I realize there are multiple threads mentioning this controversial new themed exhibit complex, and even four that are devoted to it, but none of them begin with thorough descriptions of the facility so those who are curious about it must hunt through long (but engaging) discussions to find comprehensive details. I will attempt to thoroughly describe the exhibit in the form of my review.
This zoo has been highly regarded for its immersive geographically themed exhibit complexes since 1983, which slowly started replacing its highly regarded zoologically themed exhibit areas of the previous era. The largest of these former areas was Horn and Hoof Mesa, a series of 32 (there may have been a few more than that) similar enclosures that mostly contained hoofstock, especially antelope and gazelles. All were attractive unfenced yards with front dry moats and simulated rock side and back walls, although front wire barriers were sometimes added over the years depending on the inhabitants abilities to leap. Many of them featured trees within, especially the eucalyptus that were so prevalent in establishing shade and erosion control on the dry canyon land from which the zoo was created. They were all located on each side of the bus tour road and easily viewed from both the bus and the sidewalks of the road. A very impressive collection of aloes and South African xeriphytes was planted along much of the length of this area and contributed to the exotic feeling. The area was the furthest away from the entrance, being reached on each end by the bus road and sidewalks or by a moving walkway or steep switchbacking trail from a lower canyon; it is still accessed from the first three points. Elephant Odyssey replaces about three-fourths of this former area, but it did not totally replace it; the remaining section functions and looks very much as it used to, with the 11 yards closest to one side (the side with the Skyfari Station and Polar Bear Plunge exhibit) untouched and still occupied. (For hoofstock fans, these exhibits currently are: 1 for Grevys zebras, 1 for lesser kudu and Cavendishs dik-dik and red flanked duiker and Spekes gazelle, 1 for Nubian Soemmerings gazelle, 1 for Calamian deer, 1 for gerenuk and Cavendishs dik-dik, 1 for Chacoan peccary, 2 for Sichuan takin, 1 for steenbok and red flanked duiker, 1 for Cape blue duiker, and 1 for Cavendishs dik-dik.) Horn and Hoof Mesa was my favorite part of the zoo when I was growing up, so when I learned several years ago that a majority of it was being bulldozed, I was dismayed.
The new exhibit is the largest redeveloped area to date, consisting of about 15 animal exhibits and as many interpretive exhibits, and is the first to discard a strictly geographic theme. It is a newer hybrid concept that interprets the fossil record of the local geographic area through living examples of its zoological descendants, regardless of their current geographic locations. This is admirably sophisticated and educational while also being confusing to most. Extinct animals that once roamed the area during the Pleistocene are recreated next to habitats that contain relatives (or similar species) still living. In this way it acts as a cross between a natural history museum and an immersive zoo. It was not conceived as a native California exhibit area, although it contains some, so its features do not recreate a past or current local landscape. It was not conceived as a tour of the world, although there are exhibits with animals from a wide variety of regions, so native theming is absent. Instead, this hybrid concept employs a stylized form of exhibit design that is appropriately striking and consistent enough to keep the interpretation advancing as visitors experience it. Unfortunately, the theme is diluted by the misleading name for the area upon which the marketing department must have insisted. While the elephant exhibit is the largest and central feature, this area is not about elephants. They are only one of many examples of the interpretive theme. Why not name the exhibit ‘Prehistoric Southern California Odyssey’? Admittedly, this name does not fully describe this advanced concept and does not pull in the crowds and is too long, but the existing title is a hollow simplification and leads many to believe that they are going to experience either an Asian or African journey. (This is not the first time that a major area has been named for its star inhabitants of course. One exhibit area that was thankfully renamed later was the first phase of Ituri Forest: Hippo Beach.)
The new exhibit also diverges from its recent predecessors in its layout and details. Most of the previous ones were removed from the bus tour road or mostly turned their backs on it if they were adjacent, but this one features close and open viewing of many of the exhibits. This proves a renewed commitment to this popular ride, but for people like me that prefer a quieter walking experience removed from the machines and commentary, it is a step backwards. Fortunately most of the pedestrian path is on the other side of the exhibits from the road so the two are not joined as they used to be. The path also features the first dark tunnel below a habitat, in this case between two of the elephant yards, although it is not especially exciting. Where most of the recent complexes have been dense tropical forest habitats, Elephant Odyssey is especially open and dry, creating a jarring contrast. Despite being a newly planted landscape, much of it consists of the zoos fantastic xeriphytic collections which will not grow into a lush jungle, so the area will remain largely open and dry, especially the large animal habitats that are limited in the plantings they can sustain already. In the last 15 years, visitor furniture (benches, trash cans, elevated walkways, railings, etc.) has been almost slavishly consistent in new and renovated exhibit complexes, helping one melt into another seamlessly. In Elephant Odyssey, these conventions have been thrown out in favor of slick metal and wood benches, tall light grey area lighting standards, curving recycled plastic railings, precast concrete trash cans, and textured concrete walkways evocative of elephant skin. (Many of the plentiful graphics are also mounted on thick posts that emulate elephant skin, a great touch.) In the past, architectural realities of holding and bedroom buildings were mostly hidden, but here they are celebrated, featured prominently next to walkways. They are a strange combination of light grey concrete block and metal doors and windows that are often fused in places with the stylized simulated rockwork that crops up to partially contain some exhibits. Other interpretive structures feature rustic steel beams with rough wood slat paneling, also emerging out of rockwork. While these buildings somewhat advance the theme by resembling the practical temporary structures that would be built over an excavation site, the connection is vague and the ultimate outcome is ugly.
The exhibit can be entered from both ends, although the West entrance closest to Skyfari and Polar Bear Plunge is the best for following the interpretation so I will start my description there. This is where the sidewalk leaves the bus road and converges with the moving walkway path at a large boulder with seeping water down its faces that features a large exhibit sign and the Columbian mammoth logo on each side. Before the two paths converge, each has a series of small pedestal sculptures depicting abstract elephants with timeline plaques located along their lengths. Signs name these paths ‘Hortons Way’, a reference to a famous elephant-like character created by Dr. Suess, whose family was a major contributor to the exhibit. On each side is a great collection of beaucarnias, also known as elephant foot trees, in one of the major strokes of genius in the design; not only do they set an exotic prehistoric tone, but they also recall the shape of elephant feet at their swollen bases as well as looking like the fantastical tufted-top trees in many of Dr. Suess’ books! The paths converge and immediately enter a walled pavilion titled ‘Fossil Portal – The Past Revealed.’ Rocky walls enclose one side, with simulated fossils emerging from them. Steel beam and wood slat walls with graphics about Southern California’s fossils enclose the other side. The top is open but has a steel beam structure above. In the middle, surrounded by railings, is a pit whose edges are lined with archeologists tools. Inside the pit is dark water intended to be tar, which periodically drains out of the pit to reveal more simulated fossils beneath before refilling and concealing them. This feature is enhanced by mysterious background music that increases in intensity when the pit is draining or refilling, adding dramatic punch to this pricey but effective introduction to the exhibit. There is also a staffed education counter with fossils and bones before exiting, where one wall features portraits of animals below a sign that says ‘Southern California 12,000 Years Ago’, while around the corner is a single portrait of the Columbian mammoth that says ‘Discover Southern Californias past – through the animals of today.’ This opens out to a spacious area called Mammoth Passage Plaza bordered by the first four animal exhibits and featuring life-sized statues of three mammoths, a giant ground sloth, a saber-toothed cat, and an American lion (the extinct kind) with rubberized play surfaces around each for climbing. This first area is great and clearly communicates the theme and sets an adventurous tone.
The giant ground sloth statue sits next to a relatively spacious rocky walled habitat with trees and tree branch climbing structures for a two-toed sloth. Across the plaza from the American lion statue are two nearly identical steel pole and netted enclosures that share an ugly enclosed viewing pavilion of steel beams and wood slats and rocks. The small dens for both exhibits are viewed from here, while outdoor viewing of the outdoor parts are on each side along the plaza edges. The first enclosure is for African lions, the other for jaguars. Although both of these exhibits are improvements over their former homes in the zoo, both are on the small side and have the annoying feature of being flat-floored exhibits with the bus road immediately on the other side, forming a one dimensional backdrop occasionally interrupted by the roar of the tour. The lion exhibit is especially dry and uninteresting, with a single tree in the middle. The jaguar exhibit is slightly lusher and has numerous tree branches for climbing perched over a large pond. A unique feature here is a few tubes outside the exhibit that a keeper can load with fish that go into the pond for the jaguar, although I did not see it in action. Neither is a grotto, but neither is a satisfying habitat.
The other edge of the plaza is the first wide viewing area for the Asian elephants. It is a curved railing located out of trunks length from a low rocky walled spacious swimming pool that is edged by a keeper walkway as well as hotwire florets. The other side of the pool is punctuated by rocky outcrops along a dry sloping hill that leads to the rest of the elongated 2.4 acre habitat that will be viewed from several other areas later. The backside of the exhibit is fenced by giant poles and wire, and the backdrop is the existing eucalyptus forest. The first of the unique structures they are calling Utilitrees is seen from a distance; these shade and enrichment structures inside the exhibit tower above the elephants, composed of a thick round rocky column with an inset ground level feeder, topped by three circular branched metal awnings with various play items and treats suspended down within trunks reach. They are an example of the stylized exhibit design, and in fact are truly memorable features; its not often that a structure in a zoo can be considered a design icon. However, they are situated as the only significant vertical elements of such a large dry space that they become more interesting than the rest of the exhibit. This exhibit would have benefitted greatly from several rocky walled ‘islands’ of real trees and vegetation out of the elephants reach to soften the harsh expanse. Therefore, this first view with the impressive pool is the most successful. And what a pool! It is 7.5 feet deep and 4600 square feet!
One edge of the pool has a rocky waterfall that spills into a swimming pool for the adjoining exhibit, which otherwise is separated from the elephants by ugly steel pole and wire fencing. This is a satisfactory mixed species habitat for guanacos, capybaras, and Bairds tapirs that is bisected by an ugly concrete block barn and a rocky window viewing area between the two open air viewing areas along the path. The exhibit can be closed off into two sections, and I had heard that it was designed so that one half can be opened into the elephant exhibit as well, but not sure if this is the case or if it has been tried yet. This type of flexible design is admirable. The path then rejoins the edge of the bus road as it meanders along a long side of the elephant habitat with closer views of the Utilitrees and surrounded by more of the great botanic collection. Dotted along this path are interpretive human figures with face cut-outs that visitors can pose behind, each representing a professional person and their theories on why past extinctions occurred. Then the Elephant Care Center is reached, a large concrete block structure with a vast open air flat metal roof shading the multiple holding and care areas. The backside of the building is where demonstrations of feeding and weighing and foot cleaning are done, separated by a railing and about 10 feet from the thick forest of barred spaces inside. The frank practical design of this is again celebrated rather than hidden. After this, another long view of the elephant exhibit is encountered, although rocky walls are higher here and it is more difficult to see inside. One stretch of the wall is a stylized series of indents called the Elephant Trunk Reach Wall, designed so that just their trunks would be visible coming out toward visitors if they so chose. Another steel pole and wire mesh exhibit gets sandwiched between the path and the bus road here, this one for secretary birds, which also has some unidentified magpie-looking bird too. It is even narrower than the similar lion and jaguar exhibits, and is also flat, so it suffers from the same unattractive exposed feeling. In fact, the huge double deckers come within a few feet of the birds. Nearby is another statue, this time a Daggetts eagle, that interprets an example of an extinct bird of the area that has living relatives in another part of the world. This exhibit does not need to be enclosed on top to contain secretary birds, which leads me to believe that a benefit of flexible planning throughout the complex is that future changes in the collection can be easily housed here without tainting the established theme. A raptor from anywhere could be displayed in here and not destroy the theme, while a red panda displayed in Polar Bear Plunge sends everyone into a tailspin.
The path now descends below grade to the tunnel below the elephant habitat, leaving the side of the bus road. Before the tunnel is another concrete block building set into the rocks that houses 4 wall insectariums for giant water bugs, Egyptian dung beetles, scorpions, and some other insects. On the other side of the tunnel is a long open stream exhibit with rocky walls and glazed railings holding turtles and lizards and frogs, local survivors from the Pleistocene. Both these areas provide nice intimate exhibits to counterbalance the large ones already encountered, but the insects would have been better inside the tunnel set in a rocky wall instead (and this would reduce the glare on the glass). The elephant exhibit is seen for the last time on the other side of the stream, and I believe it can be shut off from the rest at the bridge over the tunnel since the bull was alone in this final section, happily moving around and reaching up into several more Utilitrees. Perched slightly above the backside of the stream exhibit is a large outdoor dining terrace with a view of the bull yard, serving the Sabertooth Grill. This caféteria and the adjoining small Tuskers Trunk Gift Shop are both simple modern structures with more refinement than the ones previously encountered. They would be more appropriate if they matched the steel beam and wood slat style of the Fossil Portal or the concrete block of the Elephant Care Center rather than introducing another element. Regardless, the facility features above-average zoo food in the zoos second best dining area (the best being the Treetop facility in Lost Forest) and serves as a rest stop along this odyssey. The shop is surrounded by more fantastic plants, especially brachychitons (bottle trees).
My favorite exhibit in the complex is next, a large rocky walled yard with a rocky cave for pronghorn. It reminds me of Horn and Hoof Mesa, so my reason is partly emotional. It was also designed to have access to the elephant exhibit – it adjoins the far end of it – and I am curious if the mix has been tried yet. Unfortunately, another ugly animal barn runs down the side of the exhibit, which also serves the hoofstock yard on the other side. To reach one from another, the path leaves the pronghorn and things get messy.
The path narrows and has three small square columns set in the middle that interpret the contents of a pack rat nest. I missed why this was pertinent. Then the path is pinched into a set of three ugly bright painted steel columns with cutouts and words set in the ground that carries an inane conservation message. Why here? Why so clumsy? Why so constrictive? This acts as a gateway to Pleistocene Playground, with a few traditional play elements in rubberized ground, some rocky tunnels, a few interactive puzzle graphics, a maze of elephant radio collars, and a play bulldozer appearing to scoop up fossils. I was left scratching my head, wondering what all this contributed to the message. There were signs explaining some of the features but by this time any human should be reaching maximum signage overload. The saving grace is another statue, this time of a teratorn perched on a rock. Next to all this is the other hoofstock exhibit that shares the pronghorn barn. This one is a similar sized yard for domestic horses, burros, alpacas, and dromedary camels. This yard is very barnyard-esque and has a supervised contact area where a keeper can bring out the animals in a small low-fenced pen for guests to pet. The day I was there they brought out the two dromedary camels who were very patient, being swarmed on three sides by visitors. I suppose this exhibit fulfills two purposes. First, it provides animal contact near the play area, both of which cater to youngsters in an area previously unserved by such amenities and on the opposite side of the zoo from the Childrens Zoo. Second, the existing Childrens Zoo contact area has smaller goats and not much room for anything else, so if they desired to expand their domestic program, this was an opportunity to do it. Why expand the domestic program? I have no idea. They have not installed coin feeders or a special pay area to molest the animals, so its not for cash. At any rate, the exhibit itself could be satisfactory for a wild hoofstock species, again an example of flexibility in the design.
The last area on the edge of this Playground area is more successful. It features a small steel framed building that houses a glazed rocky exhibit for rattlesnakes as well as separate small windows into their caves, with a bronze snake sculpture in front. An overhang from this building acts as a viewing area for the final exhibit (and the reason that there is a teratorn statue nearby) which is a steel pole and netted habitat for California condors. Once again it is sandwiched between the path and the bus tour road, but this time it has greater change in floor elevation and several large rocky perching outcrops and a rocky pool, all of which help to diminish the exposed feeling of the previous three similar enclosures for lions, jaguars, and secretary birds. It is a nice exhibit but certainly does not match the great commanding location of their exhibit at the San Diego Wild Animal Park. The viewing area beneath the shelter is glazed, an unusual and appreciated feature for a bird exhibit. The path runs along the length of the aviary, and then reaches the exit (or entrance) which features a beautiful steel sculpture that is shaped like an elephant on one side and a mammoth on the other, as well as another entry sign where the path rejoins the road and leads to the Kopje exhibit nearby.
The exhibit is disappointing in the concept of some of its features and many of its details, but is not entirely unsuccessful. Its sophisticated and flexible theme and large size and cohesion are great assets. It does not make my list of top 50 themed exhibit complexes (nor do any of its individual exhibits make my top lists) but it is not toward the bottom. Emotionally, I still miss Horn and Hoof Mesa, but I do not feel cheated by Elephant Odyssey.
This zoo has been highly regarded for its immersive geographically themed exhibit complexes since 1983, which slowly started replacing its highly regarded zoologically themed exhibit areas of the previous era. The largest of these former areas was Horn and Hoof Mesa, a series of 32 (there may have been a few more than that) similar enclosures that mostly contained hoofstock, especially antelope and gazelles. All were attractive unfenced yards with front dry moats and simulated rock side and back walls, although front wire barriers were sometimes added over the years depending on the inhabitants abilities to leap. Many of them featured trees within, especially the eucalyptus that were so prevalent in establishing shade and erosion control on the dry canyon land from which the zoo was created. They were all located on each side of the bus tour road and easily viewed from both the bus and the sidewalks of the road. A very impressive collection of aloes and South African xeriphytes was planted along much of the length of this area and contributed to the exotic feeling. The area was the furthest away from the entrance, being reached on each end by the bus road and sidewalks or by a moving walkway or steep switchbacking trail from a lower canyon; it is still accessed from the first three points. Elephant Odyssey replaces about three-fourths of this former area, but it did not totally replace it; the remaining section functions and looks very much as it used to, with the 11 yards closest to one side (the side with the Skyfari Station and Polar Bear Plunge exhibit) untouched and still occupied. (For hoofstock fans, these exhibits currently are: 1 for Grevys zebras, 1 for lesser kudu and Cavendishs dik-dik and red flanked duiker and Spekes gazelle, 1 for Nubian Soemmerings gazelle, 1 for Calamian deer, 1 for gerenuk and Cavendishs dik-dik, 1 for Chacoan peccary, 2 for Sichuan takin, 1 for steenbok and red flanked duiker, 1 for Cape blue duiker, and 1 for Cavendishs dik-dik.) Horn and Hoof Mesa was my favorite part of the zoo when I was growing up, so when I learned several years ago that a majority of it was being bulldozed, I was dismayed.
The new exhibit is the largest redeveloped area to date, consisting of about 15 animal exhibits and as many interpretive exhibits, and is the first to discard a strictly geographic theme. It is a newer hybrid concept that interprets the fossil record of the local geographic area through living examples of its zoological descendants, regardless of their current geographic locations. This is admirably sophisticated and educational while also being confusing to most. Extinct animals that once roamed the area during the Pleistocene are recreated next to habitats that contain relatives (or similar species) still living. In this way it acts as a cross between a natural history museum and an immersive zoo. It was not conceived as a native California exhibit area, although it contains some, so its features do not recreate a past or current local landscape. It was not conceived as a tour of the world, although there are exhibits with animals from a wide variety of regions, so native theming is absent. Instead, this hybrid concept employs a stylized form of exhibit design that is appropriately striking and consistent enough to keep the interpretation advancing as visitors experience it. Unfortunately, the theme is diluted by the misleading name for the area upon which the marketing department must have insisted. While the elephant exhibit is the largest and central feature, this area is not about elephants. They are only one of many examples of the interpretive theme. Why not name the exhibit ‘Prehistoric Southern California Odyssey’? Admittedly, this name does not fully describe this advanced concept and does not pull in the crowds and is too long, but the existing title is a hollow simplification and leads many to believe that they are going to experience either an Asian or African journey. (This is not the first time that a major area has been named for its star inhabitants of course. One exhibit area that was thankfully renamed later was the first phase of Ituri Forest: Hippo Beach.)
The new exhibit also diverges from its recent predecessors in its layout and details. Most of the previous ones were removed from the bus tour road or mostly turned their backs on it if they were adjacent, but this one features close and open viewing of many of the exhibits. This proves a renewed commitment to this popular ride, but for people like me that prefer a quieter walking experience removed from the machines and commentary, it is a step backwards. Fortunately most of the pedestrian path is on the other side of the exhibits from the road so the two are not joined as they used to be. The path also features the first dark tunnel below a habitat, in this case between two of the elephant yards, although it is not especially exciting. Where most of the recent complexes have been dense tropical forest habitats, Elephant Odyssey is especially open and dry, creating a jarring contrast. Despite being a newly planted landscape, much of it consists of the zoos fantastic xeriphytic collections which will not grow into a lush jungle, so the area will remain largely open and dry, especially the large animal habitats that are limited in the plantings they can sustain already. In the last 15 years, visitor furniture (benches, trash cans, elevated walkways, railings, etc.) has been almost slavishly consistent in new and renovated exhibit complexes, helping one melt into another seamlessly. In Elephant Odyssey, these conventions have been thrown out in favor of slick metal and wood benches, tall light grey area lighting standards, curving recycled plastic railings, precast concrete trash cans, and textured concrete walkways evocative of elephant skin. (Many of the plentiful graphics are also mounted on thick posts that emulate elephant skin, a great touch.) In the past, architectural realities of holding and bedroom buildings were mostly hidden, but here they are celebrated, featured prominently next to walkways. They are a strange combination of light grey concrete block and metal doors and windows that are often fused in places with the stylized simulated rockwork that crops up to partially contain some exhibits. Other interpretive structures feature rustic steel beams with rough wood slat paneling, also emerging out of rockwork. While these buildings somewhat advance the theme by resembling the practical temporary structures that would be built over an excavation site, the connection is vague and the ultimate outcome is ugly.
The exhibit can be entered from both ends, although the West entrance closest to Skyfari and Polar Bear Plunge is the best for following the interpretation so I will start my description there. This is where the sidewalk leaves the bus road and converges with the moving walkway path at a large boulder with seeping water down its faces that features a large exhibit sign and the Columbian mammoth logo on each side. Before the two paths converge, each has a series of small pedestal sculptures depicting abstract elephants with timeline plaques located along their lengths. Signs name these paths ‘Hortons Way’, a reference to a famous elephant-like character created by Dr. Suess, whose family was a major contributor to the exhibit. On each side is a great collection of beaucarnias, also known as elephant foot trees, in one of the major strokes of genius in the design; not only do they set an exotic prehistoric tone, but they also recall the shape of elephant feet at their swollen bases as well as looking like the fantastical tufted-top trees in many of Dr. Suess’ books! The paths converge and immediately enter a walled pavilion titled ‘Fossil Portal – The Past Revealed.’ Rocky walls enclose one side, with simulated fossils emerging from them. Steel beam and wood slat walls with graphics about Southern California’s fossils enclose the other side. The top is open but has a steel beam structure above. In the middle, surrounded by railings, is a pit whose edges are lined with archeologists tools. Inside the pit is dark water intended to be tar, which periodically drains out of the pit to reveal more simulated fossils beneath before refilling and concealing them. This feature is enhanced by mysterious background music that increases in intensity when the pit is draining or refilling, adding dramatic punch to this pricey but effective introduction to the exhibit. There is also a staffed education counter with fossils and bones before exiting, where one wall features portraits of animals below a sign that says ‘Southern California 12,000 Years Ago’, while around the corner is a single portrait of the Columbian mammoth that says ‘Discover Southern Californias past – through the animals of today.’ This opens out to a spacious area called Mammoth Passage Plaza bordered by the first four animal exhibits and featuring life-sized statues of three mammoths, a giant ground sloth, a saber-toothed cat, and an American lion (the extinct kind) with rubberized play surfaces around each for climbing. This first area is great and clearly communicates the theme and sets an adventurous tone.
The giant ground sloth statue sits next to a relatively spacious rocky walled habitat with trees and tree branch climbing structures for a two-toed sloth. Across the plaza from the American lion statue are two nearly identical steel pole and netted enclosures that share an ugly enclosed viewing pavilion of steel beams and wood slats and rocks. The small dens for both exhibits are viewed from here, while outdoor viewing of the outdoor parts are on each side along the plaza edges. The first enclosure is for African lions, the other for jaguars. Although both of these exhibits are improvements over their former homes in the zoo, both are on the small side and have the annoying feature of being flat-floored exhibits with the bus road immediately on the other side, forming a one dimensional backdrop occasionally interrupted by the roar of the tour. The lion exhibit is especially dry and uninteresting, with a single tree in the middle. The jaguar exhibit is slightly lusher and has numerous tree branches for climbing perched over a large pond. A unique feature here is a few tubes outside the exhibit that a keeper can load with fish that go into the pond for the jaguar, although I did not see it in action. Neither is a grotto, but neither is a satisfying habitat.
The other edge of the plaza is the first wide viewing area for the Asian elephants. It is a curved railing located out of trunks length from a low rocky walled spacious swimming pool that is edged by a keeper walkway as well as hotwire florets. The other side of the pool is punctuated by rocky outcrops along a dry sloping hill that leads to the rest of the elongated 2.4 acre habitat that will be viewed from several other areas later. The backside of the exhibit is fenced by giant poles and wire, and the backdrop is the existing eucalyptus forest. The first of the unique structures they are calling Utilitrees is seen from a distance; these shade and enrichment structures inside the exhibit tower above the elephants, composed of a thick round rocky column with an inset ground level feeder, topped by three circular branched metal awnings with various play items and treats suspended down within trunks reach. They are an example of the stylized exhibit design, and in fact are truly memorable features; its not often that a structure in a zoo can be considered a design icon. However, they are situated as the only significant vertical elements of such a large dry space that they become more interesting than the rest of the exhibit. This exhibit would have benefitted greatly from several rocky walled ‘islands’ of real trees and vegetation out of the elephants reach to soften the harsh expanse. Therefore, this first view with the impressive pool is the most successful. And what a pool! It is 7.5 feet deep and 4600 square feet!
One edge of the pool has a rocky waterfall that spills into a swimming pool for the adjoining exhibit, which otherwise is separated from the elephants by ugly steel pole and wire fencing. This is a satisfactory mixed species habitat for guanacos, capybaras, and Bairds tapirs that is bisected by an ugly concrete block barn and a rocky window viewing area between the two open air viewing areas along the path. The exhibit can be closed off into two sections, and I had heard that it was designed so that one half can be opened into the elephant exhibit as well, but not sure if this is the case or if it has been tried yet. This type of flexible design is admirable. The path then rejoins the edge of the bus road as it meanders along a long side of the elephant habitat with closer views of the Utilitrees and surrounded by more of the great botanic collection. Dotted along this path are interpretive human figures with face cut-outs that visitors can pose behind, each representing a professional person and their theories on why past extinctions occurred. Then the Elephant Care Center is reached, a large concrete block structure with a vast open air flat metal roof shading the multiple holding and care areas. The backside of the building is where demonstrations of feeding and weighing and foot cleaning are done, separated by a railing and about 10 feet from the thick forest of barred spaces inside. The frank practical design of this is again celebrated rather than hidden. After this, another long view of the elephant exhibit is encountered, although rocky walls are higher here and it is more difficult to see inside. One stretch of the wall is a stylized series of indents called the Elephant Trunk Reach Wall, designed so that just their trunks would be visible coming out toward visitors if they so chose. Another steel pole and wire mesh exhibit gets sandwiched between the path and the bus road here, this one for secretary birds, which also has some unidentified magpie-looking bird too. It is even narrower than the similar lion and jaguar exhibits, and is also flat, so it suffers from the same unattractive exposed feeling. In fact, the huge double deckers come within a few feet of the birds. Nearby is another statue, this time a Daggetts eagle, that interprets an example of an extinct bird of the area that has living relatives in another part of the world. This exhibit does not need to be enclosed on top to contain secretary birds, which leads me to believe that a benefit of flexible planning throughout the complex is that future changes in the collection can be easily housed here without tainting the established theme. A raptor from anywhere could be displayed in here and not destroy the theme, while a red panda displayed in Polar Bear Plunge sends everyone into a tailspin.
The path now descends below grade to the tunnel below the elephant habitat, leaving the side of the bus road. Before the tunnel is another concrete block building set into the rocks that houses 4 wall insectariums for giant water bugs, Egyptian dung beetles, scorpions, and some other insects. On the other side of the tunnel is a long open stream exhibit with rocky walls and glazed railings holding turtles and lizards and frogs, local survivors from the Pleistocene. Both these areas provide nice intimate exhibits to counterbalance the large ones already encountered, but the insects would have been better inside the tunnel set in a rocky wall instead (and this would reduce the glare on the glass). The elephant exhibit is seen for the last time on the other side of the stream, and I believe it can be shut off from the rest at the bridge over the tunnel since the bull was alone in this final section, happily moving around and reaching up into several more Utilitrees. Perched slightly above the backside of the stream exhibit is a large outdoor dining terrace with a view of the bull yard, serving the Sabertooth Grill. This caféteria and the adjoining small Tuskers Trunk Gift Shop are both simple modern structures with more refinement than the ones previously encountered. They would be more appropriate if they matched the steel beam and wood slat style of the Fossil Portal or the concrete block of the Elephant Care Center rather than introducing another element. Regardless, the facility features above-average zoo food in the zoos second best dining area (the best being the Treetop facility in Lost Forest) and serves as a rest stop along this odyssey. The shop is surrounded by more fantastic plants, especially brachychitons (bottle trees).
My favorite exhibit in the complex is next, a large rocky walled yard with a rocky cave for pronghorn. It reminds me of Horn and Hoof Mesa, so my reason is partly emotional. It was also designed to have access to the elephant exhibit – it adjoins the far end of it – and I am curious if the mix has been tried yet. Unfortunately, another ugly animal barn runs down the side of the exhibit, which also serves the hoofstock yard on the other side. To reach one from another, the path leaves the pronghorn and things get messy.
The path narrows and has three small square columns set in the middle that interpret the contents of a pack rat nest. I missed why this was pertinent. Then the path is pinched into a set of three ugly bright painted steel columns with cutouts and words set in the ground that carries an inane conservation message. Why here? Why so clumsy? Why so constrictive? This acts as a gateway to Pleistocene Playground, with a few traditional play elements in rubberized ground, some rocky tunnels, a few interactive puzzle graphics, a maze of elephant radio collars, and a play bulldozer appearing to scoop up fossils. I was left scratching my head, wondering what all this contributed to the message. There were signs explaining some of the features but by this time any human should be reaching maximum signage overload. The saving grace is another statue, this time of a teratorn perched on a rock. Next to all this is the other hoofstock exhibit that shares the pronghorn barn. This one is a similar sized yard for domestic horses, burros, alpacas, and dromedary camels. This yard is very barnyard-esque and has a supervised contact area where a keeper can bring out the animals in a small low-fenced pen for guests to pet. The day I was there they brought out the two dromedary camels who were very patient, being swarmed on three sides by visitors. I suppose this exhibit fulfills two purposes. First, it provides animal contact near the play area, both of which cater to youngsters in an area previously unserved by such amenities and on the opposite side of the zoo from the Childrens Zoo. Second, the existing Childrens Zoo contact area has smaller goats and not much room for anything else, so if they desired to expand their domestic program, this was an opportunity to do it. Why expand the domestic program? I have no idea. They have not installed coin feeders or a special pay area to molest the animals, so its not for cash. At any rate, the exhibit itself could be satisfactory for a wild hoofstock species, again an example of flexibility in the design.
The last area on the edge of this Playground area is more successful. It features a small steel framed building that houses a glazed rocky exhibit for rattlesnakes as well as separate small windows into their caves, with a bronze snake sculpture in front. An overhang from this building acts as a viewing area for the final exhibit (and the reason that there is a teratorn statue nearby) which is a steel pole and netted habitat for California condors. Once again it is sandwiched between the path and the bus tour road, but this time it has greater change in floor elevation and several large rocky perching outcrops and a rocky pool, all of which help to diminish the exposed feeling of the previous three similar enclosures for lions, jaguars, and secretary birds. It is a nice exhibit but certainly does not match the great commanding location of their exhibit at the San Diego Wild Animal Park. The viewing area beneath the shelter is glazed, an unusual and appreciated feature for a bird exhibit. The path runs along the length of the aviary, and then reaches the exit (or entrance) which features a beautiful steel sculpture that is shaped like an elephant on one side and a mammoth on the other, as well as another entry sign where the path rejoins the road and leads to the Kopje exhibit nearby.
The exhibit is disappointing in the concept of some of its features and many of its details, but is not entirely unsuccessful. Its sophisticated and flexible theme and large size and cohesion are great assets. It does not make my list of top 50 themed exhibit complexes (nor do any of its individual exhibits make my top lists) but it is not toward the bottom. Emotionally, I still miss Horn and Hoof Mesa, but I do not feel cheated by Elephant Odyssey.
As seems to be the trend from those that have recently visited the world famous San Diego Zoo there is a sense of disappointment with Elephant Odyssey. Many questions will remain unanswered, such as: why is the lion enclosure already outdated in terms of size? Why is the rattlesnake tank about 7 feet high? Why are there ugly holding buildings for hoofstock in a multi-million dollar set of exhibits?
