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"Design is the entire performance, from the conception to the realisation of an idea. The zoo, a unique and multi-purpose institution, presents a design opportunity offered by no other type of land use development" (Polakowski (1988) cited in Ebenhöh. (1992)). 

 

As the connection between man and nature is lost and is only now able to be rediscovered through beauty, zoological exhibit design is a crucial element that can aid modern-day Zoos in educating the public regarding wildlife, conservation and therefore, regain back the connection severed as well as alter withstanding negative perceptions surrounding the modern zoo. Zoological exhibits, often regarded as "a zoo's natural voice, the best means to communicate to the public our [The Zoo] message" (Coe, 1996), hold to the opportunity to showcase these animals in such a way that their right to exist is intuitively self-evident. Thus, zoological exhibit design should strive to fulfil three goals: to attract visitors, to hold their attention, and to communicate.

 

Exhibits communicate through two types of messages: cognitive messages, having to do with concepts, knowledge, and information, and effective messages, relating to attitudes, feelings, and interests. Through the reinforcement of these communications, Zoos should be able to showcase wildlife as interactive and indispensable parts of nature. However, the distinction between what zoo visitors perceive unconsciously and observe consciously are often contradictory to each other thus, nullifying the efforts of the Zoo Educators. As a result of contradicting messages found in Zoos, the intended message of the Zoo often falls short of the visitor. With studies by Brennan in 1971 show, "visitors spend a surprisingly short amount of time actually viewing exhibits." Within this short period of time, zoo visitors are "confronted with a complex visual situation…will reduce the scene to some basic visual interrelationships." (Ebenhöh, 1992). Therefore, in order to be able to accurately convey the main message of the zoo, the perceptual concept that zoo designers create through exhibitry design must be straightforward and free of contradictory clues (Coe, 1985) in order for visitors to be able to perceive the right message. Unfortunately, "Architecture has a serious problem with communication." (Koolhaas, 2016) and often, "…buildings provided for keeping wild animals in captivity have often been of splendid and elaborate design… boasted of the might and wealth of their owners…but also man's eventual conquests of these bizarre creatures." (Hancocks, 1971). As historically, animals in zoos were "symbolic representation of the conquest" and "exotic animals to the metropolitan zoo became a token in subservient diplomatic relations.". Animals in zoos became a "living monument to their own disappearance." and are often observed to be "unexpectedly lethargic and dull." Thus, "lose their glory they have in nature" (Yilmaz and Serap, 2010). Hence, "If zoo visitors see nothing more than animals in ugly conditions, engaging in the aberrant behaviour, they are likely to feel nothing more than revulsion and its counterpart, pity." (Hutchins et al(1984) cited in Coe, 1985) as it is common for humans when faced with pleasantries beyond control, to withdraw interests and support. Therefore, despite the best intentions, even the best exhibitry design may be creating animal stereotypes that are incorrect. The components for effective exhibit design will never be reduced to a set of specifications that can be looked up in a handbook. Thus, the aim of this essay is to inquire into the application of illusions and lateral theories that are of primary consideration; which aids the exhibit to "fulfil the playwright's [The Zoo's] intentions, provokes an emotional response in the audience by producing a mood and crystallising a theme through the uses of shape, colour, texture, line and lighting."(Polakowski, 1987)

 

Chapter One

 

Illusions

 

"The zoo may be the best place to educate the public regarding conservation of the world's flora and fauna because live animals attract their attention and put them in a mood to learn. Many visitors are at the zoo because of a strong interest in captive or wild animals. This may reflect an attempt to associate with their co-habitants of the past. Such an attitude can be exploited to teach people about animals and themselves." (Polakowski, 1987). In order for zoos to be able to captivate and maintain visitor attention and engagement in hopes of altering public perception concerning the conservation of our natural environment through providing a glimpse, although somewhat distorted, of the wonder, beauty, and mystery the natural environment has to offer; zoo exhibitry designers have begun to incorporate the notion of "the zoo as a theatre". 

 

The human being is often fascinated with things as they are perceived and not necessarily with things are they are. Therefore, in order to cater to this notion, exibitry designers aims to offer through exhibit design, perceptual clues that will provide the observer with the opportunity to conjure and complete mental images that are often illusions. At the same time, one should not pay too close attention to understanding the dissemblance between reality and illusion involving the blurred interface of the conscious and subconscious division of the mind. Illusions are closely linked to emotions as well as lower levels of the psyche, responsible for harbouring imagination, intuition and dreams. Thus, illusions are often catalysts in the creation of the exquisite design. For this purpose, zoo exibitry designers should admit to the presence of illusions, enjoy the visual puns created by the mind and the eye, recognise their value, and consider applying the role of illusion within a zoological exhibit. The exclamation of dismay often after confronted with reality, suggests that one cherishes their illusion and through illusion, hope to gain significant enlightenment. Illusions, sometimes labelled "error of the senses and/or errors of the intellect, aid in the discovery of reality, understanding the normal and natural." (Polakowski, 1987). The presence of Illusions not only generate a sense of enjoyment and attraction, but they can aid us to sustain our search for knowledge and the key to reality. "Perhaps all creative thought, in both science and art, may have its sources in the sources of illusion." (Gregory (1973) cited in Polakowski (1987)). This statement is further illustrated by the statement told by French artist Delacroix that "those things which are most real are the illusions I created in my painting." (Delacroix cited Polakowski (1987)).

 

The Use of Perceptual Illusions

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Illusions can be integrated within animal exhibit design to help 1) simulate the natural habitat of the animal, 2) construct an atmosphere akin to the animal's environment, 3) bring to light the outstanding features of the animal and 4) "emphasise the ecological relationships between animals, plants and man". (Polakowski, 1987) These illusions, reinforced by interpretive messages through the use of senses i.e. audio-visual performances and signage, aids in educating the zoo visitor on the reality of the animal's natural habitat, biological and ecological principles, the impact of man on nature as well as predator-prey relationships. When considering "geometrical-optical" illusions; theories proposed by Lipps and Wundt springs to the forefront. Lipps' principle of mechanical-esthetic unity suggests that one consciously dedicate "to every space form, a living person and consider the spatial forces created by the form's line, mass and colour to be real and dynamic."(Polakowski, 1987). For example, when a circular exhibit space has within it, a centripetal character; "the spatial radical forces that are directed toward the centre are perceptually dominant." (Polakowski, 1987)(See Fig 2). Suggesting that all focus within this setting, due to the illusion, is directed to the centripetal character resulting in the exhibit's size to appear smaller. On the contrary, Wundts' theory suggests that of Illusions as products of the law of retinal image(fixation), specifically of the eye movement as supposed to illusions appearing through deception or an error of judgement. When viewing distances, vertical distances often appear greater than horizontal distances due to the greater expenditure of energy required to raise the eye than in turning them through a constant horizontal plane."

(See fig 3)

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Optical Illusions stem from a combination and arrangement of physical design qualities within the exhibit i.e. form, space, colour and texture. These elements, when placed within a zoological exhibit setting can be represented through the presence of landform, vegetation, water, structures and the elements of the atmosphere i.e. rainfall, sunshine, etc. Therefore, a conscious understanding, interpretation as well as translation of the various types of optical illusions are key to exhibit designers as well as knowledge of the various types of illusions. This conscious of knowledge will prevent the designer from creating illusions that counteract. The types of illusions, to name a few, are Illusions of Interrupted Extent, Illusions of Contour, Illusions of Perspective and Illusions of Depth and Distance, etc. As this essay focuses mainly on the effect illusion can have on the perception of an exhibit, therefore the types of illusions mentioned above will be explored further.

 

The Illusion of Interrupted Extent often refers to the varying of the depth and size of an area in proportion to how the area is treated. A square-shaped site often appears smaller when enclosed with walls or vegetation that run parallel to the viewer as supposed to a site where the walls and vegetation running perpendicular to the viewer. (see fig 4). Similarly, the Illusion of Contour is provoked when an area is confined by well-differentiated boarders and thus, will appear smaller as supposed to those with loosely defined borders. An open segment causes the surrounding circular area to appear larger than an area of the same size, but with a closed segment.

 

The illusion of Perspective refers to the way in which the complexity of the scene introduced through additional lines, angles, contour and contrast correlates to the quantity of possible illusions multiplied. For example, an exhibit containing many angles, varying forms and components that differ in size to one another will appear smaller.(See fig 5). In the same way, the Illusion of Depth and Distance refers to a scenario in which as a result of the surrounding environment containing high concentrations of dust particles and/or moisture, an object will appear distant and when the surrounding environment experiences an increase in brightness, the distance in which the object is seen will appear closer. Hence, the distance in a clear atmosphere i.e. on a sunny day appears shorter than if the same distance is observed in a grey or blueish atmosphere i.e. on a cloudy day.

 

An exhibit that has benefitted from the use of illusions is in North Carolina Zoo, where the Smoky Mountains exaggerates the size of the exhibit before it. The appearance of overlapped forms created by the architecture creates a sense of depth.(see fig 6) This illusion further developed through simulation of transparency and emphasis of different sized objects from foreground to background help create illusions of depth and distance. Through designing with lighting in mind, the designer is making use of a major factor in the creation of a successful exhibit. Light enhances visibility, reveals form and texture, creates compositions, and provokes an overall atmosphere or mood. Thus, the presence of a strong backlight can also be used to emphasise the form of the exhibit's inhabitants as well as through the use of side light which will strengthen the inhabitants' contours. One should strive to be able to hold complete control of the amount as well as the quality of light entering interior exhibits as supposed to exterior exhibits. Exterior exhibits are dependent when observed during daylight hours, on the sun as the natural light source. Nonetheless, through the application of the information, one will be able to gain "substantial control on the effect of the natural light through the orientation of the exhibit, especially when considering the most popular viewing times"( Polakowski, 1987). Objects that help "create the enclosing vertical, horizontal, and overhead planes" (Polakowski, 1987) should be chosen according to their properties. The ability to reflect light, the absorption qualities of the object as well as its transmission qualities are also qualities that should be taken into account. This acknowledgement of perceptual illusions in the designing process within imaginative zoological exhibits should be considered as a means to aid the zoo visitor in "discovering reality; however distasteful and difficult."(Polakowski, 1987) Like the metaphor "the zoo as a theatre", exhibitry design should manipulate the ability to aid the public in creating images of fantasy and fiction

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1.2. Constructing Realism

 

Another method of integrating illusion into exhibitry design is through the construction of realism. This method of exhibitry design was first introduced through the use of naturalistic landscape panoramas, designed by Hagenbeack and Eggenschwiller, the panorama introduced the first illusionary mixed animal exhibit. The 'Thrustand Arena' stage "place the audience around the exhibit permitting multiple views of the performance." (Polakowski, 1987). This exhibit structure gave the visitors the opportunity to select from multiple viewing places and observe the animal in a setting void of other visitors in the background and thus, through erasing the visual presence of other visitors, the "'Total Environment Theatre', surrounds the audience or visitors with the performers or animals." (Polakowski, 1987). This advantage in design style allows emphasis to be placed upon the animal's physical features through displaying it as a "dominant object contrasted with a neutral setting" (Polakowski, 1987). Thus, a style that that is often used alongside "natural history interpreters and docents in zoos, sometimes acting a role dressed in native costume, using cultural props, and telling stories about the animals' native country" (Polakowski, 1987). Furthermore, supporting the "the zoo as a theatre" metaphor.

 

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Like the woman depicted in Henri Rousseau's 'The Dream', the exhibitry design should strive to create a setting where the audience is engulfed within the illusions of nature. Through achieving this, the animals' body movement that has now appeared to be placed within a simplified realism is dramatised, allowing the features of the animals exhibited to rise to the forefront and their physical characteristics to be supplied primarily by the mind of the visitor. This concept could be experienced at the Gorilla Encounter in Topeka Zoo, Kansas where the exhibit is designed in a way in which immerses the visitor in the environment of the animal, reversing the roles of the 'captive' animal and the observer. "Objects by themselves can communicate little beyond their own existence...the exhibit designer must be that unless he wishes to restrict himself to an elite audience of scholars, who already know the background information, he must present his objects in a coherent and informative context." (Patrick and Turnnicliffe, 2012). Thus, the impact realism illusion created through exhibit design can highly alter the perception of the animal exhibited. Furthermore, for the exhibitry to be perceived as realistic, the exhibitry must be able to provide the necessary visual cues to support the illusion of being immersed with nature and thus, derive cues from the habitat in which the exhibit strives to construct.

 

The construction of visual puns through manipulation of the surroundings are able to be observed in New York's Bronx Zoo. The 'World of Darkness' exhibit, through its name and design, give clues to the "alien and mysterious environment to which the nocturnal animals have adapted." (Hancocks, 2005). Externally, the building is "uncompromisingly blank and dark, suggesting psychological connotations with the world it encloses." (Hancocks, 2005)(see fig 7). Once inside, the building is separated into three major exhibits hinted to the public by two adjacent exhibits labelled Day and Night". Each exhibit encloses a forest setting, with the only differentiating factor being lighting. "In the diurnal exhibit only, the chipmunk can be seen, while next door, where it is night time, only the flying squirrel is active." (Hancocks, 2005) The two adjacent exhibits primarily introduce the theme of the building to its visitors to which this theme of contrast remains a basic conception of the layout. Opening contrasting views introduced to the visitors surrounding the horseshoe shaped plan further highlighted by the placement of "a forest floor display, and then, around the next corner, a series of tree top exhibits"(Hancocks, 2005) and at the exit of the 'World of Darkness', a sign reading ' In this building you have been introduced to the world of darkness; a world that represents only one part of the totality that is nature...the future of all wild land and wild life depends upon educated human protection and interest - and ultimately upon you.' is placed also in support of the theme. Placement of this sign, as well as the design of the exhibit and its attention to detail, showcases how a well-informed exhibit will succeed in "producing a mood and crystallising a theme through the uses of shape, colour, texture, line and lighting." (Polakowski, 1987) as thus, provoke an emotional response from its audience.

 

Another great exhibit design that successfully visually parallel its inhabitants is 'The Elephant and Rhinoceros Pavilion' at London Zoo. Externally, the elephantine scale of the building married with the ribbed concrete walls match the rough skins of its inhabitants. Internally, the low and dark central area embellished with radial arrangements of timber joists parallels a forest effect, enhanced by the animals placed in the bright sky lit clearings. The pavilion was also able to, through the manipulation of light, create a feature within the design where "The light to the animal areas trickles down from tall lantern lights dominating the exterior of the building suggests a close visual parallel to a group of elephants around a watering place." (Hancocks, 2005). The addition of such features within the pavilion showcases an example to which, although not in control of "the visitor's internal forces that form mental images of the exhibit" ( Polakowski, 1987), the exhibit designer is still able to choose to "manipulate external forces that include the exhibit forms, size, colours and textures." (Polakowski, 1987)

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Chapter 2

Critical Theories and Scholarly Publications

 

Exhibits should fulfil three goals: to attract visitors, to hold their attention, and to communicate. Exhibits can communicate two types of messages: cognitive messages, having to do with concepts, knowledge, and information, and effective messages, relating to attitudes, feelings, and interests." (O'Brien and Wetzelk (1992)) Although often visually successful, "Enclosures designed purely in the interests of aesthetic naturalism may offer as little to the animals." (Fàbregas, Guillén-Salazar and Garcés-Narro, 2011). Thus, it is important that the design is informed by both critical theories, theories that deal with the way in which exhibits are perceived, thus, help identify the main goal for the exhibit, as well as scholarly publications made surrounding the psychological and well as physical need of the exhibit's inhabitants in order to identify and ensure that all requirements of the inhabitant are met.

 

2.1 Analysing Perception through 'Ways of Seeing'

 

"Seeing comes before words. The Child looks and recognises before it can speak." (Berger, 2008). This statement proposed in 'Ways of Seeing' talks of how the act of seeing aids oneself in establishing one's place in the world and although this world that surrounds us is often described with words, "words can never undo the fact that we are surrounded by it." (Berger, 2008) The relationship between what we see and our knowledge is never settled. "We see the sunset, we know that the earth is turning away from it; yet even though we are given the knowledge, the explanation never quite fits the sight" (Berger, 2008) for the way we see things is ultimately "affected by what we know or what we believe." (Berger, 2008). "Yet this seeing which comes before words…is not a question of mechanically reacting to stimuli," Berger writes, "We can only see what we look at. To look is an act of choice." Therefore, as a result, what we see is brought to the centre of our attention, unlike the act of touching, seeing doesn't necessarily allow us to touch. As our vision is constantly active and moving, travelling back and fro from one object to another, "We never look at just one thing; we are always looking at the relation between things and ourselves" suggested Berger. One example that has showcased this interdependent relationship was through the presentation of the painting 'Wheatfield with Crows' by Van Gogh. Without context, one is left with only the sight and depending on the internal forces of the individual, 'Wheatfield with Crows' is almost always perceived as serene.

 

However, when Berger supplied the context behind the painting that is 'Wheatfield with Crows' was the last picture Van Gogh painting before killing himself, the individual's perception is now instantly changed. "It is hard to define exactly how the words have changed the imaged but undoubtedly they have" supplied Berger.

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When placed into a zoological context, the sentence parallels that of an exhibit where the painting is now the animal and the context is now the exhibit. The similarity of the two settings suggests the importance of exhibitry design on the way in which the animal is perceived. Thus, highlighting the interdependent relationship of the two. For example, "Animals viewed in naturalistic environments, exhibiting natural patterns of behaviour, should provide an opportunity for the viewer to develop a greater appreciation for the animals' place in nature. e beauty of this approach is that it does not require a technical educational program to be effective; the impact on the public is immediate and emotional" (Hutchins et al. (1984) cited in Coe (1985)). However, "If zoo visitors see nothing more than animals in ugly conditions, engaging in the aberrant behaviour, they are likely to feel nothing more than revulsion and its counterpoint, pity."(Coe,1985). Thus, "Despite excellent intentions, even the best zoos may be creating animal stereotypes that are not only incorrect but that actually work against the interests of wildlife preservation" (Sommer (1972) cited Ebenhöh, 1992)

 

In 'Why Look at Animals' Berger zeroes in on the loss of a meaningful connection man has with nature, a connection that in ancient times housed an "unspeaking companionship". Suggesting the animals as "reminders of origin, or as moral metaphors"(Berger, 2008) and thus, through observing, man has learnt a lot of valuable lessons not only in survival but spiritually as well, helping him understand his position in nature. This concept of man observing man through observing animals is touched upon in 'In Praise of the Zoo' by Alain de Botton wherein Botton's case, when the stressed adult is in need of reflection, through observing animals; "creatures so weird and beautiful, so unlike us and yet strangely evocative of parts of us", the adult will be made to "feel small by something beautiful". Thus, suggesting that through observing the animals, one is made to reflect on oneself. Botton also supplied that "the attitudes of animals are those we should emulate in ourselves." Suggesting that the sight of the animal, "representatives of "The Other", something non-human which puts us in our place." This constant notion of observing animals echoes throughout both theories. When observed in a zoological setting where promoting animal welfare is one of the main goals modern zoological parks must assume as a priority, it is essential that the zoo must consider how the exhibit expresses the messages the zoo wish to convey. Exhibit design encourages visitors to look at the objects being displayed and to note important features through the animal being exhibited, the nature of the enclosure (i.e. Immersion), the interpretation provided, and the emotive or hidden messages. Exhibits, in which glass separates the visitor from the animal, provide a close-up opportunity for engaging the hearts and minds of visitors. Zoo visitors should have the potential to interact with exhibits in a number of ways that allow them to become mentally and cognitively engaged. Using their personal context, prior knowledge, and the information provided by the institution, visitors explore an exhibit through their mental interactions. Visitors' mental interactions range from observation and discussion to constructing new meaning and acquiring new understandings. Thus, a successful exhibit is one that entertains, educates, and transmits a message that is received and comprehended by the visitors all at the same time.

 

 

 

 

 

 

 

 

 

 

 

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2.2. Effects of Human Nature on Perception

 

"An animal cannot be isolated, even conceptually, from the particular environment to which it has become adapted during aeons of geologic time with a serious misunderstanding of its true nature" (Mary Akeley (1936) cited in Coe (1985)). The many branches of the behavioural science have aided us substantially in understanding both nonhuman and human animals. Theories of animal behaviour are increasingly being applied to the design of zoo animal enclosures. However, conscious application of behavioural theory to the design of the zoo visitor's experience has only very recently been attempted. Such theory can, therefore, lead to new points of view of both the zoo designer and zoo user, potentially contributing substantially to the survival of both zoos and endangered species.

 

World Wildlife Conservation (WWF) and habitat protection are financially supported largely by the concerned public of industrialised nations. If the conservation efforts are to succeed, the conservation companies must broaden this base by appealing to greater audiences. Therefore, zoos are the ideal location to do so. Through careful design of visitor experience and exhibit areas, zoos must strive to present animals in such that their "right to exist is intuitively self-evident to the viewers" (Coe, 1985). "The purpose of exhibiting exotic animals is both to entertain and to educate accurately. Good entertainment is educational and good education is recreational...Recreation Function...is not satisfied only with public viewing beautiful, active, unusual animals. It is the additional elements of drama, mystery and sequentially staged personal experience."( Ebenhöh,1992)

 

These exhibits should be designed in order to communicate through both conscious and unconscious levels which reinforce each other whilst presenting wildlife as an "interactive and indispensable part of a wilderness landscape"(Coe,1985). For example, a gorilla exhibit may consciously present the animal as a creature endangered by the habitat destruction in Central Africa, but at the same time, unconsciously presenting the animals as a "felon in a barred caged, an institutionalised deviate in a tile-lined cell". "Much of our response to what we see is modified by the context in which we find ourselves and from which we view the subject. The distinction between what zoo visitors perceive unconsciously and observe consciously frequently nullifies the efforts of zoo educators...:" (Coe (1982) cited in Coe, 1985). Such contradictions are avoidable and can be avoided when designers become aware of the behavioural consequences their exhibits have on visitors and furthermore, how they can exert behavioural concepts to help them forcefully and attractively communicate their conservation message to the public.

 

Studies by Brennan in 1997, found that zoo visitors spend a surprisingly short time actually viewing exhibits. The reason for this lies in the history of humans as a species. "The human animal evolved over millions of years as a hunter-gatherer in extremely close association with wild nature. Many primitive behaviours developed during this immense time can be evoked by presenting the appropriate stimuli" (Wilson (1975) cited in Coe (1985)). To illustrate, "a zoo animal which appears to be unrestrained and dangerous should receive our attention (possibly accompanied by an adrenal rush) until its potential for doing us harm is determined" ( Coe, 1985). Similarly, visitors soon become habituated to common and expected stimuli that they recognise have a limited potential to threaten them and thus, these stimuli become "background" and consequently, receive less attention. (See fig. 10,11)

 

Once the zoo has succeeded in capturing the visitors' attention, zoos must create a situation which transcends the average range of stimulation. Experiences need not be frightening to be memorable. Strong, multi-sensory stimuli would release strong behavioural responses such as caregiving.

 

"Dominance in human interactions is suggested in many ways, including posture and relative position" (Morris (1967) cited in Coe (1985))(see figs 13, 14). "Kings on their thrones, conductors on their podiums, and teachers standing above their seated students all dominate those around them." (Coe, 1985). Is it sensible to "assume that dominant individuals are predisposed to lead, direct, and teach?" (Coe, 1985) How about whether or not there is truth in the statement "subordinate individuals are somewhat predisposed to take direction and to learn?" (Coe, 1985) Exploring this thought further, is it possible that the position in which the subordination is signified could "predispose one to learn and to be directed?" (Coe,1985)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The notion of "Social rank" as defined by Heidger [1950] is the "relative dominance among a group of animals of the same species" (Heidger (1950) cited in Coe,1985). Heidge uses the term "biological rank" to identify the relative dominance between differentiating animal species.

 

Conclusion

 

Zoo designers can learn much from the original work that has gone before. The addition of our present understanding of both human and other animal behaviours as well as the knowledge gained through the analysis of perception presents the opportunity to create far more varied, complex, and exciting exhibit design and thus, zoos. Initial public response to exhibits created in through the use of illusion and perception has been strongly positive, however, much more testing is still required. The palliation of perceptual illusions brought forward by Libbs' principle of mechanical-esthetic unity as well as Wundt's theory of Illusions as a product of retinal image(fixation) has acted as a platform to which other illusions can work upon.

 

The theories surrounding perception mainly one which speaks of the interdependent relationship between sight and context; coupled with concepts such as the role of dominance or subordination in learning as well as the effectiveness of relative position in affecting the mood of the viewer are worthy subjects of further inquiry has also altered highly, the way in which an exhibit is perceived. Although the zoo is often considered the best platform in which to educate the public regarding conservation or the natural world due to the presence of live animals attracting their attention and placing them in a place to learn, many visitors find themselves at the zoo. Thus, through applying the ideas proposed by critical theorist John Burger as well as the facts stated by Jon Coe, such attitudes are able to be exploited and manipulated to teach people about animals and themselves.

 

The zoo holds the ability to be able to alter public attitudes concerning conservation of our natural environment by providing a glimpse, although somewhat distorted, of its wonder, beauty, and mystery; and the fact that some of the man's enjoyment and development is based on illusions should be at primary consideration in the formulation of a design approach to animal exhibits.