The first was that Walt Disney Productions in the late 70s/early 80s was populated by a group of executives and designers who were True Believers in the School of Walt. CEO Card Walker and Parks & Resorts chief Dick Nunis placed operating by Walt Disney's tenets (Innovation, Quality will Out, etc.) as the primary mission of the Company and ahead of executive or shareholder enrichment (or that the latter would arrive because of the former). The Company was a lot smaller and leaner than today's massive conglomerate and could focus its energies on a few key endeavors.
The Imagineers responsible for EPCOT Center were not creating Walt's original vision of an actual, working city of the future, but their decades with the Company and personal connection to the Disney Brothers made them well-versed in the principles behind that vision. In many ways, the art of the theme park design has improved since those days. However, theme parks are most often used today as a means to an end: that end being synergizing with or marketing some other type of saleable media with much higher margins or a built-in audience. But EPCOT Center eschewed all of that. It was the end in itself.
The second, outside factor that created EPCOT Center was the zeitgeist of the period: it probably only became clear in retrospect, but a renaissance in the American spirit & energy was underway that would manifest itself with the re-birth of the idea of American Exceptionalism and the high-times of the Reagan Years. The blue chip corporations that would sponsor the various pavilions were still viewed with pride by the public and became important partners in EPCOT's earnest and patriotic vision of American innovation. This collaboration was right up Walt's alley.
Personally, EPCOT Center was the focal point of our family WDW vacations in the 80s and 90s, with MK becoming an afterthought. The scale of the entire park was mind-blowing and the standard ride on display was characterized by being slow-moving, highly-detailed, lengthy, having a recorded-spiel; multi-media; multi-sensory; audio-animatronic-filled; intellectual; past-present-future-based; musical; optimistic; featuring no-IP. This is type of attraction held particular appeal to my young self. Some of my all time favorite E-tickets were in close proximity: Horizons, World of Motion, The Living Seas and Spaceship Earth, along with a favorite D-ticket: Maelstrom. From this list you, can understand my sadness and bitterness about the evolution of the park. Parks evolve... sometimes for the better, sometimes for the worse. It is the great attribute & drawback of the artform.
Suffice it to say, even though a significant amount of physical EPCOT Center still exists as it did in the Golden Age, somehow that original Spirit & Soul that made it my favorite park has been amputated (although vestiges can still be felt in small, overlooked corners such as the ascent scenes of Spaceship Earth). This illustration shows my vision of EPCOT Unspoiled. It is how, if history could be re-written, I might like to see EPCOT Center developed over its 35 year history:
FUTURE WORLD CENTER:
The fountain hub of the park would be clean and uncluttered and put a heavy emphasis on Nature, framed by spare, monumental CommuniCore buildings. The CommuniCore interactive displays, shows and exhibits could be regularly-updated by the Company and its partners to reflect a myriad of future developments in technology.
FUTURE WORLD EAST
For me, if an attraction attains a certain level of excellence and Classic status (e.g. DL's Haunted Mansion, MGM's Tower of Terror, Paris' Pirates of the Caribbean, etc.) you can make some enhancements and technology upgrades, but you never mess with it too much - particularly when there are so many better options to create new audience attractors (i.e. in place of non-classics or expansion areas). You need to keep what makes a great attraction, great. Two EPCOT attractions in Future World East easily deserved this untouchable status but are now gone. In my illustration they proudly endure.
For me, the first cracks in the Company's approach to EPCOT Center appeared with the Wonders of Life icon. This is a small thing, but I've always wondered why its Vitruvian Man icon didn't match the simple but ingenious style of all the others of the park. It seemed something was askew. Regardless, this plan leaves out the Wonders of Life (maybe a future development) and moves its cabin simulator style ride across Future World.
Universe of Energy could get a completely new show 10 years after its 81 debut (sans Ellen).
I've never been a fan of the low, hexagonal architecture that marks Tomorrowland Terrace and the Odyssey Restaurant. So it gets torn out for a natural arboretum featuring the flock of pink flamingos that once populated this area.
FUTURE WORLD WEST
My initial thought in drawing this park was to put in the much more interesting-looking concept for a crystalline pavilion (above) with a balloon ride over various biomes in place of what became The Land. Additionally, Soarin' has never fit the actual theme of The Land (Agriculture and the Environment), but I think if a dedicated aerial film were made over the earth's various biomes (e.g. Tundra, Boreal, Savanna, Rainforests, Deserts, etc.) as well as agricultural and damaged areas, then it would be a fitting substitute for the Balloon Ride. The focus of the pre-show and ride film would need to be on the natural environment as opposed to human landmarks such as the Taj Mahal or Great Wall to make it work within the pavilion.
Journey to Imagination goes back to its classic original form, with regular technology upgrades to the ride, ImageWorks and Magic Eye Theater. No brainer.
The Living Seas also returns to its original, toon-free form. From Seabase Alpha, much like Soarin' today, Guests could decide to queue through a bridge to a new simulator building for a semi-thrilling scientific expedition to the ocean depths. One enters and exits the pavilion through Hydrolators once again.
The first thing you may notice is that I left a number of Country Pads undeveloped. I did this because I like greenspace in theme parks, and because with everything I've added, combined with live, cultural entertainment in each pavilion, EPCOT Center is already a multi-day park without filling up World Showcase. While I didn't add big E-tickets such as Mt. Fuji or the Matterhorn as I have in past plans, each pavilion gets a D-ticket level attraction on the scale of American Adventure or Maelstrom.
As in the Golden Age, there are no M&Gs or toons of any sort in this version of the Park, save for park-originated ones like Dreamfinder & Figment or perhaps the circling OmniBus of general characters. EPCOT Center aims higher than being "a Disney Experience" as the Company defines it today, and as such, distinguishes itself from Magic Kingdom or the Studios. I may eventually draw a version of the Coming Epcot, where each country features a ride based on the most closely-associated Disney-Pixar characters.
Mexico: Reverts to a simpler time with El Rio losing its toons and the waterfront losing the current restaurant for the original small scale Cantina.
Norway: Maelstrom was easily the best ride in World Showcase for me (crushing its only competition, El Rio) and gave me that PotC feeling (AAs, cool environments, drop), but on a D-ticket, versus E-ticket scale. I would have liked to see it altered to delete the Theater (move the film to the queue) in favor of an additional show scene.
China: While it would look the same from the outside, I opted to change out the CircleVision theater (maybe for the 25th Anniversary of the park) and adapt its queue to a new darkride that examines China's history and landscapes in the stylized storybook view of a Panda named Pagoo. This would be another park-originated character like Figment.
Russia: Since sub-Sahara Africa is well-represented in Harambe, I opted for the Russia pavilion, as designed by WDI, for the only new country. It has a multi-media show similar to American Adventure, dining & cultural venues and a C-ticket darkride based on a Russian folk-tale. This Pavilion could come online in 2010.
Germany: Again, I added the intended-but-never-built Rhine River Cruise. I have tried to vary the show mechanisms (e.g. small flume, omnimover, boatride, darkride) for each of these proposed additions so that one style doesn't become overly represented. Ride added to the pavilion in 1995.
Italy: The rear of the pavilion loses the pizza restaurant in favor of a roman facade that leads to a suspended darkride (DaVinci?) that showcases some major eras of Italian history (Etruscans, Roman Empire, Renaissance, Papal States, etc.). The height of the showbuilding is masked by a reproduction of the dilapidated Coliseum (akin to France's Eiffel Tower). Ride added in 2015.
American Adventure: Added restrooms gone in favor of old herb garden.
Japan: Japan currently beats out the Tangled Bathrooms for "Coolest Facade with No Attraction Behind It". Here, I assigned a darkride that looks at the Shogun/Samurai period of Japanese history. Ride added in alt-universe 1993.
Morocco: Morocco is a brilliantly-rendered environment and in this version of EPCOT gets a darkride to accompany it. The ride would look at the North African desert culture and folklore. Ride added in 2012. Also, the waterfront is returned to its original form with irrigated citrus grove.
France: France gets a boat ride that takes riders into the famous Catacombs of Paris to have encounters with some literary characters and moments made famous by Victor Hugo. Ride added in 2000.
United Kingdom: A large showbuilding disguised as the Crystal Palace hold an American Adventure style show on the long and varied history of Great Britain. Ride added in 1997.
Canada: Once it finishes its 12-year run, the original CircleVision theater would be replaced with a small-drop-flume that mirrors Maelstrom, re-adapting the rockwork and waterfalls out front.
Again, these additions and changes would take place steadily over 35+ years, so the park would constantly feel like it is growing and improving with age.
MAP OF THE MONTH CLUB: If you have any inkling to support the work you've seen on this site, consider it art, want to see the details not visible in the online versions, and/or want more maps made available in the future, you may consider buying a canvas print for $50 (not including printing & shipping, which can add quite a bit (at least $30 (discounted) to print an 11'x14' canvas)).
Printing on canvas gives a nice painterly/watercolor effect to the plans, forgoes any need for framing, and the larger sizes (11x14, 16x20) show a good amount of the minute detail I put into each. Each month, there will be a new map released and I may also be open to releasing some maps of the last year or so (going back, but not prior, to this post) for purchase. Email (at left under About Me) for orders or inquiries.
Here's an unboxing video of this Month's map: