new
permanent exhibit that opened to rave reviews in 2010.
Chicago Scenic engineered and built the popular Sunlight
interactive experience within this groundbreaking exhibit,
and continues to work with MSI on an ongoing basis.
Our experience gives you new
ways to employ interactivity to
communicate complex concepts
that will captivate, entertain and
educate your audience.
©SeanHemmerle2010

A/V Design and Integration
MAD Systems
Maris Ensing, CEO
Mark Hogan, ChiefTechnical Officer
John Mayberry, Designer Consultant
Serguei Kozlovski, Sr. Project Manager
Tony Rosenfeld, Site Foreman
Des Moriarty, InstallationTechnician
Tom Roy, Rack Builder/Installer
Chris Masin, Rack Builder/Installer
Brandon Phillips, Rack Builder/Installer
Brett Bemis, Rack Builder/Installer
Henry Diaz, Rack Builder
Exhibit Fabrication
Advanced EntertainmentTechnology (AET)
David MacMurtry, President
Jim Bell,VP of Production
Chaz McEwan, Project Manager
Jim Mathews,Asst. Project Manager
John Canton, Controls Engineer and Programmer
David Libow, Control Designer
Joe Simons, Lead Mechanical Designer
Aron Koscho,Tesla Consultant
Elia Popov, Flame Consultant
Carl Hannigan, Laser Consultant
Guillermo San Jose, Shop Supervisor
Alex Alarcon, Machine Shop Forman
Daniel Hernandez,Welding Supervisor
Glen Burns, Fabrication Lead and Lead Installer
David Rhea, Fabrication Lead
Eddie Szczesniak, Control Lead and Lead Installer
Jim Upchurch,TeslaTechnician
Arde Kirka, Field Programmer
Exhibit Fabrication
Chicago Scenic Studios, Inc.
Robert F. Doepel, President
Ross Hamilton, Senior Project Manager
Jean Burch, Project Manager
Rob Kovarik, Project Manager
Andy Lemerand, Shop Lead Metals
Dan Christianson, Installation
Mike Hrehoriak, Electrician
Bob Bartlett,Welder
Beth Smith, Department Head Metals
Gabe Segoviano, Detailer
Curt Kucik, Department Head Electrician
Les Woods, Department Head Paints
Jonathan Barber, Installation
Exhibit Fabrication
Lexington Design + Fabrication
Ron Hubbard, General Manager,VP Production
Howard Smith, Project Manager
Dean Andolsek, S.A.E.Technician
Rick Graham, Director ofTechnical Design
Todd Chaney, Director of Production
Steven Allen,Ashot Andonian, Julianne Bach, Cody Burleson,
Harrison Craig, Janet De Paiva, Gordon Forkert,Tom Francis,
Mark Gebhardt, Douglas George, Federico Guerra, Ralph
Hammond, Jason Hardy, Eric Heisler, Ryan Hutchins, Ismaele
Iorio,Alicia Jacobson, Bill F. Johnson, Jeff Jones, Kevin Kleinsmith,
Jacob Lauxen, Jennarae Lee, Jose Mejia, Ricardo Montano,Victor
Munguia, Derek Pendergrass, Cesar Quijivix,Victor Quijivix,
Apolonio Reyna, Christopher Roldan, Brian Sanders, Miguel
Sandoval,Tony Saucillo, EdwardVicol, Gregory Weinsten, Peter
Yatron, NicholasYee, RodneyYouse
Exhibit Fabrication
Production Resource Group (PRG)
James Lehner, SeniorVice President – Design and Construction
Steve Bonadonna, Project Engineer
Sara Rockwell, Mechanical Engineer
John Galante,Automation Supervisor
Tracy Catron, Project Manager
Kathy Mayhew, Project Coordinator
Ken McGraw, Installation Director
Conceptual Design of Avalanche and Tornado
Ned Kahn
General Facilities Contractor
Norcon, Inc.
Architect of Record
Hasbrouck Peterson Zimoch Sirirattumrong
MEP Consultant
DBHMS, Inc.

National Infantry Museum
and Soldier Center
by Joseph Kleiman
In the COLD WAR gallery, a man in his
60s with graying hair in a ponytail points
his cane at a Huey helicopter suspended
from the ceiling, proudly telling the stranger
next to him “I flew in one of those.” On
the ramp in front of the Bradley Fighting
Vehicle,a soldier in the 3rd Infantry Division,
preparing for deployment to Iraq tells his
son “Daddy’s going to go to the desert and
ride in one of those.”The boy, not yet ten,
responds, “I want to go too. I want to do
what you do.”
I witnessed these real-life reactions and
many more like them during my visits
through the galleries.The National Infantry
Museum and Soldier Center exists to honor
soldiers such as these – past, present, and
future.
The journey through time begins at the
entrance, where the massive 1960 “Follow
Me” soldier guards the building, rifle and
bayonet at the ready, beckoning his fellow
soldiers to the final 100 yards of battle.
Inside, they await the visitor.The “Drum,” a
futuristic black sentinel, acts as the gateway
to the Last 100 Yards, a ramp exactly 100
yards long that passes through eight key
battles in Infantry history – from Yorktown
to Iraq.
Actual vehicles are showcased and the
historic figures lining the ramp were molded
from the bodies and faces of present day
Fort Benning soldiers.The generations are
meeting. They also meet theatrically, in a
WWI diorama: A soldier peers around the
corner of a ruined building,pistol drawn.He
is not just looking for the enemy, but he is
looking to the future. His gaze goes beyond
the Second World War, beyond the Korean
andVietnam Conflicts, and beyond the Gulf
Wars to a large wall with the continuing
image of soldiers marching into the future.
At the top of the ramp is the Fort Benning
gallery, which explains every facet of Fort
Benning, including Infantry basic training, the
Officer Candidate School, the Rangers, and
the Airborne schools. This gallery is home
to the only installation open to the public of
a rifle range simulator used to train recruits
and special forces.
In the back of the Benning gallery, two large
windows overlook the museum’s WWII
Village, a collection of WWII buildings
saved from demolition, including a chapel,
barracks, mess, and the sleeping quarters
and headquarters of former Fort Benning
commander Gen. George S. Patton.
From between these buildings, new recruits
march to the adjacent parade field, also
visible from the windows, where graduation
ceremonies are held weekly. The parade
field on which new soldiers graduate is
consecrated with the soil of eight wars,
going back to the Battle ofYorktown.Again,
the past and the present are bridged.
Entering the Grand Hall, visitors find six
other galleries to explore, each covering a
different period of history.
• ENTERING THE NATIONAL STAGE:
The highlight of the gallery is a walk-through
trench from the First World War, with
lighting, sound, and video effects conveying
to the visitor a sense of what it must be like
to actually experience.
• A WORLD POWER: Covering the
Second World War, a video projected on a
semi-spherical screen, creating the effect of
a kinetic globe, sets the scene. Once inside
the main portion of the gallery, exhibits are
split, with the Pacific theater on one side
and the European theater on the other.
• THE COLD WAR: In the middle of this
gallery lies “In Country,” an experiential
journey through the jungles of Vietnam.
Like the WWI trench, it is an immersive
experience designed to emulate the most
frightening of conditions but in the safest of
environments..
For more than 15 years, Joe Kleiman (largeformattd@yahoo.com) has been involved in the giant screen and attractions industries.
During that time, he acted as head technician on the IMAX Ridefilm installation at Moody Gardens and as part of the teams respon-
sible for introducing IMAX 3D to Northern California and West Georgia. Most recently, he served as Director of Attractions for the
National Infantry Museum and Soldier Center during its first year of operation. Kleiman currently consults for giant screen filmmak-
ers and distributors on multiplatform distribution and writes professionally about the industry for a number of publications and very
unprofessionally about it on his blog (kinotechnologies.wordpress.com). He has started learning Mandarin Chinese.
The galleries are not just displays of artifacts: They are history lessons and personal experiences.
Photos courtesy of National Infantry Museum and Soldier Center

•THE SOLE SUPERPOWER: The majority of this gallery
is dedicated to the desert wars, including modern warfare
technology, such as night vision. A special display salutes those
who have fought as members of the National Guard.
The galleries are not just displays of both Infantry artifacts and
artifacts captured from foreign forces.They are history lessons
and personal experiences. Throughout the galleries individual
stories are related through graphics, audio and video.We begin
to see the soldier not just as an idea, but as a person.
Between the galleries, linking the generations, sits the Hall of
Valor, a glass-enclosed chamber lined with the visages of each
Infantryman to have earned the Congressional Medal of Honor,
the highest accolade that can be awarded for valor in action
against an enemy force. Finally, the Family Support Gallery
honors another group that makes the most difficult of sacrifices
during a deployment – the parents, spouse, and children of the
Infantryman.
The National Infantry Museum and Soldier Center tells the
story of America through the eyes of the men who have fought
for their country’s freedom for the past 236 years. It succeeds
by connecting the soldiers of the past with those of the present
and the future.
The National Infantry Museum
Columbus, Georgia USA
(Museum)
Owner
National Infantry Foundation
With grateful acknowledgement to Bradley-Turner Foundation
MG (Ret) Jerry A.White, President
Ben F.Williams, Jr., Executive Director
Col (Ret) Greg Camp, Exec.Vice President
Board of Directors
LTG (Ret) Carmen Cavezza, Director
Mike Gaymon, Director
Carole Rutland, Director
Sam Friedman, Director
Jack Pezold, Director
Frank Lumpkin III, Director
Tim Farmer, Director
Jerry Newman, Director
Jean Puckett, Director
Former Directors: Judge John Allen, Billy Blanchard, Rob Doll
National Infantry Foundation Advisory Board
GEN Edwin H. Burba, Jr., Chairman
GEN Barry R. McCaffrey,Vice-Chairman
National Infantry Foundation Staff
Cyndy Cerbin, Director of Communications
Dick Hagan, Operations Manager
Vickie Benton, Director of Events
MattYoung, Director of Education
Lora Warren, Director ofVolunteer Services
Mark Balsinger, IMAX Director
Dennis Register,Attractions Director
Mike McCabe, Dir. of InformationTechnology
Jane Bayer,Assoc Director of Development
Lauren Pastwik, Director of Sales
Laura Jefferson,Accounting Manager
Mike Bullard, Facilities Director
Lisa Ezzell, Office Manager
Sonya Bell,Administrative Services Manager
U.S. Army – Fort Benning Command and Staff
MG Robert B. Brown, Commanding General, US Army Maneuver Center of Excellence
MG Mike Ferriter, Former Commanding General
MG Michael Barbero, Former Commanding General
BG Bryan Owens, Commandant, US Army Infantry School
COLTerry Sellers, MCoE Chief of Staff
COL Charles Durr, Former MCoE Chief of Staff
COL (Ret) Bob Brown, Deputy Director Operations andTraining (G3)
CSM Chris Hardy, MCoE Command Sergeant Major
CSM Steven McClaflin, US Army Infantry School Command Sergeant Major
Stephen Allie, Maneuver Center of Excellence Museum Division Chief
Mike Criscillis, MCoE Deputy Museum Division Chief
Frank Hanner, Curator
Ed Annable, Chief Registrar
Jeff Reed,Arms Curator
Al Reid, Exhibits Specialist
Joseph Johnson, Exhibits Specialist
Jacob Cox, ExhibitsTechnician
U.S. Army Center of Military History
Dr. Jeffrey Clark, CMH Director
Dr. Charles Cureton, Director,Army Museums
J.Terry Dougherty,Acting Chief, Museums Division
The Ultimate Technology Solution
www.edwardstechnologies.com
National Infantry Museum Soldier Center
along with
Christopher Chadbourne Associates
We are honored to have been part of this
winning team!
Recipient of the 2011
THEA Award for
Outstanding Achievement
Congratulations!

Newton Aaron and Associates
Project ManagementTeam
Newt Aaron, President
Phyllis Aaron, Exhibits Manager
Ryan Clements, Project Manager
Lord Cultural Resources
Master Planners
Barry Lord, Co-President
Batson-Cook
Builder/General Contractor
Raymond Moody, President / CEO
Randy Hall, SeniorV.P./General Manager (Atlanta Office)
Joe Appleton, SeniorV.P./General Manager (West Point office)
Paul Meadows, Project Executive
Eddie Sanders, Project Manager
Chuck Williams, Project Superintendent
BrandonYates, Project Scheduler
Rebecca Gaston, Marketing Coordinator
Tammy Childs, Assistant Project Manager
Chaitra Ziebarth, Project Administrative Assistant
Patrick Spinks, Project Engineer
Graphic and Video Production
Basset and Becker Advertising
Bill Becker, Co-Owner
Jack Basset, Co-Owner
Alison Hagler, Designer/Art Director
George Adkins, Designer
Sean Schoff,Web Developer
Image by Design
Cyde McQuien, Partner
Jenny Horton, Partner
KIS Creative
WendyTimmons, Partner
Sally Morgan, Partner
Pope JohnsonVideo
Hal Pope, Partner
Dewayne Johnson, Partner
Phil Scoggins Productions
Phil Scoggins, Producer
Robbie Ross, Editor
Alan Matthews,Videographer
Architecture
Verner Johnson, Inc.
Brad Nederhoff, Principal-in-Charge
Verner Johnson, Founder
Glenn Remick, Project Architect, IMAXTheater
Anne Sullivan, Designer
Mike McHugh, Designer
Scott Mandeville, Designer
Jakob Jorgensen, IMAX designer
HBA, Inc. - Associated Architect
Bob Kidd, Principal
Ken Hughes,Architect
Kevin Loraas,Architect
Walter P. Moore and Associates, Inc. - Structural Engineer
Blair Hanuschak, Principal
Brent Bandy, Principal
Newcomb Boyd - Mechanical, Plumbing, Fire Protection, Security,Tel Data
William Dean, Partner
Ed Murphy, Mechanical Engineer
Sofya Nedelin, Plumbing Engineer
JohnTokaji, Engineer
Davis Pullin Associates, LLC - Electrical Engineer
Timothy Davis, Electrical Engineer
LAM Partners - Lighting Consultant
Jennifer Pieszak, Lighting Designer
Jaffe Holden Acoustics, Inc. - Acoustics Consultant
Jerome Smith, Engineer
Ben Bausher, Engineer
Spiker Baldwin Associates, Inc. – Spec.Writer
Betty Spiker, Spec.Writer
French and Associates – Landscape Architect
Larry French, Landscape Architect
Jessica Webb, Landscape Architect
Exhibit Design
Christopher Chadbourne Associates
Christopher Chadbourne, Creative Director
David Whitemyer, Production Manager
Brent Johnson, Lead Exhibit Designer
Jeffrey Stammen, Lead Graphic Designer
ValerieTaylor, Exhibit Developer
Ian Swope, Exhibit Designer
Rebecca Looney, Exhibit Developer
Claudia DuPont, Exhibit Designer
Christine Lefebvre, Graphic Designer
Lauren Rocco, Researcher
Bridget Sandison, Researcher
Elizabeth Skelton, Graphic Designer
Grace Chong, Graphic Designer
Ernesto Mendoza, Graphic Designer
Theresa Brown, Exhibit Designer
Serena Furman, Project Manager
Exhibit Design Team
Donna Lawrence Productions
Media Production
Creative Director/Director- Donna Lawrence
Director ofVisual Design- John Murphy
Producer Project Manager- Laury Christensen
Image Research- Lesley McShane
Additional Image Research- Laura Hartford, Cheyne Moses,Taj Whitesell
Field Producer/Production Manager- Kay Milam
Director of Photography- Jimmy Gribbins
Field Audio- Geoff Maxwell
Original Music Arrangement- Rachel Grimes
Sound Editing- Downtown Recording
Visual Editing- David Crites/Glyph Jamie Pence/Videobred
Scenic Design- In-Depth Inc.
Pyramid Studios - Interactive Media
Dixie Hornstein, Producer
Bruce Hornstein,
Colonel Raymond K. Bluhm, Jr. USA Retired, Military Historian
Jessica Kantor, Computer Graphics
EricVetterick, Programmer
David Hall,Writer
Vince Hawkins,Writer
Matt Seelinger,Writer
Alfred Walker,The Park Group,Audio Production
Available Light - Exhibit Lighting
Steven Rosen, Principal-in-Charge
Matt Zelkowitz, Lighting Designer/Project Manager
Donald Christensen,Associate Designer
Ted Mather, Show Programming
Joel Plante,Assistant
Kirsten Opstad,Assistant
Rick Chamberlain, Managing Director
Susan Gochenour, CFO
Angela Connery, Office Manager

PPI Consulting - A/V Hardware
Robert J. Haroutunian, Principal
Studio EIS - Figure Fabrication
Elliot Schwartz, President/Co-Founder
Ivan Schwartz,Vice President/Co-Founder
Debra Schwartz, Project Manager
BJ Ervick, Production Manager
Jiwoong Cheh, Head Sculptor
Radostin Mladenov, Sculptor
Christen Waddell, Sculptor
Weixian Jiang, Sculptor
Suanne Martin, Sculptor
Damian Masanz, Sculptor
Igor Zorkin, Sculptor
Anna Ehrsam, Sculptor
Jody Pogue, Sculptor
Jerry Blackman, Sculptor
Adam Golovoy,Assistant Manager
Rebecca Spivack, Painter
Limor Gasko, Painter
Elisabeth Belominsky, Costumer
Steven Horak,Wig Maker
James O’Keeffe, Sculptor
Henry Cooke, Costume Reproduction
Colonel J. Rod Paschall - Writer/Historian
Museums/Tom Gille - Cost Estimation
Tom Gille, Sole Proprietor
Hal Buell - Image Researcher
Fabrication
Design Craftsmen, LLC –
John F. Gunning,Account Executive
David Goodman, Project Director
Terry LaVier, Project Director
Karen Featherston, Project Manager
JeffVan Meter, Project Manager
Marge Hetherson,Assistant Project Manager
Jason Kustra, Engineering Supervisor
Robert Cousineau, Production Supervisor
Leslie Fitzell, Graphic Supervisor
Martin Roznowski, Scenic Supervisor
Ryan Letts, E/M Supervisor
DCI Production-
Estimating – Justin Hess, Jeremy Hansen
Engineering – Brian Perkins, Maroo Nahikian, Ian Cruickshank
Fabrication – Scott McPhee, Dennis Steff, Randy Peck, Chris Piesik, Dallan Sanders
Graphics – MaryThompson, Scott Saxton,Tana Nichols, Ron Hand
Electro-Mechanical – Don McMullen, Dana Osmun, Nathan Goretski
DCI Major Subcontractors
Military History Consultant - Col. Ray Bluhm
Scenic - In-Depth, Inc.
Alan Lee and Melinda Oblinger, Principals
Lorraine Cocci, Sam Gilmar,Tessa Meier, Claire Noyes,Andrea Oliver, Daniel
Rumbullaku,Aubrey Smith, Bill Snyder, Rob Wielgoszinski, Catherine Badger,
Jon Benjamin,Trevor Colliano, Rita DeAngelo, Dustin Dowd,Andrew Fennell,
Laurie Fitzpatrick, Eric Fox, Greg Fox, Gloria Houng, Ron Jones, Mercedes Leyva,
Jamie McCauley, Ron Newhart, Richard Ott, Robert Romano, Dewey Saunders,
Megan Sherry, Chris Smith, Ed Stimson, Michael Stockton, Elver Usaraga, Marc
Vielle
Artifact Casework- Meyvaert Glass
Luc Rogiers-Account Manager
Albéric Moreels-Project Manager
Acoustic Graphics - Division Nine
Jim Stewart-Project Manager
Rigging/Macro Artifacts - Escoe EIR
Tony Hand-Project Manager
Chuck Baker-Foreman/Supervisor
John Richardson-Supervisor
Allen Richardson-Journeyman
Specialty Rigging Engineering - Bennett Pless Engineering
Installation Supervisor - Lakeshore Exhibit Service, Inc.
Rick Ostrowski, Larry Zuker, Carl Wolf-Principles
Jennifer Harris-Office Manager
Pete McMahon-Foreman/Supervisor
Dale Russell-Graphic Supervisor.
Installation- Holsinger Manufacturing Corp. and RSLTheatrical
Artifact mounts- Sanders Museum Services
Bradley Sanders - Senior mountmaker, mannequins
Greg Mendez. - Senior mountmaker - lead mountmaker, installer
Tara Sanders Lowe - project coordinator
Carol Sanders - project coordinator on site
George Sanders - mountmaker steel mounts
Shane Reynolds - mountmaker armature mounts
Dion Hellyer - mountmaker, textiles
Matt Gay - mountmaker, mannequins
Chris Dodson - mountmaker - mannequins
Amanda Hamlin - mountmaker - textiles
Roselyn Sanders Mendez - textiles
Butch Sanders - installer
Ben Snyder - hardware casting
Anthony Furioso - hardware casting
Lucille Allen - Office manager
A/V Hardware Specialists – EdwardsTechnologies, Inc.
Brian Edwards: President/CEO
Mitch Hartmann -Technical Director
Dana Carsley - Project Coordinator
Doug Storm - Project Manager
Christian Sims - Lead Installer
Jerry Marcus - Installer
Frisco Gonzalez - Installer
Gus Granados - Installer
ArnoldTang - Programmer
Scott Shepard - Programmer
Roger Goodman – Programmer
Acoustical Consultant:Akustiks
C. RussellTodd, Principal
On-site Architectural Metalwork - Diverse Mechanical, Inc.
Specialty Glass and Glazing - Oldcastle Glass
Luminore application - Precision Concepts
Graphic production - Meteor, LLC Vista
Graphic mural installation - Grady Hinman
Lighting - Barbizon,Atlanta
Fiber Optic Lighting - Luxam International
Painting - Specialty Finishes
Electrical - Wayne J. Griffin
Karen Carr Studio
Karen Carr, Illustrator and President
Ralph Gauer,Vice President
Alaina Dunivan, Illustrator and Creative Director
Karen Porter, Illustrator and Cartographer
Specialty Suppliers-
Lighting Services International, Lighting
Integrity and Modern Metalcraft, Metalwork
Fulcrum Composites, Ceiling Panels
United Rentals, Columbus, Georgia
Luminore, Specialty Finish
Stewart Filmscreen, Projection Screen Supplier

Glasnevin Museum
by George Walker
The success of the Glasnevin Museum
is its ability to harvest the tales of the
dead and honor them in a series of modern,
interactive exhibits.
How do you take the experience of visiting
an historic cemetery and give it new life?
The Glasnevin Museum, in Dublin, Ireland,
has done exactly that with the creation of
its cemetery museum. Drawing from the
tales behind the headstones, the museum
transforms the cemetery into an interactive
history book that recounts the social,artistic,
and religious development of the country.
A walk through the Glasnevin Cemetery,
Ireland’s largest, is a walk through Irish
history. The national necropolis is the final
resting place of many of Ireland’s greatest
historical figures, including the likes of Irish
liberator and a prophet of nonviolent
political change, Daniel O’Connell. These
grounds are home to a multitude of
fascinating stories that a visitor can explore
further within the museum.
In sharp contrast to the lush garden greens
and gothic stone grays of the cemetery, the
shining, silvery rooftop of the museum juts
into the sky like an airplane wing. Built for
11 million Euro, the museum is divided into
three primary exhibits:the City of the Dead,
the Milestone Gallery, and the Prospect
Gallery, each offering a truly unique venue
for uncovering the mysteries of Glasnevin.
Appropriately buried in the museum’s
basement, the City of the Dead is home
to the most immersive exhibits. Laced with
high tech displays and interactive gadgetry, a
fascinating expedition takes guests through
the history of burial practices, genealogy,
grave robbery, and religious beliefs.
Built within the original culvert and drain
system that predates the cemetery, the
pipes and vats are still visible through the
glass floor. Guests are first met by walls of
black glass disguising media screens that
appear and vanish, revealing the names of
the interred. Meanwhile, the “Reflections
Wall” houses embedded mementos of
deceased everyday citizens. The tops of
gravestones double as touch screens that
invite one to extract more details of the
cemetery’s history.
“Grave Matters,” a wonderfully macabre
exhibit rendered as a cross sectional
sculpture of the earth beneath the graves,
includes life-size grave robbers at work,
forever caught in the act of this vile business,
an answer to a demand for bodies by the
Dublin medical schools in the early 1900s.
Nearby, a column of projected fire flares
within a floor-to-ceiling glass panel, creating
an exceptionally intriguing backdrop for
the display on “Cremation.” The animated
walk-through,“Beliefs,” covers various views
on afterlife and establishes Glasnevin as the
first non-sectarian cemetery.
A state-of-the-art touchscreen wall teaches
about burial practices and religious beliefs,
delving in layers into the meticulous
recordkeeping of the roughly 1.5 million
people who have been buried in the
graveyard. Considering that fewer than half
the gravestones are marked, the replicated
archives, complete with pull-out register
books, detail a fascinating history that
celebrates not only the renowned figures,
but also the often poignant stories of the
lower classes and multitudes of souls who
were lost to famine, cholera, and small pox
epidemics. There’s also an extensive digital
genealogical chamber of records.
George Walker (story.builder@yahoo.com) refers to himself as a “Story Builder.” As a creative consultant
he has contributed to many projects from their inception as a concept writer and big-idea-guy, as well as
through artistic oversight of their execution in the field. A devoted industry “thinker,” George is passionate
about the evolution of theme design.
The Glasnevin Nuseum provides guests “The Experience of a Million Lifetimes.” Photos courtesy
of Glasnevin Museum

to this year’s Thea Award recipients,
from your friends at
Jack Rouse Associates
Congratulations!
Glasnevin Museum
Dublin, Ireland
(Museum)
A D Wejchert,Architects
Martello Media, Exhibition Design
Duggan Brothers, General Contracting
Clifton Scannell Emerson Associates, Structural Engineering
Delap Waller, Mechanical and Electrical Engineering
Davis Langdon, Construction Consultants
Slattery Communications
Office of Public Works
Jimmy Myers – Project Manager
A flight of stairs takes you back to the land of the living and
into The Milestone Gallery, home to the “Timeline,” a 10-meter
long digitally interactive table that follows the lives of the most
historically influential people buried in Glasnevin.
Around the corner,sunlight drenches the Prospect Gallery where
you can almost hear classic Irish requiems sing from bagpipes as
the panoramic vista of the sprawling cemetery fills your view. As
you peer through the massive glass windows that stretch across
the length of the second floor, the countless graves rise from the
ground like a city skyline.
As the IrishTimes accurately stated in a review of this attraction,
“The places of the dead can also be great mirrors of life.”The
success of the Glasnevin Museum is its ability to harvest the tales
of the dead and honor them in a series of modern, interactive
exhibits.

Walt Disney Family Museum
by Joseph Kleiman
San Francisco is one of the great museum
cities of the world. Over the past few
decades, monumental edifices to the arts,
science, and culture have become iconic
pillars on the city’s landscape. Museum
buildings by such renowned architects as
Mario Botta, Daniel Libeskind, Renzo Piano,
Jacques Herzog, and Pierre de Meuron dot
the city.
Then there is 104 Montgomery Street.
Located in the heart of the city’s
decommissioned Presidio Army base,
there is nothing to distinguish this late 19th
Century barracks building from the ones
that flank it on either side, except for, until
recently, the small wooden sign out front.
104 Montgomery Street is the home of
the Walt Disney Family Museum. Make
no mistake about it – the museum is not
a comprehensive exhibition about the Walt
Disney Company, nor about the Studios. It
is a detailed look, laid out as a movie, at the
man, his family life, his personal life, and how
he influenced all that he touched.
The voyage through Disney’s life is at times
poignant, and at others frenetic. It begins in
a darkened, wood paneled room, akin to a
farmhouse or a railroad car. Here we learn
of Walt’s birth and youth in Chicago and
Marceline, MO, and his early affinity for the
railroad, as well as his time as a Red Cross
ambulance driver in Europe at the end of
World War I.
After viewing a number of original
illustrations from Walt’s high school
yearbook,we enter another gallery,designed
as Laugh-O-Grams studio in Kansas City,
where Walt first began his long association
with Ub Iwerks. An elevator ride designed
to be reminiscent of a cross-country trip
on the Santa Fe Railroad takes us from
Kansas City on the first floor to Hollywood
on the second. We view treasures from
the Disney Bros. Studios, such as the Alice
comedies and Oswald the Lucky Rabbit.An
entire gallery is dedicated to Walt’s most
famous creation - Mickey Mouse. On its
wall lies a mural comprised of 348 frames,
or 15 seconds, from Steamboat Willy.
As production picks up at the studio, many
more characters and films - short and
feature-length - begin to fill the galleries.
We progress through the Silly Symphonies
and Mickey’s friends, Snow White, Bambi,
Pinocchio, finally arriving at what many
consider Walt’s crowning achievement
– Fantasia.
It is here that our journey takes an
unexpected turn. The Disney family,
when designing the Museum, wanted a
comprehensive overview of Walt Disney’s
life, the bad as well as the good. We turn
the corner from the Fantasia exhibit and
come across the 1941 animators’ strike at
the studio, complete with recreations of
picket line signs.
That same year, Walt and a group of
animators, including Mary Blair, flew to
Latin America on a goodwill mission for
the United States. The trip resulted in the
classic films Saludos Amigos and The Three
Caballeros. During the Second World
War, the military asked Disney to create
training films for both military and industrial
personnel. One such film, Four Methods of
Flush Riveting, along with portions of the
feature Victory through Airpower, plays on
monitors integrated into WWII posters.
The pace gets even more hectic as we
enter the 1950s. The gallery representing
this decade is filled with wave-like screens
along the ceiling, showcasing the live and
animated features of the day, while at a
number of touch screen stations, guests
can view hundreds of hours of video on
a myriad of topics. Our journey slows as
we enter a gallery celebrating the True
Life Adventures. Original 16mm cameras
used in filming are on display, adjacent to a
giant window offering a spectacular view of
nature itself, in this case the Golden Gate
Bridge and the Marin Headlands beyond.
The final gallery is a serpentine trek
through the last decade of Walt’s life. The
Carolwood Pacific, Walt’s 1/8 scale model
train that circled the grounds of his Holmby
The Museum provides a detailed look,laid out as a movie,atWalt Disney,his family life,his personal
life, and how he influenced all that he touched.
Photos courtesy of Joseph Gutierrez (lenscap@msn.com).

Hills home, overlooks a model of “The Disneyland of Walt’s
imagination,” where attractions that existed and were in the
planning stages during Walt’s lifetime share the landscape.
Within the gallery, a number of other exhibits showcase
Walt’s final years. One of his favorite films, Mary Poppins, is
brought to life by an optical printer, where a Pepper’s Ghost
representation of Dick Van Dyke shows us how the machine
was used to create visual effects. Each of the four Disney-
produced pavilions from the 1964-1965 NewYork World’s Fair
is given an exhibit, as is EPCOT – not the Epcot as we know
it, but Walt’s original concept for the Experimental Prototype
Community ofTomorrow.
The museum is like Walt Disney’s life: full of surprises big and
small. Inside we discover the first known drawings of Mickey
Mouse; one of only three multiplane cameras in existence,
complete with cels and background in place; the three
mechanical animals thatWalt bought in Paris, which became the
foundation of modern audio-animatronics; and one of the rare
Herman Schultheis scrapbooks, used by animators as reference
for Fantasia’s animated effects, and viewable page by page on a
state-of-the-art touch table.
For Walt, his final act came to a close on Dec. 15, 1966. We
stand in front of a small television as his passing is announced
to the nation. We enter one final room. Images dance across
the walls as we reflect on Walt and what he means to each
and every one of us.The last thing we see is a monitor rolling
the final credits for our now completed journey, the movie of
Walt’s life.
Audio, Video and Control Solutions
Congratulations
to all the Thea
Honorees!
The Walt Disney Family Museum LLC
San Francisco, California
(Museum)
The Walt Disney Family Museum was built to tell the story of Walt Disney
while adapting historic buildings for new use. Ten thematic galleries
organized in roughly chronological order are located at 104 Montgomery
Street, one of five identical barracks built by the U.S. Army in the 1890s
that flank the western edge of the Parade Ground on the Main Post in the
Presidio of San Francisco’s National Landmark District.To -accommodate
the exhibits and better facilitate circulation, an addition was designed to
occupy the U-shaped barracks courtyard.This addition—a glass and steel
pavilion—connects to the original building on three floors and houses
the Museum’s largest gallery above ground and a state-of-the-art digital
theater below. Classrooms, a special exhibition hall, offices, and collections
storage share space in the main museum building and in the nearby
former Army post gymnasium.
Owner
Walt Disney Family Foundation
Walter Elias Disney Miller, President and Chief Executive Officer
Diane Disney Miller, Secretary and Chief Financial Officer
Joanna S. Miller,Vice President
Michael Labrie, Director of Collections
Charles L.Wixson, Legal Counsel
Jeff Kaye, Controller

Interior Architect Exhibit Design
The Rockwell Group
Carmen Aguilar, Project Manager
Ray Chung, Dina Lamanna, Jessica Lotner, Kate Newson,Alexis Oliver, Barry
Richards, David Rockwell
Architect
Page Turnbull Architects
Sean Fine, Carolyn Kiernat, Lada Kocherovsky, J. GordonTurnbull
Project Management
D.R.Young Associates
Cindy Magill, Project Manager
Terry Reagan, Bob Reuter, DonYoung
Contractor
Plant Construction Company, L.P.
Jeff Gherardini, Project Manager
Craig Allison, Rick Flaster, Eugene Hom, Mitch Magoshi, Pete Roger, Laura
Suma
Media Production
Batwin+Robin Productions, Inc.
Lilly Preston, Robin Silvestri
Tarrigo, Inc.
Eric Clawson, Jeff Kurtti
Exhibit Consultants and Fabrication
Kubik Maltbie, Inc.
Tom Fieger, Project Manager
BBI Engineering
Phil Bailey, David Kaufman

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Contact the ETC professional serving you:
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TEA Program_half page_Layout 1 2/7/11 1:08 PM Page 1
Fisher Marantz Stone
Zack Zanoli
Goppion
Kerner Optical
Brian Gernand, Project Manager
Carol Bauman, Bryan Dewe,Todd Fellows, Jon Foreman, Nelson Hall,
Peggy Hrastar, Michele Lyman, Randy Ottenberg, Danny Wagner, Mark
Walas
Effect Design, Inc.
Geoff Puckett
Technifex, Inc.
Tom Perkins
Monteverdi Creative
David Green
Second Story
Julie Beeler, Jennifer Guibord
Roto Studios
Allen Boerger
Specialty Consultants
Garry Broggie, Michael Campbell, Don Iwerks, David Lesjak, Floyd
Norman, Don Peri,Alexander Rannie, Nina RaeVaughn, Scott Zone
Content Consultants
Bruce Gordon, J.B. Kaufman, Jeff Kurtti, Paula Sigman Lowery

Research Consultants
Hugh Chitwood
Jennie Hendrickson
Museum Consultant
ISG Productions
Ileen Gallagher
The Walt Disney Family Museum Senior Staff
Richard Benefield, Founding Executive Director
Rosalind Cohen-Baruch, Director of Human Resources
Marsha Robertson, Director of Communications Marketing
KathrynTrudeau, Director of Finance
DonnaTuggle, Director ofVisitor Experience Interpretation
Nancy Wolf, Director of Operations Facilities
The Walt Disney Company
The Museum is very grateful to The Walt Disney Company for its
generous lending of exhibition material and, in particular, to the staffs
of the Company Archives and Photo Library, the Animation Studios
Research Library, the Imagineering Library, and the Office of Corporate
Communications for assistance with content development.
The Walt Disney Family Museum LLC and the Walt Disney Family
Foundation are not affiliated withThe Walt Disney Company.

WITH GARNER HOLT PRODUCTIONS, INC.
Your show. Our business.®
Congratulations to
tonight’s winners!
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Beyond All Boundaries
by Judith Rubin
Since opening in November 2009, the
National World War II Museum expansion
in New Orleans has drawn glowing acclaim
and healthy visitor numbers. The new,
70,000-sq.-ft., $60-million complex’s venues
are The Solomon Victory Theatre, Stage
Door Canteen, and The American Sector
restaurant: the first phase of a $300-million
project to develop the museum’s six-
acre campus, set for completion in 2015.
The grand opening celebration included
a retrospective honoring the museum’s
founder, the noted historian Stephen E.
Ambrose.
The central feature of the redeveloped
museum is the 250-seat Solomon Victory
Theatre,the home of BeyondAll Boundaries,
a 45-minute, 4D multimedia show that tells
the story of America’s experience of the
war and endeavors to preserve the voices
of WW II veterans and eyewitnesses. “It
was in one of our several iterations when
we sat down with Tom Hanks and he
suggested, ‘Could we tell this in the voices
of the people who were there?” recalls
show producer and creative director Phil
Hettema.
Tom Hanks was Beyond All Boundaries
executive producer and the Dr. Gordon
H. “Nick” Mueller, museum president/CEO,
was producer. With Hanks doubling as
narrator, the show features an all-star voice
cast including Kevin Bacon, Blythe Danner,
John Goodman, Neil Patrick Harris and
Gary Sinise.
The theatre’s raked seating is cocooned
snugly within the curve of a projection
scrim 115’-wide by 28’-tall. Giving depth
to the illusion are special effects that work
in concert with the action onscreen, and a
host of physical props that are revealed by
lighting when they fly overhead or emerge
from the pit.Additional projections appears
on a secondary screen about 25’ behind
the main scrim and three smaller screens in
front that raise and lower from the pit.
The dramatic scale of audience to screen
was part of the core concept for putting
people in the middle of the experience.
Theatrical scenic and set pieces were part of
the concept, so the creative team exercised
theatrical license, approaching each scene
thinking what they’d do in a traditional
theatre environment rather than a film
documentary. Elements of the film were
considered as cinematic representations
of theatrical elements - such as scenic,
lighting, and performers - and images were
conceptualized as being projected beyond
the plane of the screen,as if the screen were
a proscenium. The aesthetic was painterly,
rather than photorealistic. The rich color
palette, perspective, and POV were based
in dimensional physical space rather than a
2D screen. Performers were shot on film
and composited into a scene most often
at a 1:1 scale, to appear life-sized. At the
same time, the real-world physics of actual
theater did not constrain the process.
The Normandy D-Day landing is the most
elaborately realized battle scene. The film
imagery interplays with physical set pieces:
five tank traps rising up from the pit.
Other sequences are fully CG-animated,
the biggest of which depicts US B29s
firebombing Japan from the viewpoint of
someone inside the plane, accompanied by
Jesse Eisenberg’s reading of a graphic quote
from a veteran who had been there. The
creative team were vigilant in curatorical
accuracy – making sure material was
Judith Rubin (www.judithrubin.blogspot.com is a freelance editor and publicist specializing in the Experience
Industry. She is TEA publications editor.
This article is excerpted from the original version in LightingSound America magazine, published by PLASA.
Reprinted with permission. Visit www.lightingandsoundamerica.com.
Images on the screen combine with effects in the theater to draw guests into the drama of World
War II at the National World War II Museum’s Beyond All Boundaries show in the Solomon Victory
Theatre. Photos courtesy of the World War II Museum.

vetted by historians.The tools of 4D were
applied in moderation, to create setting
and emotion and enhance the theatrical
suspension of disbelief: It wasn’t a ‘ride,’ it
was placemaking.
Custom-made set pieces include the B-17
bomber nose section for the scene in which
the front fuselage of the plane travels down
from the catwalk into the theatre space.
The scene is a big factory. A worker waves
to a crane to bring in the nose cone for a
big bomber.The prop comes in and mates
with the screen.
Other dramatic props that enhance the
sense of authentic immersion are the tank
traps for the Normandy beach scene.
During the D-Day sequence, 3D tank traps
rise up from the pit on mast lifts, coming
into view in front of the scrim.At the same
time, behind the scrim, 2-D ones go up and
down on a pneumatic, counterweighted
mechanism.They sit onstage at right angles
to the audience, behind a 6‘wall.
Another formidable element is the
Auschwitz guard tower scenic that rises out
of the pit in front of the scrim, and others
that raise and lower theTokyo skyline scenic
profiles behind the scrim.
Several key project creatives were involved
a couple of years before their contracts
were formalized, helping set preliminary
budgets, talk over preliminary designs and
ultimately sell the project to the museum.
Doing prep work, ‘on spec’ before the
job is actually awarded is a calculated risk
that attests to the high level of trust in the
business relationships around Beyond All
Boundaries.
This automated theatrical presentation,with
its layers of projection, effects and surround
sound also has layers upon layers of control
to deliver the experience again and again
with precise timing and sequencing. Control
consoles and data distribution systems
run a host of fixtures and other devices
producing or contributing to effects such as
the choreographed searchlight sequences,
the nuclear explosion (simulated with
sound, wind, vibration and strobes), the
snow effects, and more.
“The National World War II Museum must
collect, record and pass on their stories
for the next generation,” says Phil Satre,
chairman of the Museum’s national board of
trustees. With experiential exhibits such as
BeyondAllBoundariesbackedbycollections,
the museum is endeavoring to bridge the
gap between the “Greatest Generation”
that is now fast dying out and the younger
generations of today and tomorrow whose
connections to and understanding ofWorld
War II may be tenuous--in contrast to many
of the creatives on these projects, whose
parents or grandparents experienced the
war. Phil Hettema’s own personal tie was
a powerful one - his father, David Hettema,
was an Air Force pilot in the war, flew B-17s
and conducted 30 missions over Germany.
But like many World War II vets, he rarely, if
ever,spoke of his experiences with his family.
The museum afforded him and many others
the opportunity to share their stories.
Congratulations to the National WWII Museum and
The Hettema Group for Beyond All Boundaries!
Experience Media
wow.
Iconic Creative, Media and Projections.
wow.mousetrappe.com
at the National WWII Museum
Media Design Production Wow by Mousetrappe
for The Hettema Group with Executive Producer Tom Hanks

SolomonVictoryTheater
The National World War II Museum, New Orleans, LA, USA
(Museum Attraction)
Narrated by Tom Hanks
Featuring the voices of
Adam Beech: Pvt. Ira Hayes; 2nd Lt. Daniel Inouye
Kevin Bacon: Robert Sherro,Time Magazine Correspondent
Corbin Bleu: Eddie W. Robinson; Sgt. Dan Levin
Patricia Clarkson: Marguerite Higgins, NewYork HeraldTribune
Correspondent
Kevin Connolly: Donald Sanborn; Pvt. Raymond Howell
James Cromwell: Maj. Gen.Alexander ArcherVandegrift; Fleet
Adm.William Halsey
Blythe Danner: Elsa Maxwell, NewYork Post Columnist
Viola Davis: Hortense Johnson,Arsenal Worker
Jesse Eisenberg: Lt. Fiske Hanley; Sgt. Benjamin Mckinney
Jennifer Garner: Kate Grant, Ship Welder; Carol Lynn Heggen, Red
CrossVolunteer
John Goodman: Capt. Edwin Simmons
Neil Patrick Harris: 1st Lt. David Hettema; Sgt.William Manchester
Jay Hernandez: Manuel CastroVara; Lt. J.T. Shea
Emile Hirsch: Pvt. Don Jackson Benedict; Cpl. Gordon Carson
Kevin Jonas: Mike Mervosh
Tom Kane: Edward R. Murrow, CBS News Correspondent
Justin Long: Cpl. James R. Garrett, Sgt. John H. Morris
Tobey Maguire: Pvt. George Strang
Joseph Mazzello: Pvt. Eugene B. Sledge
Paul Mccrane: Pvt. KurtVonnegut
Daran Norris: 1940’s Newscaster
Wendell Pierce: Sgt.Thomas McPhatter
Chris Pine: Hanson Baldwin, NewYorkTimes Military Editor; Sgt.
Bill Reed
Brad Pitt: Sgt. Bill Mauldin, Editorial Cartoonist, Stars And Stripes
Giovanni Ribisi: 2nd Lt. Paul Fussell
William Sadler: Lt. Colonel Lewis B.“Chesty” Puller
Hans Schoeber: Joseph Goebbels, Reich Minister Propaganda;
Hermann Goering, Reichsmarschall
Sab Shimono: Japanese Prime Minister Konoe Fumimaro
Gary Sinise: Ernie Pyle, Correspondent, Scripps-Howard News
Service
Elijah Wood: Corp.Wilfred Hanson, Capt. John C. Chapin
Production Credits
Tom Hanks, Executive Producer
The National World War II Museum, Dr. Gordon “Nick” Mueller,
Producer
The Hettema Group, Concept, Design Production
Phil Hettema, Show Producer, Creative Director
Chris Ellis,Writer
Historical Consultants Co-Writers:
Dr. Gordon “Nick” Mueller, Dr. Don Miller, Hugh Ambrose
David Briggs, Director
Bruce Broughton, Music Composer
Project Directors:
The National World War II Museum, Bob Farnsworth,The
Hettema Group,Anthony Pruett
Allison Diamond,Asst.ToTom Hanks
Research Team
The National World War II Museum
Seth Paridon,Tom Czekanski, Joey Balfour,Tommy Lofton
The Hettema Group
Diana Cimadamore, Laura Colon, Corrine Cunningham

Media Production
DougYellin, Producer
Daren Ulmer, Production Design
Susan Beth Smith,Assoc. Producer
Mousetrappe, Inc.,Visual Effects/Post Production
Tim Williams, Music Scoring And Conducting
Bob Wackerman, Paul Freeman/Audio ByThe Bay LLC, Sound
Design And Production
Yael Pardess,Art Direction
Theatrical Production
Daniel Ionazzi, Scenic Design
StevenYoung, Lisa Passamonte Green, Michael Mahlum/Visual
Terrain LLC, Lighting Design
Paul Freeman,Audio Sound Design
Bob Chambers/It’s Alive Co.,Technical Supervision
Susan Cummings,Technical Manager
Technical And Production Credits
Jason Mckinley/Radical 3d, 3d Animation
Cedar Conner, Lead Compositor
Matilda Production Services, Inc., Media Production
Technical Production Special Effects:
L.A. Propoint, Inc
Electrosonic Systems, Inc.
Soundworks
Bandit Lighting
Rando Productions, Inc.
Artistic Entertainment Services, LLC
Additional Production Credits
Lisa Nash, Consultant Project Director
Judd Nissen, Installation Project Management
Matt Sweeney, Project Coordination
Curtis Porsche, Site Coordination
George Wiktor, Gus Stone, Production Development
Jerome Sirlin, Concept Production Design
Kalmenson Kamelson, Casting Services
Kabuki Productions, Inc., SAG Signatory
Licensed Still Images Provided By:
AP Archive; Buyout Footage; Corbis; Footagebank; Galveston
County Daily News; Getty Images, Inc.; HBO Archives;
Indiana University School Of Journalism; Library Of Congress;
National Archives; REDA Archives; U.S. Latino Latina Oral
History Project; Nettle Lee Benson Latin American Collection;
University OfTexas At Austin;YadVashem; Special Collections,
Yale Divinity School Library.

Disney California Adventure’s
World of Color
by Kimberly Rily
Filled with magic and music, light and color,
and lots and lots of water, Disney California
Adventure’s World of Color is more than just a
nighttime spectacle. It’s a journey through the
history of Disney’s greatest creations.
Anticipationbuildsandthecrowdsassemble.
Thousands of people gather together from
across the world, waiting for the show to
begin. The lights go down, and the curtain
goes up. But this is no ordinary theater, no
red velvet curtain on an indoor stage.This
curtain doesn’t hide the show;it is the show
– a chorus of color for the ears and eyes,
inspired by Walt Disney’s classic 1960s TV
program,“Wonderful World of Color.”The
curtain dances, a beautiful spray woven
from water, light and color, and Tinker Bell
starts the show.
This is a spectacle of sheer magnitude:
World of Color includes nearly 1,200
programmable fountains with top heights
ranging from 30 to 200 feet. Lighting,
color intensity, water angle and height are
all controllable. Each fountain is capable
of changing to millions of different colors.
There are 18,000 points of show control.
There is a water screen 380 feet wide and
50 feet high—a surface area of 19,000
square feet. Imagine a stadium of people
surrounding something the length of a
football field.World of Color is longer.
Adding to the spectacle of color and sound
are favorite Disney and Pixar characters.
Starting with the aquatic characters, the
Little Mermaid shows up, apropos for the
arena that will soon host Ariel’s Undersea
Adventure and currently hosts Ariel’s
Grotto.Then the interactive elements begin
as the bubbles surrounding Ariel under the
sea fall from the sky. Children and adults
alike cheer for every succeeding character.
Ariel’s bubbles transition to Crush and
Squirt’s bubbles from Finding Nemo, and
Finding Nemo’s whale takes us to that of
Fantasia 2000.
But the World of Color does much more
than spray droplets in the air and project
our favorite characters onto water. The
Ferris wheel overlooking the lagoon,
Mickey’s FunWheel,joins the fun as it bursts
into color in perfect synchronicity with the
exploding water. In addition to the Ferris
wheel, several round projection screens
pop up throughout the lagoon, turning into
planets for Wall-E, and fully-animated Aliens
for theToy Story characters.A new musical
score was composed,tying together movies
and characters from different decades,from
modern pop to classical styles.
New animation was completed for new
scenes from old favorites. The more than
ten-year-old Bug’s Life character, Heimlich,
was fully re-animated to be consistent with
today’s standards and technology.All sorts of
different animation is included in this show.
You’ve got cartoons like “The Old Mill”
combined with Pirates of the Caribbean
from the 21st century, original hand-drawn
animation combined with C.G. There are
also completely new Finding Nemo and Up
animation sequences, including a Mickey
balloon.
Water is not just a toy with which to play; it
becomes the architecture, the structure of
the show.At times the water and projection
seem as solid as a building. Sometimes the
water is layers of screens;sometimes it lights
Kimberly Rily (kimrily@yahoo.com) is a Contributing Writer and Assistant Editor for InPark Magazine. Always
focused on family fun, she had two children with her husband Mitch just so she can go on kids’ rides. A
professional writer and editor located in the Los Angeles suburbs, she is always looking for new adventures
and new writing projects on the West Coast.
Disney’s “World of Color” brings new nighttime excitement to Paradise Pier at Disney California
Adventure. This nightly panorama of spectacular water effects, colorful lighting and music will
bring Disney animation to life with an entirely new creative and technical approach.Photos courtesy
of Disney Enterprises, Inc.

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