of the 1950s, remembered overfondly. The houses, which feature wooden shutters and open porches, could have been lifted off the lot of TV’s
Leave It to Beaver
. Celebration boasts a school, a town hall, a library, parks, even a “downtown” within walking distance of most of the homes. Yet by no means is it a self-contained cell. All serious shopping is done in distant malls, and most folks who live in Celebration make the grinding daily commute to jobs in Orlando. There are no monorails or bullet trains or electric cars—just ordinary gas-slurping sport-utility vehicles and sedans.
The most ultramodern thing about Celebration is the price: from $200,000 to more than $1 million for a house, and as much as $80,000 for an undeveloped quarter-acre lot. That’s a load of money for what is basically just another snugly platted wedge of suburbia—except it was designed, built, and marketed by Disney. Consequently, families who’d never otherwise dream of moving into a Florida subdivision are snapping up homes in Celebration, paying from 25 to 40 percentmore than their neighbors in comparable projects along State Road 192.
It’s a striking testament to the allure of the Disney name, and also to the childlike trust it elicits in boomer-era consumers. About five thousand people competed in a lottery for the first 350 homes to be built at Celebration. The company is counting on such exuberant fealty to grow its microplanned development to a buildout population of twenty thousand. Located five miles from Disney World, the new housing subdivision has gotten such a buzz that it actually draws tourists, who may purchase a Celebration wristwatch for $63 or a keepsake pen for half as much. Amazingly, some do.
Prospective settlers aren’t wrong to believe that because it’s a Disney enterprise, Celebration will be different from other Sunbelt suburbs. It surely is. New residents receive a book of detailed rules governing many aspects of life, from the color of one’s house to the pattern of one’s shrubbery to acceptable parking practices. There’s a homeowners association with an elected board, but all decisions are subject to veto by Disney (presumably in the event the town is someday infiltrated by political hotheads). Most residents don’t seem to mind the fussy rules or the company’slarge role in their lives; after all, order, neatness, and safety are precisely what they were shopping for in a neighborhood. And most of them plainly trust Disney to do the right thing. It’s a recurring theme in published interviews with new Celebrationites: They grew up with Disney. Disney stands for quality. When Disney does something, it does it right. Disney would never screw them over.
Of course, nothing in Disney lore points to a special expertise in residential home construction, yet fifteen hundred people have so far entrusted the roofs over their heads to a company best known for thrill rides and cartoon movies. It isn’t the first time.
In the 1980s Disney involved itself in another planned community, with calamitous results. The place was called Country Walk, a subdivision of gabled upscale houses and condominiums in southern Dade County. The development was built by the Arvida Corp., which was owned by Disney until 1987, when it sold its holdings, including 322 homes, condos, and lots.
Five years later Hurricane Andrew smashed into south Florida, and Country Walk was blown to pieces. Hundreds of residents were left homeless and shell-shocked. Many of the wood-framehouses that disintegrated during the storm had been built during Disney’s corporate stewardship. In the debris, experts found ample evidence of sloppy construction practices. The bracing on some houses was so inadequate that the gables had been literally sucked off the roofs by high winds. Engineers discovered rows and rows of nails that were purely decorative, having cleanly missed the trusses they were supposed to secure.
Homeowners began filing lawsuits
Robert J. Sawyer, Stefan Bolz, Ann Christy, Samuel Peralta, Rysa Walker, Lucas Bale, Anthony Vicino, Ernie Lindsey, Carol Davis, Tracy Banghart, Michael Holden, Daniel Arthur Smith, Ernie Luis, Erik Wecks