Daytime and nighttime views of the Gameworks' signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site address: 3785 S Las Vegas Blvd Sign details: Game Works is located on the underground level of The Showcase Plaza, which is also home to such establishments as M&M World and the Show case theatres. Two small gateway pylons for the Game Works center, stand on other side of staircases that lead to the underground facility. Just east of there a large wall front design hands approximately nine feet above the ground on the structure of the mall. Sign condition: Structure 5 Surface 4 Lighting 5 Sign form: Pylon; Fascia Sign-specific description: The large wall marquee that reads GAMEWORKS in all capitals, utilizes deep, yellow, steel, channel letters painted black on the exteriors. The slightly arched sign is on the West wall of the building, facing West from the East side of the strip. The interior of the text contains double rows of yellow neon. The cabinet, which the words sit upon, is a black steel cabinet shadowing the individual letters in one cabinet. The backing cabinet itself is illuminated from its interior, with middle section of the width of the cabinet is made of a steel grating. This function allows the blue neon on the inside to cast a blue glowing halo seen from the exterior. Sitting on top of the right hand side of the marquee are two steel boxes manufactured into the shape of a male and female figure dashing to the end of the sign. These figures are made of black steel box like formations while retaining a cartoon-ish silhouette. Their posture suggests motion or running. These figures are constructed in the same fashion as the black cabinet, which the text is supported upon. They too are glowing with the blue interior neon halo. In front of the large wall sign are the two, single sided, gateway pylons. They serve as markers for the stairs that lead the underground facility. They sit on either end of the large channel cut into the sidewalk. One faces South on the South entrance, and one faces North at the North end. The signage is actually a smaller replica of the large building front logo. The same interior lit cabinet supports the same design of yellow channel letters, with the backing "shadow" cabinet. A difference between the larger and smaller cabinets is that the cabinets are surfaced with the grated material. The only difference in the channel letters besides their obvious discrepancy in size, is that single rows of neon comprise the interior of the channel letters. On either side of the sign, two, "space age" themed posts provide support. They are topped with a sculpted cylindrical fashion capital. The bases for which they are attached to the concrete with, are blue in color. The actual shaft of the pole is made of several smaller pipes, with a plastic cylindrical tube in the center. Inside this tube is a string of attached incandescent bulbs running vertically. Below the text, suspended with two rods, is an oval shaped, aluminum cabinet. In the face of the cabinet there are the words "cafe" and "lounge" painted in blue. Over the painted text is blue neon. From both sides of the sign, the blue neon scrawl is visible Separating the two words is a black circle with a red neon rectangular shape in the center. The ends of the cabinet are made small circular cabinets approximately seven inches in diameter. Sign - type of display: Neon; Incandescent; Backlit Sign - media: Steel; Plastic; Fiberglass Sign - non-neon treatments: Paint Sign animation: none Sign environment: The Game Works facility is located directly across the street from the pedestrian "Brooklyn Bridge" element of the New York New York and sit is the shadow of the MGM super pylon. The vibrant yellow of the sign do stand out as distinct among the tremendous and attractive signage of the Showcase plaza. The large channel cut into the sidewalk, along with its large surrounding counterparts, makes the entrance reminiscent of that of a subway. The plaza itself is self-contained and while standing along the front a person is enveloped in the plaza without being distracted by the rest of the strip itself. The large signage looms over a pedestrian while walking by, or shouts at you while sitting along the shrub filled flowerbeds. Sign - thematic influences: The actual theme of the sign is correspondent to that of the business, which the sign advertises. The property is an interactive gaming facility and lounge. The use of the glow of a monitor or computer screen. The polished aluminum poles supporting the gateways are reminiscent of the futuristic, or "space-age" theming associated with the classic representations of science fiction in movies and television throughout the twentieth century. Such examples of this classic representations may be seen in television programs from the past like "Lost in Space," or even literary descriptions in Orson Well's "War of The Worlds" of Ray Bradbury's "Martian Chronicles" The combination of materials along with the innovative use of lighting also suggests electricity and digital elements which associate with the function of the facility. Sign - artistic significance: If not significant for simply combining different elements to create a completely self-contained sign, it fits into the movement in Las Vegas's history , which is geared more toward the family. Not only the space that it occupies, but also the function itself in intended to attract young people if not children into it domain. It is an obvious standout for the vote to make Las Vegas move toward a more family oriented town. Aesthetically the signage is modern innovation on a classic design. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint
Nevada exhibits of the AZ v. CA case before the U. S. Supreme Court. The exhibits include topographic maps, photomaps, excerpts from correspondence and other published documents, and charts.
For the first 19 years of her life, Mary Martell Shaw called Central America home. Then thanks to misrouted luggage, she met the love of her life Rollin H. Shaw, a civil engineer, at a time in when his atomic energy career was taking off. In October 1943, they married in Costa Rica and for the next two decades traversed the country: Hawaii to California to Panama—wherever a project required Ronnie's engineering skills. Mary supported her husband every step of the way, with every new location. As a traditional homemaker of the era, she became adept at raising their four kids while packing boxes, enrolling them in school and setting up a warm home wherever they landed. The move to Las Vegas in September 1964, however, left her a bit challenged: there was a shortage of adequate housing, a concern for where to send her two daughters and two sons to school, and the feeling that they wouldn't be here long. Years later, Mary and Ronnie would retire to the city where their roots ran deepest, Las Vegas. With great wit, Mary recalls the long absences demanded by Ronnie's work with the Atomic Energy Commission. She also tells stories of the great fun they and their fellow Nevada Test Site employees had at parties, of her learning to paint with watercolors, and the pride she has of all her children's successes based on their education in Las Vegas.
Anna Peltier, owner and founder of ARIA Landscape Architecture in Las Vegas, Nevada, is a transplanted farm girl and a musician. She was born in 1978 on Michigan’s Upper Peninsula in Escanaba, Michigan, where she and two brothers were the second generation to grow up on their parents’ (and formerly their grandparents’) farm. She studied music performance at Michigan State University but after discovering her love of landscape architecture early in her college career, she changed majors and earned her degree in landscape architecture. Moving to Las Vegas in 2007, she first worked for JW Zunino Landscape Architects. While with Zunino she did design work for Lorenzi Park and designed the award-winning Cactus Avenue Interchange. As ARIA’s principal designer, Anna designed Discovery Park in Pahrump, Nevada, and the USA Parkway between Lake Tahoe, California, and Reno, Nevada. In 2013, when Anna opened ARIA, she carefully chose the name of her business. First, for practical reasons she want
On April 12, 1977, collector Mark French interviewed Nanyu Tomiyasu (born May 28th, 1918 in Las Vegas, Nevada) at the University of Nevada, Las Vegas. In this interview, Nanyu Tomiyasu discusses growing up and working on his father’s (Bill Yonema Tomiyasu) farm in Las Vegas, Nevada. He also discusses how his father came to Las Vegas and being one of the few Japanese families in Las Vegas as a child.
Dr. Tom Wright was born and grew up in Illinois. His father finished his PhD in Chicago and then taught at Illinois College in Jacksonville. His mother suffered from arthritis and was told to seek a warmer climate, so John Wright packed up his family and moved to Las Vegas. Tom was 14, ready for high school, and his two brothers were elementary school age. Tom attended Las Vegas High School, which was close to the Crestwood community where the family had purchased their first home. He remembers that UNLV had no buildings when his dad first started teaching there. Instead, he conducted class in high school classrooms and church Sunday school rooms. Dr. Wright started off at a community college as a Geology Major, but a class with Bud Poland convinced him that history was his passion. He transferred to Pomona to continue his bachelor's degree. He spent his junior year in Peru on a study-abroad program, and that experience made him a Latin Americanist. The information he gath
José Armando Elique was born on February 14, 1944 in New York City. Born to Puerto Rican parents that immigrated to the United States in the 20s, Elique spent his childhood in both New York and Puerto Rico. Raised in the South Bronx, Elique’s family were part of the first pioneros from Puerto Ricans to settle in New York City in the twentieth century. Elique served as a radar man in the United States Navy during the Vietnam War on the USS Purdey. After his service, Elique applied to the Port Authority Police Department where his first big assignment included going undercover and investigating gang activity. Over the course of the next 22 years, he rose through the rankings becoming the assistant chief in charge of overseeing six facilities in the region. Elique is the first and only Latino to reach such rank with the Port Authority. Elique moved to Nevada in 2000 and became the chief of UNLV Police Services. Prior to coming to UNLV, he served as the University Director of Public Safety for the City University of New York (CUNY). Elique is also a member of the National Latino Police Officers Association, an organization that helps train Latino officers on contemporary issues and promote the advancement of Latinos in the police force. As police chief, Elique has fought for the hiring of new police officers to better serve UNLV’s campus and student body. As Chief of Police, Elique oversaw the response of his team to secure the campus and to provide for the needs of those seeking refuge at Thomas and Mack Center on the night of October 1, 2017. Chief Elique is also part of the Remembering 1 October oral history project where he reflected on that night, the role of campus police, coordination with Metro Police, purpose of the Fusion Center, command post, Emergency Operation Center for business continuity, and preparedness of urgent situation and active shooters. He is a graduate of Adelphi University and of Northwestern University’s Traffic Institute of Police Administration and the Police Executive Research Forum’s Senior Management Institute for Police.