Balancing Education and Entertainment in Zoo Design

By Cray Shellenbarger Zoo design is as difficult a task as any.  We attempt to set criteria based upon needs of animals, visitors, zoo staff and zoo administrators.  One of the biggest issues I see is the balance between education and entertainment.  Zoos generally advertise themselves as promoting education and conservation, but as designers we cannot forget that a large number of attendees come to be entertained.   It is the job of the design team to educate the public about conservation and the individual animals in a variety of creative ways.  Oftentimes, it is better to be subtle with our techniques so that patrons do not feel that they are being bombarded with information.   I believe that by creating more immersive, interactive and technologically advanced exhibits we can achieve the goal of educating the public, and perhaps pick up a few added benefits along the way.

By creating an immersive, realistic environment for both the animal and the guests, the exhibit is passively conveying information.  By incorporating lifelike materials with ambient sounds and water as appropriate, the guest is gaining an understanding of the animal’s habitat and ultimately its place in the ecosystem.  The guest can be provided a few visual cues to make points, instead of being forced to read text.  These exciting elements may have a better chance of sticking with the guest compared to text that is often passed by.  Materiality is also very important in immersive environments.  By incorporating real rock, landscape or sand as opposed to murals or other less genuine methods, the guest can better understand the environment.  Obvious barriers can also inhibit the engagement between animals and guests.  Hiding these within landscape can add to the sense of immersion and, ultimately, optimize the educational experience.

Creating an immersive exhibit will provide the animal with a more natural environment.  Along with naturally appropriate enrichment techniques, we can begin to correctly portray the animal’s native behavior.  Enrichment ideas and any necessary training should avoid anthropomorphizing of animals as much as possible.  Many people associate animal’s behaviors with human behaviors and emotions when these, depending on the animal may be very different.

Along the same lines as immersive exhibits, I think it is of great importance to include as many interactives as possible.  Humans learn by doing.  If we can provide some kind of activity that indirectly exposes the user to information about animals or conservation it will be successful.  These can range from touch experiences to puzzle type exhibits.  I think that zoos see the importance in these now,  but by adding more, we can really enrich the educational and entertainment experience simultaneously.  A recent example is a high-tech exhibit touch screen wall at the Pittsburgh Zoo.

The last and arguably most important aspect is our fast growing mobile technology.  I think it is imperative that we begin to capitalize on the interconnectivity of nearly every zoo guest.  It is rare to see a visitor without a smart phone or tablet.  Some theme parks have already begun to incorporate applications that can be loaded onto these devices to engage and interact with the guest.  One example is the application that Sea World Orlando launched for its Turtle Trek attraction.  This interactive game allows users to portray the characters and create a personalized experience.

This idea can be utilized from more than one angle.  Ads and sponsorship could be incorporated to help cover the initial cost of launching as well as produce continued revenue generation over time.  The application could also help motivate guests to explore exhibits outside of the big attractors.  This would have an effect on guest flow, but could help balance the people per minute at any one exhibit.  Educational elements of this kind should be incorporated as well.  There are countless ideas that could be incorporated that could help balance education and entertainment while generating additional revenue for the zoo.

By building immersive, interactive, and technologically advanced exhibits, we can further engage the guest.  This engagement comes with the added benefit of conveying more knowledge while creating a more entertaining experience and generating revenue.  The emerging technology is a powerful tool that we should use to our advantage.  The Zoo is constantly advancing, both from a guest and business perspective.  The zoos of today are very different from 60 years ago, and they will no doubt be vastly different 60 years from now.

Cray Shellenbarger is from central Illinois and attended Southern Illinois University earning both Bachelor's and Master’s degrees in Architecture.  His thesis focused on human perception of space, specifically in regards to religious architecture.  In his short time at PGAV, Cray has worked on a variety of projects at PGAV including several animal habitats.  cray.shellenbarger@pgav.com

Visitors: An Overlooked Species at the Zoo

By Eileen Ostermeier

Zoos have long been at the forefront of animal research, but only recently have they started conducting studies on another important but relatively overlooked species:  their visitors.  For decades, museums, science centers, theme parks and National Parks have been studying their visitors – long before the practice was seen as useful in the zoo world.  Yet in this age of information, with competing attractions vying for attention, visitor studies are more useful than ever.  Moreover, ever-accelerating technological advances and new methods of gathering and analyzing data have made it possible for Zoos to gain a greater understanding of their visitors than ever before.  But more research on visitors is needed, generated not just by Zoos and their umbrella organizations (like the AZA) but also by zoo designers themselves.

Why Conduct Visitor Studies?

Why should zoos and related organizations study zoo visitors?  Organizations (like the AZA and EAZA) that are dedicated to the advancement of zoos should use visitor studies to evaluate whether and how zoos are meeting the broad goals of conservation, research, education and recreation.  The AZA recently conducted a broad, multi-institutional study, Why Zoos & Aquariums Matter:  Assessing the Impact of a Visit to a Zoo or Aquarium (AZA, 2007), which focused on the impact of zoos on conservation knowledge, attitudes and behavior.  In essence, such studies help justify the existence of zoos.  Individual zoos, meanwhile, should study visitors to measure the impact of their messaging and to evaluate whether their institution is meeting its stated goals.  And from a practical standpoint, zoos could use visitor studies to increase revenue generation and to improve the economics of zoo business.

But what about the role of zoo designers?  Traditionally, most visitor research has been conducted by the institutions themselves.  Recently, however, designers are taking a more active role in studying how visitors behave in and respond to zoo exhibits.  PGAV Destinations, for example has not only conducted market research on zoo visitors but has also sent its designers into the field to conduct timing and tracking studies on zoo visitors.  Fueled with hard data and facts from their studies, designers are making more-informed decisions about exhibit design.  Moreover, such studies can inform all stages of design, from early concept work and master planning to the detailed design of specific exhibit elements.  Visitor studies allow designers to more-fully understand the impact of various factors on visitor behavior.  For example: designers might test the impact of path width on crowd movements and density, or the correlation between the length of a viewing window and length of stay, and so on.  Visitor studies also help set realistic expectations about visitor response to new exhibits (dwell time, level of engagement, etc.).  In fact, the predictive power of visitor studies is arguably their most useful benefit.  Visitor studies can be used not only to test design decisions and to determine the relative success of existing exhibits but also (and perhaps more importantly) to inform the design of future exhibits.

What Studies Exist?

Who can we learn from?  Historically, museums, science centers and National Parks have conducted detailed visitor studies.  In fact, much of the current information regarding visitor behavior is taken from the museum world, where researchers are constantly evaluating the success of their exhibitions.  Further afield, researchers should learn not only from the work of traditional research outlets (like educational psychology, sociology, and environmental science) but also from more unexpected disciplines (like marketing and consumer research).  As an example:  one researcher noted the similarity of zoo visitor studies to his own research on shopping behavior in grocery stores (Yalowitz & Bronnenkant, 2009).  Finally, Theme Parks and similar entertainment destinations – with particular strengths in quantifying visitor flow, tracking & timing, and revenue generation – are a vast and relatively untapped resource in the Zoo world.

In the past couple of decades, Zoos have started conducting their own visitor studies.  Organizations have begun compiling resources and developing literature reviews, like Visitor Learning in Zoos and Aquariums:  A Literature Review (Dierking, Lynn, et al, 2001-2002).  Of particular note is a recent, comprehensive, multi-institutional and cross-discipline effort by the EAZA to compile a list of relevant visitor studies:  Looking at People Looking at Animals:  An International Bibliography on Visitor Experience Studies and Exhibit Evaluation in Zoos and Aquariums (EAZA Education Committee, 2011).  A particular strength of current studies is the focus on interpretation, education, and the impact of conservation messaging on zoo visitors.

What Studies Should Be Conducted?

Because of their unique position in the Zoo world, groups like the AZA and EAZA should be conducting visitor studies that play to their strengths as broad, multi-institutional organizations.  Such groups should conduct more comprehensive, nationwide or international surveys that bridge the gaps between separate Zoos.  These should include literature reviews, bibliographies, and cross-institutional visitor studies.  Such studies would be particularly useful for comparing the relative success of exhibits at different institutions and for identifying key trends across several Zoos.  They may also serve to establish methodological standards and to encourage Zoos to conduct more detailed studies of their own institutions.

Zoos, meanwhile, should be harvesting a wealth of information about their visitors, with a particular focus on the unique circumstances at their specific institution.  It is important for Zoos to understand what makes their zoo different from others – variables ranging from the demographic make-up of its visitors and its region to the institution’s focus, goals, strengths and challenges.  What works at one Zoo (e.g. a new polar bear exhibit that draws new visitors by the thousands) does not always work at another.  Uniquely positioned to study their visitors, Zoos should use all the resources at their disposal – from the ability to track operational data like hourly attendance and revenue to the dozens of staff and volunteers eager to help.

But Zoos and their umbrella organizations are not the only groups who should study zoo visitors.  Zoo designers should be conducting visitor studies as well.  Such studies should be targeted and detailed, focusing on a specific factor, variable or design criteria the zoo designers wish to better understand through data and facts.  For example, Zoo designers may wish to study the impact of exhibit temperature (say, at indoor cold-weather penguin exhibits) on dwell time, level of engagement, and walking speed.  Or they may study the impact of the size of an underwater viewing window on the length of stay and the number of viewers the window can reasonably accommodate at any given time.  Likewise for other factors like water clarity, animal activity, path width, type of interpretive elements, level of cultural theming, and the like.  Studying the impact of specific design variables should inform future design decisions and lead to better understanding of what makes an exhibit successful.  Tracking and timing studies – those that focus on factors like dwell time, crowd flow, level of engagement, etc. – are particularly useful for designers.  But few zoo designers are currently studying visitors.  Those that are have a distinct advantage over their counterparts.

Issues

Despite the recent insurgence of zoo visitor studies, the field is plagued by a number of issues.  Studies are done sporadically by separate institutions, which are sometimes reluctant to share their results.  Those that are published are often difficult to compare, due to inconsistent criteria, small sample sizes, and idiosyncratic results (usually resulting from poor study design).  This is particularly problematic when trying to evaluate the relative success of different exhibits at different institutions.  Fortunately, several researchers have made recommendations regarding methodology and indicators for comparison – including dwell time and the Sweep Rate Index (SRI), which standardizes for different exhibit sizes (Yalowitz & Bronnenkant, 2009).

A bigger issue may be that most of the current research is focused on visitor education, to the neglect of other, important areas.  Though a lofty goal, Zoo visitor research should focus on more than just conservation messaging.  Besides asking what their visitors are learning, Zoos should also ask questions like:  “How can we improve the visitor experience beyond communicating our message?  How well are we entertaining as well as educating?  Are we generating sufficient revenue to meet our future goals?”  Revenue generation, though perhaps less esteemed than interpretation and messaging, is absolutely essential for the Zoo to meet its other goals.  Detailed visitor studies can inform everything, from dining menus and the location of food carts or retail (e.g. was that gift shop at the end of the exhibit useful?), to opportunities for high-end experiences, like tours and one-on-one interactive experiences with animals.  And most importantly, Zoos should be asking “What’s next?” and looking to the future, of not just their institution but of zoo design itself.

Trends and the Future of Visitor Studies

Researchers of visitor behavior should look to the future for new ideas, including new methods of collecting and analyzing data.  Technology is increasingly being used as a tool for understanding visitor behavior.  Researchers can now use videotaping, hand-held digital devices or software systems for recording and analyzing data (including the Noldus Observer and the Museum Experience Recorder system).  Taking this a step further, the Walt Disney Company has reportedly invested more than $1 billion on its so-called “Next Generation Experience” project, a technology and marketing initiative focused on detailed visitor tracking and data-mining.  Soon, all visitors to Walt Disney World will wear RFID bracelets throughout the resort, allowing the company to collect detailed data on individual spending habits, crowd movements and more – a literal “marketing bonanza” (Garcia, 2013).  What’s next?  Eye-tracking software to analyze visitor interest (Ross & Wagner, 2012), or personalized itineraries that visitors can create on digital mobile devices?  The possibilities are endless.

Ultimately, designers should take a much greater role in conducting visitor studies.  Designers may think they know what constitutes good zoo design, but they should confirm their assumptions and back them up with data and facts.  The best way to do this is to conduct detailed studies of zoo visitors and factors that impact their designs.  There is enormous potential to benefit from the wealth of information out there, just waiting to be collected, analyzed and understood.  Designers should take the lead in studying the visitors that come to their Zoos.

Bibliography

Association of Zoos & Aquariums. "Why Zoos & Aquariums Matter: Assessing the Impact of a Visit to a Zoo or Aquarium." 2007. Association of Zoos & Aquariums. Web. 27 December 2012. <http://www.aza.org/uploadedFiles/Education/why_zoos_matter.pdf>.

Dierking, Lynn, et al. "Visitor Learning in Zoos and Aquariums: A Literature Review." 2001-2002. International Zoo Educators Association. Web. 27 December 2012. <http://www.izea.net/education/AZA-Visitor_Leaning_in_Zoos_Aquraiums_Literature_Review.pdf>.

EAZA Education Committee. "Looking at People Looking at Animals: An International Bibliography on Visitor Experience Studies and Exhibit Evaluation in Zoos and Aquariums." February 2011. European Association of Zoos and Aquaria. Web. 27 December 2012. <http://www.eaza.net/activities/education/Documents/2011-02-10%20Visitor%20Studies%20Bibliography%20%20V0.3.pdf>.

Francis, David, Maggie Esson and Andrew Moss. "Following Visitors and What It Tells Us: The Use of Visitor Tracking to Evaluate ‘Spirit of the Jaguar’ at Chester Zoo." 2007. International Zoo Educators Association. Web. 27 December 2012. <http://www.izea.net/education/journal%202007%20following%20visitors%20and%20what%20it%20tells%20us.pdf>.

Garcia, Jason. "Orlando Sentinel." 2013 7 January. Disney reveals NextGen details with 'MyMagic+'. Web. 7 January 2013. <http://www.orlandosentinel.com/the-daily-disney/os-disney-reveals-next-gen-details-20130107,0,6117836.story>.

Ridgway, Stephanie Clark, Margaret Livingston and Steven E. Smith. "Visitor Behavior In Zoo Exhibits With Underwater Viewing." Visitor Studies Today 2005: 1, 3-10. Web. 27 December 2012. <http://ag.arizona.edu/research/azalfalf/pdf_pubs/zoo_visitor_behavior.pdf>.

Ross, Steve and Kathleen Wagner. "Visitor Behavior in Zoos and Aquariums." Connect: Association of Zoos & Aquariums May 2012: 42-43. Print.

Yalowitz, Steven S. and Kerry Bronnenkant. "Timing and Tracking: Unlocking Visitor Behavior." Visitor Studies 12.1 (2009): 47-64. Web. 2012 27 December. <http://www.tandfonline.com/doi/pdf/10.1080/10645570902769134>.

Eileen Ostermeier studied architecture at Washington University in St. Louis and later received her Masters in Landscape Architecture from The Ohio State University, where she focused on habitat design and restoration.  She has been with PGAV for 4 years and is currently working on Safari Africa! at the Columbus Zoo.   eileen.ostermeier@pgav.com

Study Shows Captive Dolphins Benefit from Interaction Programs & Shows

The perceived high level of intelligence in dolphins often makes them the center of controversy, especially in relation to captivity.  Recently, the activism spotlight has focused on the horrific practices in Japanese fishing town, Taiji, where pods of cetaceans, including pilot whales and bottlenose dolphins, are driven into a 'killing lagoon' for slaughter or collection by marine life facilities.  This purported 'tradition' was featured in an Oscar winning documentary (which I haven't brought myself to watch--not enough Kleenex in this world...) several years ago called The Cove, and continues to make headlines (especially on social media like Twitter) as awareness increases.

The secondary goal of the Taiji hunts--collecting specimens for dolphinariums and theme parks--often brings the issue of captivity, in general, under scrutiny.  While I personally do not condone the taking of any animals from the wild--except in extreme cases where the animal will otherwise perish--and I believe the practice to be quickly dying away, many equate all captive facilities with the Taiji methods.  Many activists make the wild leap from speaking out against Taiji to boycotting responsible facilities such as SeaWorld (who, I should note, does a lot of good for wild animals through solid and widespread rescue and rehab efforts).  In doing so, captive collections are unjustly brought under fire--and with dolphins specifically, the issue of interaction programs (such as swim-withs and touches) and shows are often cited as deplorable.

I am here to set the record straight.

A recent study published in Animal Welfare examined the effects of shows and interaction programs on 18 Atlantic bottlenose dolphins in six facilities across the U.S.  The study clearly indicated that these programs did not produce deleterious effects on the dolphins; in fact, the study found an increase in positive behaviors indicating interaction programs and shows are actually beneficial to captive dolphins.  "The increases in behavioural diversity, variation in swimming style, activity levels and play behaviour following both types of programmes are likely a result of the complexity, unpredictability and choices afforded to the animals during these programmes."  In other words, much like the findings in a similar study on giraffe feeding, these programs are enrichment opportunities for the dolphins.

Please note that the participating institutions are all accredited by the AZA, IMATA, and / or Alliance of Marine Mammal Parks & Aquariums--an important distinction indicating these facilities abide by the strictest of standards for responsible husbandry of the animals in their care.  If you'd like to boycott facilities, I suggest you boycott those who do not meet these standards or refuse to comply.

If you'd like to read the study, please use the links above to request a copy from the publisher.

New Year's Giveaway!

Update: Congratulations to Mark! Watch out for more upcoming giveaways. Whether you were counting down the days or holding onto the fleeting moments of good ole' 2012 clawing and scratching like a cat pushed into a crate on the way to the vet's office, we welcome you now into the present...into 2013!  To celebrate, DesigningZoos.com is giving away a 2013 Tigers4ever Wall Calendar!

Tigers4ever is a UK-based charity raising money for awareness campaigns and small conservation projects in India.  Many of their projects focus on educating locals about the importance of conserving tigers, and empower the locals to do so through bereavement payments and in kind donations.

To enter the giveaway, leave a comment on this post! Winner will be randomly selected on January 17--in time for you to get a little use out of the January page...

November Animal of the Month: Chimps

Ah, those gregarious primates who remind us what it means to be human.  They're the perfect capstone species to the year.  (No December AotM) Did you know chimps breed throughout the year--whenever the urge strikes?  Did you know they are altruist and have been seen grooming and cradling rocks?  Find out more--including how large to design a day room and which exhibits to benchmark--by checking out the latest edition of the Animal of the Month fact sheet. Contact me to receive this and all upcoming fact sheets directly and automatically.

Design Resource No Longer Available

Today, to my dismay, I discovered the WAZA website has been updated to remove all sizing and enrichment recommendations from the once-excellent Virtual Zoo.  This resource was great as it collected recommendations from around the world, including AZA and EAZA resources into one simple reference.  I'm not sure why the information was deleted, but assume it was due to the work involved in collecting and maintaining the data.  If anyone can direct us designers to another resource, especially for the oft overlooked non-mammalian species, please let me know! What a sad day for me...

2012: A Year in Zoo Review (and Aquariums, too!)

The new year is just around the corner and like so many, I've put together a list of the year's highlights--from a zoo design perspective. So, on this final Friday of 2012, grab a cup of joe, tea, or a good ole fashioned flute of champagne and follow along as we recount the opening of permanent exhibits across the U.S. in 2012.

Dallas Zoo's Koala Walk-About

Opened in March, the koala habitat--one of only 10 in the US--anchors a series of Australian exhibits including a lorikeet feed.

L.A. Zoo's LAIR (Living Amphibians, Invertebrates, & Reptiles)

Opened in March, this extensive indoor / outdoor exhibit is one of few major new exhibits in many years to focus entirely on the 'creepy crawlies' of the zoo--attempting to make stars out of those species often overlooked.

Tulsa Zoo's Helmerich Sea Lion Cove

Opened in March, the completely re-vamped exhibit area features an integrated demonstration theater.

SeaWorld Orlando's Turtle Trek

Opened in April, this innovative exhibit and 3D theater experience is a renovation of the existing manatee and turtle exhibits that concisely and powerfully delivers a critical conservation message: You can be an everyday conservation hero.

Tennessee Aquarium's River Giants

Opened in April, the 90,000 gallon freshwater exhibit renovation--converted from a saltwater tank--features species that grow to enormous sizes.

Akron Zoo's Journey to the Reef

Opened in May, the collection of aquatic exhibits replaced a temporary jelly exhibit and features a ray touch pool.

Aquarium of the Pacific's June Keyes Penguin Habitat

Opened in May, the habitat provides above and below water viewing for the Aquarium's 12 new Magellanic penguins.

Toledo Zoo's Tembo Trail

Opened in May, the African complex is anchored by a major renovation to the elephant exhibit including improved visitor viewing and greater enrichment opportunities for the animals.

Cincinnati Zoo's Cat Canyon

Opened in June, the exhibit features updated homes for tigers, cougars and snow leopards, and eventually achieved Gold LEED status.

Denver Zoo's Toyota Elephant Passage

Opened in June, the innovative 10-acre exhibit is built for up to 8 bull elephants, along with many other Asian species, and features a series of yards--including an overhead transfer bridge--with a deep pool for full submersion. The exhibit also utilizes Timed Entry--limiting visitor capacity--to ensure a great guest experience.

Saint Louis Zoo's Sea Lion Sound

Opened in June, Sea Lion Sound features an entirely new exhibit--featuring a 'never-before-seen for sea lions' walk-thru tube--and large integrated show amphitheater.

Utah's Hogle Zoo's Rocky Shores

Opened in June, the entirely new exhibit area, anchored by polar bears with underwater viewing, features species new to the zoo including bears, otters and seals.

Discovery Cove's Freshwater Oasis

Opened in June, this new freshwater experience replaces the original Tropical Reef and features in-water viewing of marmosets and small clawed river otters.

Knoxville Zoo's Valley of the Kings

Opened in August, the revamped lion exhibit enriches the habitat and increase visibility for the guests. Baboons were also brought back to the zoo.

Philadelphia Zoo's Great Ape Trail

Opened in August, the first phase of the first-of-its-kind trail system allows apes to traverse the zoo through a system of overhead mesh tunnels.

Peoria Zoo's Australia Walk-About

Opened in August, the new Australia exhibit allows a barrier-free experience among emu, swan, wallabies and budgies.

National Zoo's American Trail

Opened in September, this series of exhibits completely revamped the existing North America section of the zoo, and features a large sea lion exhibit with demonstration area.

Central Florida Zoo's Otter Exhibit

Opened in September, the lovely exhibit with partial underwater viewing is a true jewel for the small, local zoo.

Cosley Zoo's Bobcat Exhibit

Opened in September, the 20' tall exhibit for a pair of bobcats marks the first major capital investment for the tiny zoo in twenty years.

Fresno Chaffee Zoo's Sea Lion Cove

Opened in September, the zoo's new home for their 3 sea lions and 2 seals caused record attendance for Labor Day weekend.

Minnesota Zoo's Black Bear Exhibit

Opened in September, the naturalistic bear exhibit marks the completion of the Minnesota Trails exhibit complex update.

Oklahoma Aquarium's Extreme Amazon

Opened in November, this small exhibit allows guests to pop-up into the habitat of iguanas and Amazonian fish.

Did I miss any? Let me know by commenting below.

Wishing everyone a Happy Zoo Year!

Indy Zoo's Upcoming Orangutan Center

A recent and developing trend in zoo design is the use of trails for animals--expanding the area available for exploration and exercise beyond the typical exhibit footprint.  I believe this trend began with the invention of the  'O-line' at the National Zoo nearly 20 years ago.  The O-line provided a system of transport for the Orangutans between exhibits using their natural behavior of brachiation, and maximized efficiency by utilizing vertical, rather than horizontal, space.  However, over the years, the O-line has supposedly become less utilized by the Zoo due to staffing constraints.  Rumor has it that because the O-line crossed above visitor pathways, keepers were posted below the O-line for safety and clean-up when in use. Recently, the Indianapolis Zoo released plans for an architecturally impressive International Orangutan Center featuring an updated O-line.  It appears this system limits the animals' range over 'people space' and hopefully alleviates some of the concerns of the original National Zoo system.

We'll be discussing the Trails Trend further in the coming months.

Why Master Plan?

master plan quote

A few months ago, I visited with a potential client--who will remain unnamed-- dealing with a complicated case of left-overs.  An older institution with aging and non-immersive exhibits, a disconnected and fragmented campus, and plans in the works for a sister institution.  As we toured the facilities, the director, aware of experiential and logistical issues of his multi-faceted campus, asked how I could help with one specific exhibit.  I smiled and indulged him in some top-of-the-head design suggestions about visibility and theming, but ended by asking, “And what are your plans for this space?” (indicating the mostly unused plaza surrounding the exhibit). “Well, we’re not sure.  We want to change it all.  Eventually.”  

I dropped my notebook to the floor and screamed, “Stop! Don’t touch this exhibit until you develop a master plan!”  I didn’t really do that.  But I wanted to.

What I did do was explain the importance of master planning.  Master plans are essential to the long-term success of zoos and aquariums.  They are tools for exploring and pinpointing issues. They are compasses to keep your staff on track.  They are road maps for the future.

But why, you ask.  Why do we master plan?

To answer the why, let’s look at the how.  Generally, master plans are led and completed by zoo designers, and should include three parts: Analysis, Product Development and Implementation Planning.  Each phase sets the stage for the next.

In Analysis, we look at as many aspects of the park as possible, from your market and penetration to building condition.  We pour over visitor surveys, attendance and revenue records.  We inspect each exhibit and every building.  We talk to staff from maintenance to keepers to administrators.  We gather and analyze, zeroing in on things that you’re doing well and things that are issues.  At the end of Analysis, we create a set of overriding Goals and Strategies for the extent of the master plan.

The Goals are big.  Increase attendance.  Become world leaders in conservation.  Educate our guests.  The Strategies are much more specific—and in direct response to the Analysis.

Brookfield Zoo's Great Bear Wilderness came out of the master plan. From Ragnar Benson Construction

For example, if our goal is to create a financially sustainable organization, some strategies may include adding a new dining facility, increasing appeal of special events rental facilities, or creating budget-friendly new attractions.

These Goals and Strategies inform and guide the Product Development process; they pinpoint specific tasks to be achieved, specific projects to be created.  And in the Product Development stage, we delve into these projects.  We brainstorm and explore multiple options for projects—creating many more ideas than what we could feasibly achieve in the master plan period.  With these options in hand, we systematically evaluate each through the filter of the master plan goals—which often includes market testing.  At the end of the Product Development phase, we’ll have a list of selected projects with conceptual storylines, plans, sketches, imagery and rough estimates.

Tulsa Zoo Master Plan, from Tulsa Zoo

With these projects defined, we finish the master plan by completing an Implementation plan.  This phase allows us to understand ‘how’ to get these projects instated.  We create a phasing plan—when will each project be rolled out?—and a funding plan—how much capital will the zoo need to raise by what dates?  Finally, we create illustrative site plans defining what the zoo will look like at determined intervals (ie every 1, 3, or 5 years).

At the end, the zoo will walk away with a comprehensive plan to achieve specific goals over a set timeline.  Generally, master plans plan 10-15 years out.  Of course, things come up and even the best laid plans get waylaid.  These surprises are exactly why master plans are so important.  Because we spent so much time creating the guiding Goals and Strategies, any new issue that comes up should be tackled through the same lenses as the planned projects.  Of course, Goals and Strategies may be adjusted over the years, but if the zoo finds their strategic outlook has changed dramatically from the master plan…it’s time to master plan again!

“The Master Plan gave us direction to accomplish these goals and puts us on the path to creating a more enjoyable, interactive and rich experience for the future,” said Stuart Strahl, director of Brookfield Zoo.

St. Louis Zoo's Sea Lion Sound project came from their master plan. From St. Louis Chinese American News

Finally, master plans are critical for zoos to move forward—logistically.  Through a master plan, zoos have specific projects to show off, to fundraise for.  The master plan provides essential visual and verbal descriptions that get the market excited and motivated to give.  Not only that, the master plan is a concise definition of who the zoo is (brand today), and where they want to go (brand tomorrow).  It’s a great handbook for employees, and a wonderful platform for marketing.

If your zoo doesn't have a master plan, or its master plan is out of date, the best time to start a new one is right now.

December Giveaway!

Congratulations to Nicole, our December winner! Make sure you don't miss a giveaway by signing up to follow the blog via email. New posts are delivered automatically. Happy holidays!! Hey folks! It's December and the traditional time of giving. And in that vein, I'm giving away a wonderful DesigningZoos.com T-shirt! White organic cotton, ladies tee in size large. Design as below. A perfect gift to yourself or someone else!

To enter the giveaway, leave a comment on this post telling me about your favorite zoo exhibit in the world. A winner will be drawn at random on December 15.

October Animal of the Month: Flamingo

Why does a flamingo stand on one leg? Because if he lifted both, he'd fall over! This is not included in the October Animal of the Month fact sheet about the many species of flamingo, but a lot of other great information is.  Like, how flamingos build their nests, and how deep to build your next flamingo pool.

If you'd like to receive this and all of the upcoming Animal of the Month fact sheets, contact me directly.  I'll get you signed up to receive them.

Minnesota Zoo: Be True to Yourself

The Minnesota Zoo, located in the southern suburbs of the Twin Cities, has long been on my list of must-sees, but especially so after the opening of the much lauded Russia’s Grizzly Coast four years ago.  Of course I would find myself flying to the Great White North a few days before Thanksgiving—what better time of year to visit?  Luckily for me, it was a beautiful, sunny, warm day with just enough visitors to make it interesting.

The Zoo is located near a wildlife preserve and surrounded by residential neighborhood.  The grounds are beautifully wooded with several lakes and wetlands.  Most of the exhibits are new or recently renovated, with those untouched slated for improvements soon.  The Zoo is large enough to fill most of a day (I saw everything except the Farm in a leisurely 5 hours), and is well-organized, avoiding large stretches of nothing to see or having to backtrack.

But what makes the Zoo so interesting to me is its understanding of self.  It’s a very self-aware Zoo.

You may think my next statement is obvious, but its important.  The Zoo is located in Minnesota.  Snowy, cold Minnesota.  This is not balmy Florida.  This is not even temperate St. Louis.  This is a very specific climate.  Cold in the winter.  Not as cold in the summer.  Why is this important?  Let me tell you.

First, climate dictates animal collection.  Many zoos try to shoe-horn species into their collection based on popularity with their market, such as African mammals in Canada or polar bears in the Bahamas.  While this can be done successfully, it is very limiting in that it restricts animal access to outdoors.  This in turn either increases project costs by creating massive indoor exhibits or creates distinct seasonality for the exhibits.  Minnesota Zoo made the decision to feature climatically appropriate species along their outdoor trails.  This means the animals will be active and happy year-round, making for a great experience for those hearty enough to brave the exterior exhibits in winter.

The Zoo has invested in some wonderful indoor exhibits as well--which leads to my next point: Climate dictates organization.  Minnesota Zoo realized that in order to attract any guests at all during the long cold winter, many exhibits would need to be indoors.  Instead of scattering those indoor exhibits along a main path throughout the zoo, the indoor exhibits are clustered around the main entry.  This allows guests to take off their winter coats, drop them into a locker, if they so choose, and spend several hours enjoying the zoo in a comfortable environment.

What’s more, the indoor exhibits are genuinely good.  The Tropics Trail features rainforests from around the globe allowing a broad range of mixed species exhibits-- including a beautiful reef tank featuring the unusual zebra shark and--when I was there--the amazingly popular tank-cleaning diver.

As for Russia’s Grizzly Coast, it is genuinely engaging, featuring many charismatic species including brown bears, sea otters, tigers and leopards in beautiful and complex exhibits.  The rather simple tiger exhibit is huge, and even when the tiger is far in the distance, can easily be seen due to the slope of the exhibit and the elevated, center viewing platform (although I was there when the foliage was dormant, so my experience may be different from others').

Throughout, the Zoo thoughtfully designed places to encourage up-close viewing of the animals.  At the small, but well-executed African penguin exhibit, the exhibit setting extends into the guest space via climbing rocks to allow kids to get face to face with the penguins.  The bear exhibits have dens with windows--and they actually use them.  The cat exhibits are long and skinny so they can be seen even when fully asleep on a rock.

Of course, I am obligated to find some faults.  Overall, my biggest concern was with the interpretives.  They were too heavy with text and generally, not integrated into the thematic story of the experience.  They were in no way terrible; they simply were not up to the level of design of the physical habitats.

My other concern was revenue locations.  This may be a result of visiting during winter when many stands are closed for the season, but I found myself wishing for a nice place to stop and have lunch at the halfway point near the Grain Elevator.  Perhaps a sit down restaurant overlooking one of the lovely spacious exhibits of the Northern Trail, or adjacent to one of the Tiger exhibits would work well.  At the main entry building, the zoo restaurant (a food court) is directly next to another snack stand, Penguin Café, which seemed to me would hurt profits.  I could be wrong though.  And of course, the retail shop is in the wrong spot entirely—located between food court and Penguin Café.  To maximize profits, always locate near the entry--and encourage guests to exit through the gift shop.

Overall, the Minnesota Zoo is a great zoo and highly recommended.  If you live nearby, remember the zoo is winter friendly, so go visit in January.  I swear you’ll be just fine.

Historic Buildings: Obstacles or Opportunities?

By Russell Ploutz Historic zoo buildings are a growing dilemma for zoos, especially older zoos. The historic buildings don’t meet current design standards for animals, but laws require preserve of culturally significant structures. Are these buildings limiting the potential of zoos or seeds for innovation?

The subject of preservation of historic buildings has been on my mind lately after talking with a student researching education at the Buenos Aires Zoo. Many of the zoo’s design challenges are complicated by the numerous historical structures, monuments and paths designated for preservation in the 124 year old zoo. In thinking about the challenges the historical buildings present the zoo, I considered the historic buildings as an opportunity instead of a problem.

The first thought I had was a general design strategy that inverts the current spaces for animals and visitors. The concept designates the buildings and areas for preservation into spaces for visitors while the current people spaces are redesigned for animals. The existing visitor area is freed for animals and exhibits with space for animal enclosures and new support buildings. Since the buildings are easier to renovate for visitor uses than animals, the design strategy may be a more feasible solution than renovating the buildings for new animal standards.

By using the inversion design strategy, the buildings are integrated into the new exhibit environment. As visitors move through the exhibits, the buildings could be used for viewing windows into the exhibits. The buildings could also tell cultural stories and stimulate visitor’s recall of prior knowledge. Additionally, the interior space could be used for large educational exhibits and interpretives.

Reusing historic buildings is not a new concept for zoos. At the Toledo Zoo, the original feline house was reused as a new restaurant. In St. Louis, the zoo converted the historic elephant house into new exhibition space. In addition to adapting spaces for people, the Kansas City Zoo converted a historic building originally used for large mammals to a building for smaller rainforest animals.

Zoos should not feel required to preserve historic buildings due to government requirements, but zoos should want to share their history. Even though the buildings and landscapes may represent memories zoos want to forget, they are a part of their history and our cultural attitudes toward animals. Zoos could use the buildings to tell stories about improving conservation efforts and society’s evolving attitudes toward wildlife.

Not only do structures need new life, but what about the landscapes? How can they be reimagined to contribute to zoo’s conservation efforts? After all, zoos are primarily outdoor environments.

With some innovative thinking historic buildings can gain new life. Ultimately, if the building meets the needs of animals and visitors learn from the experience, is it not a successful exhibit?

Entertaining the Future, Part 1 (AZA, 2012)

One of the most interesting sessions I attended this year was lead by PGAV’s own fantastically enthusiastic designer, Dave Cooperstein.  His specialty within our office is show production, which, you may think, is traditionally confined within the theme park arena.  However, Dave’s point is every show--no matter how small (think: keeper chat)--can tell a powerful story.  It just takes a little planning. Storytelling, as we’ve talked about before on Designing Zoos, is a powerful tool to reach your guests emotionally, on a personal level, and to convey a conservation message.  Storytelling, and thus personal connection, is at the heart of great show production.

Dave suggests that smaller ‘shows’ like keeper chats are excellent ways to connect on a personal level, and can be great theater.  But these connections can be created on any level, from a one-on-one interaction to a mega, arena show.

The critical element is to understand that varying audience sizes should be a strategy within your educational master plan, as each size and scope may more effectively convey a specific message.  Beyond that, providing a variety of show experiences keeps families of all ages and sizes entertained throughout the day which increases satisfaction and encourages repeat visits.

So how can you effectively plan shows for your institution?  Dave suggests a logical approach of goal setting and programming based on a defined set of show production criteria,  such as:

• Theater size
• Concessions
• Performer type
• Music
• Story conveyance

Thorough evaluation of each of these characteristics looks not at the quality level, but at the specific assessment of size, scope, technology needs, staff allocation, etc.  These evaluations will indicate where along the Show Production Scale your shows may fall—with the intention of creating a variety of experiences throughout your park.

Stay tuned for Part II where Dave explores the past, present and future of show production.

Training Butterflies for Interactions

During the AZA 2012 poster session, I came across an intriguing group describing how they've successfully trained butterflies for interactions.  Yes, you read that correctly.  In actuality, "training" is somewhat a misnomer for butterflies; more accurately, they are habituated for handling, and manipulated into long basking periods (by understanding the natural physiology and behavior of the insects). Woodman, Kim and Kassinger have seen the benefits of these increased and prolonged interactions through guest enjoyment, but also by leveraging the experience for revenue potential:  the consistency of behavior allows for guaranteed photo ops.

Learn more about their project and how you can create your own program by reading their full paper here: Butterfly Experiences by Woodman, Kim & Kassinger

Learning in Zoos: Design Guidelines, Part 3

By Russell Ploutz Example projects

To understand how to apply the nine principles and fifty-three guidelines, I designed seven example projects. The projects illustrate how the design guidelines coalesce to create a cognitive experience and shape the exhibit form. For each of the example projects, illustrations and narratives explain how the exhibit engages and facilitates visitor’s learning processes following the design guidelines. Projects like Who is Right?, Help the Otters, and Two Waterways describe exhibit concepts and possible design strategies for using the guidelines such as comparison, decision-making and action-taking.

One example project, Four Lives, centers on the activity of role playing and decision-making. First, visitors choose to be a farmer, poacher or ranger and throughout the exhibit experience situations and information specific to their character. In some situations they make decisions applying their prior knowledge, information presented in the exhibit and their emotions by reacting to the situation affecting their character. The exhibit facilitates the decision-making process by stimulating recall with design elements, guiding understanding with trained actors and engaging advanced cognitive processes. To enable their application of knowledge, the visitor circulation is a network of pathways where at each junction visitors choose a path linked to their decision. The chosen path leads visitors to a new situation embodying the consequence of their decision, providing feedback on their application of learning.

Design Manual

I compiled the example projects, guidelines and background information into an interactive digital document. The interactivity reflects the complexity and interconnected process of learning by providing hyperlinks to related information using a navigation bar. The bar helps the reader navigate the complexity and make connections between related concepts, guidelines and example projects.

Overall, the design manual presents a vision of increased visitor engagement and greater influence of exhibits on learning. It demonstrates how the program, exhibit organization and spatial characteristics can affect visitor’s learning processes. Additionally, the document raises questions about the design approach and extra design processes needed in the design of zoo exhibits for learning. Ultimately, the guidelines have the potential to provide new visitor experiences and design strategies which engage learning processes, helping to achieve zoo’s goal of conservation.

If you are interested in the other example projects, learning more about cognitive processes, and how exhibits can facilitate learning feel free to contact me at russell.ploutz@gmail.com.

Learning in Zoos: Design Guidelines, Part 2

By Russell Ploutz After recalling prior knowledge and preparing visitors for learning, the exhibit and included activities can facilitate learning processes by employing the following principles to improve understanding.

5. Grasp - capitalize on concrete experiences.

The Grasp principle describes how exhibits can most effectively leverage the unique experiences people come to zoos for - personal experiences with animals and nature. Exhibits can use concrete experience to help visitors understand abstract concepts such as ecological processes, critical to understanding zoo’s messages. The principle describes how to coordinate the presentation of abstract concepts with concrete experiences and vice versa.

6. Guide - facilitate meaning-making.

Exhibits can also assist visitors in understanding new information by guiding them in the meaning-making process. The Guide principle describes how exhibits can facilitate understanding with visitor activities and exhibit situations by stimulating additional cognitive processes.

7. Apply - reinforce learning with application.

After understanding new information, exhibits can encourage visitors to use their new knowledge to reinforce the learning. By applying information in new situations visitor’s understanding strengthens with increased contextualization. The Apply principle describes design strategies for visitor activities and exhibit situations promoting application of learning.

8. Transfer – connect information to other situations.

Similarly, the Transfer principle explains how learning is a continual process where people use information from previous experiences and in future ones - the learning experience is but one point in time. This principle explains how exhibits can embrace the dynamic process of learning by making connections to other situations outside of the immediate exhibit context.

9. Individual - facilitate different learning preferences.

The Individual principle describes how the learning process is unique to different visitors. We each have personal preferences for learning and since we control what we engage in zoos, exhibits need to reach the largest audience possible by appeal to many different types of visitors. The principle explains how to employ our choice and control to increase understanding by designing for each of Gardner’s Multiple Intelligences.

Part 3 in Russell Ploutz's series...

National Zoo's New "American Trail"

Appropriately opening on the all-American holiday, Labor Day 2012, National Zoo's newest exhibit, American Trail, features sea lions in completely new digs along with a host other familiar faces in revamped homes.  The $42 million project replaced the existing and quite tired North America region, where sea lions swam in an unnatural-looking bright blue pool.  The exhibit focuses on species with successful conservation stories, such as the Bald Eagle and the Grey Wolf.

The undeniable stars of the new exhibit are the pinnipeds--a mixed group of seals and sea lions sharing their habitat with brown pelicans.  Their exhibit mimics the California coast, and inspired the architecture and materials choices throughout American Trails.  The exhibit features two separate pools, 300,000 and 150,000 gallons respectively, feature a wave machine, and are designed to eventually be switched from fresh water to salt.  Built into the exhibit are three viewing areas--under-water, over-water and split--as well as a small amphitheater for keeper demonstrations on exhibit.  The exhibit currently houses four sea lions and one grey seal, but the Zoo expects to receive another 3 seals soon.

Additionally, the beavers improved exhibit includes a new den that they built themselves--replacing a fully artificial one in their previous enclosure.  The old wolf enclosure has been spruced up with new plantings and dead fall, and viewing has been improved.

American Trail also includes an interactive tide pool for splashing about, and a thematically appropriate dining facility featuring locally sourced and renewable seafood and vegetarian options (managed by Sodexo).

Finally, the National Zoo is a leader in instituting green practices into their new exhibits, and American Trail is no exception.  Great care was especially given to the landscape of the exhibit.  All flora is native, and the design was sensitive to the preservation of the naturally occurring forested areas of the Zoo.

From the Zoo website:

"Green practices incorporated into American Trail include:

• American Trail reused an existing site (formerly Beaver Valley) with lower-impact construction methods, including retaining walls that reduced the disturbance of soils, vegetation, and tree roots and minimize the impact on upslope trees. Next to the retaining walls are small rain-gardens that help manage storm water drainage
• All of the water in the seal and sea lion exhibit is recycled originating from the District of Columbia’s water system. Tap water, however, does not meet the stringent standards for aquatic animal care. A new state-of-the-art filtration system scrubs the water and removes any chemical treatments. The pH balance is adjusted for the animals and filtered a final time using ozone filtration.
• Aquatic life support systems and equipment have been replaced to provide better control of water chemistry and quality.
• Thanks to careful design of the pools and expanded backwash systems, this exhibit uses less than half the amount of water similar pools (designed with standard techniques) would use.
• An ozone disinfectant system will reduce our dependence on chlorine for disinfecting the pool water.
• Low emitting materials, certified wood, materials with recycled content, and regional materials were used to align with Leadership in Energy and Environmental Design (LEED) standards.
• Full cut-off light fixtures will limit light pollution.
• Shading of the pools will keep the water form absorbing so much heat from the sun.
• Heating, ventilation, and cooling of people and animal spaces is controlled individually in each space, to reduce energy use when those spaces are not being used."

This exhibit was designed by Portico Group from Seattle, WA and architects Quinn Evans from Washington, DC,  and constructed by Forrester Construction, from Rockville, MD.  Congratulations to all involved!

The Smithsonian National Zoo has a great Flickr stream of the new exhibit here.

Learning at Zoos: Design Guidelines, Part 1

We at DesigningZoos.com always love guest bloggers and new, insightful information.  So when former PGAV intern, Russell Ploutz, offered to share his thesis project on learning in zoos, I jumped at the chance to share his brilliance with the world.  He has summarized his extremely in-depth and thoughtful project for us, and I'll be posting it via 3 installments.  Without further adieu... Cognitive Based Zoo Design Guidelines by Russell Ploutz

What is learning?

Learning is the process of transforming information into knowledge using cognitive processes - the “mental process that individuals undergo as they think, learn, and perform problem-solving and decision-making activities.”  If humans use predictable processes during learning, how can zoo exhibits engage those processes to improve visitor learning? Insights from cognitive psychology provide guidance for how to facilitate human learning processes, creating fulfilling visitor experiences while achieving zoos’ mission of education.

By researching the fundamentals of learning I developed a set of design guidelines for zoo exhibits which stimulate and facilitate visitor’s learning processes. I created the design guidelines by gathering professional zoo designer’s input, reviewing literature and personal findings resulting in a design manual for engaging cognitive processes. The manual contains three elements: background information synthesizing literature specific to zoo exhibit designers, design guidelines for engaging learning processes and, example projects I designed illustrating the application of the guidelines.

Learning Principles

Fifty-three design guidelines are grouped into nine principles addressing different aspects of learning. Each learning principle contains related guidelines and background information which ground the guidelines in scientific studies. Additionally, the principles contain methods and potential design strategies for employing the design guidelines.

The first principles describe prerequisite cognitive processes to engage prior to transforming information into knowledge. Meeting these initial principles is critical because without their provision learning is unlikely to occur.

1. Identity - learning needs to fulfill our motivations.

For learning to succeed in places like zoos where we control how and what we engage, we need to want to learn. The Identity principle builds on Falk’s work on Visitor Identities describing visitor’s motivations and needs. The principle explains how to fulfill each visitor’s Identity by productively satisfying their social and personal needs with learning opportunities.

2. Attention - we must engage the exhibit.

Once visitors are motivated to engage in learning, then exhibits can assist visitors in focusing on learning content. For learning to occur, we must direct our attention in the exhibit to acquire information. The Attention principle describes how exhibit characteristics can direct visitor’s attention on learning content to engage the information.

3. Inform - we need to know how to engage.

In addition to directing visitor’s attention on learning content, exhibits also need to inform visitors as to how they can engage in learning. If we do not know how to engage the exhibit, how can we learn from the exhibit? The Inform principle explains how exhibits can directly and indirectly notify visitors of learning opportunities.

4. Recall - we use prior knowledge with new information.

Once visitors are prepared to learn the exhibit can facilitate one of the most critical aspects in learning, the recall of prior information and experiences. We use our past experiences to understand new information and situations through contextualization. This principle explains how exhibit elements and design characteristics can evoke past memories helping visitors understand new information.

Stay tuned for Part 2 and Part 3...

AZA 2012 Day 5: Small Zoos, Big Conservation Impacts

My last day at the conference.  I'll admit I was up too late sharing cocktails with colleagues the night before, and the intensity of the conference was starting to catch up with me.  But I persisted--and managed to squeeze in one last session before running to the airport and to sweet, sweet sleep.  The session was a humdinger--indirectly addressing the ever-present question: Why do zoos matter? Small zoos (in terms of operating budget) face bigger challenges than their larger sisters.  Smaller budgets, more intense competition, smaller markets, less respect and higher scrutiny.  But in the face of these challenges, many small zoos still include conservation programs as their highest priorities.  In fact, some might say, due to these challenges--lack of respect and increased scrutiny, to be specific--small zoos MUST prioritize conservation.

Gladys Porter Zoo, Brownsville, TX (I had to look it up) is one such institution who's taken conservation programming to the next level, despite their size.  For over 20 years, the Zoo has not only supported, but created and run a Kemp's Ridley sea turtle program in Mexico.  The zoo employs one staff member full time to run the program, in addition to a second staffer dedicated to all other conservation programs.  The Zoo earmarks $650,000 every year for this single program, which over the span of the program, has helped protect over 70,000 nests and 4.5 million hatchlings.

Dallas World Aquarium similarly helped found the Amazon Rescue Center, a private-public partnership in Peru, principally focusing on Amazonian Manatee conservation.  The Aquarium raises over $400,000 annually to support their work along with several other Central and South American conservation programs.  Dr. Luis Sigler, senior conservation biologist, believes conservation programs should be run like businesses in order for them to thrive.

So, how can a small zoo or aquarium be expected to create  and fund a great project if they find themselves scraping for pennies as it is?  Steve Burns, director of  ZooBoise, explained how they managed it.  Slowly.  Starting with a single conservation parking meter, ZooBoise raised $1500 annually.  From there, they added a $0.25 conservation fee onto admission.  The fee raised $57,000, and the Zoo recorded two complaints. So they raised it again--by a dime, and increased their conservation collection by $23,000.  Now they had the ball rolling.  They added a series of fee-based  'special experiences,' including sloth bear feeding, with all of the funds going directly to conservation programs.  Currently, they require every new capital campaign to include an additional 10% to go directly to conservation.  So that new otter exhibit with a $500,000 price tag now requires $550,000 to be raised.  ZooBoise now expects to raise over $200,000 annually for conservation.

What does your small zoo or aquarium do for conservation?  And how do we let our public know how much good they are doing by supporting zoos?  Voice your opinion!