Artist's conception of proposed facade changes to the Sahara. An enclosed pedestrian bridge crossing above the street is shown.
Site Name: Sahara Hotel and Casino
Address: 2535 Las Vegas Boulevard South

Architecture and Design Style: Googie

Photos show Circus Circus signs at night. Two surveys were conducted to gather information about this sign. One was conducted in 2002 and one was conducted in 2017. PDFs are available for both surveys. See the 2017 survey PDF for additional information that is not included in the object description
Site name: Circus Circus (Las Vegas, Nev.)
Site address: 2880 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Circus Circus is a cluster of signage and buildings located toward the Sahara Boulevard. When approaching Circus Circus on Las Vegas Boulevard from the North or the South the first thing which is seen is Lucky the Clown, the giant, sculpted, roadside pylon, on the west side of the strip where the property is located. From the South as you approach the property A small double backed marquis sign for the Circus Circus is perched atop the corner or the shared and neighboring establishment of the Slots-a-fun's small street side covering. As you make you way past to entrance to Slots of Fun toward the Giant Lucky sign, the impressive porte cochere comes into view. The porte cochere is the centerpieces for the flankings of the electrified north elevation of the low rise Slots a fun building and the Lucky the Clown Pylon. Following the building North and around it's North elevation, and elevated tram track is exaggerated by the striping of red neon and incandescent bulbs. From there you see the letters horizontally along the high rise towers spelling Circus Circus. The rear of the property serves as home to the Circus Circus Manor, an RV park for the recreational motorist to stay in their travels.
Sign condition: Structure 4 Surface 4 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The first description belongs to the double backed color LED message center. The board is outlined in rose neon leading up into neon scrollwork center-pieced at the very top of the sign by a smiling clown face. Between the message center and reader board are the animated neon words circus circus in channel lettering with red neon. When facing the front of the Circus Circus, the first fixture, which catches the eye, is the dazzling Rudy Coristomo designed porte cochere. The gradually arched cover is of fully cantilevered design, and the entire piece is encrusted with a dizzying array of animated red and white incandescent bulbs. The words Circus Circus are spelled in channel lettering cross the front peak of the low rise arch design. The letters are filled with white animated incandescent bulbs. A backdrop for the porte-cochere is the pattern of incandescent bulbs along the wall of the structure, which supports the porte cochere. Painted in animated bulbs, narrow, intersecting archway designs reach from the ground nearly to the top of the building itself. The effect is nice backdrop, which leads the eye from the wings of the property to the center. Placed just to the left of the Porte cochere is an entrance into the casino. Above the door a neon and bulb encrusted fascia designed clown holds guard to the word entrance spelled in backlit plastic. Flanking the figure itself are animated red and white bulb laden scrollwork. To the right of the porte cochere is a smeller yet equally charming sign representing another entrance into the building. The smiling backlit plastic wall sign, like the previous, holds an arched text of casino which itself sits above the word entrance. It is outlined in blue neon, with animated incandescent bulbs. Two backlit plastic message boards with changeable vinyl lettering join the wall sign. Animated incandescent bulbs form a border around each. Following around to the North side of the building. A continuous stripe of red neon and a stream of incandescent bulbs border an elevated tram path. As it disappears into a higher elevation building, the giant, vertical, red neon letters Spelling Circus Circus can be seen high above along the east elevation of the tower in the near distance. Continuing west you arrive in the rear parking lot where several items of signage reside. At the very west edge of the property a single sided arched backlit panel faces east and is supported by two candy striped red and white poles. Following the striping and forming a border around the arched panel, white incandescent bulbs chase around the entire sign. In a two-leveled section of text, in the very center of the top of the sign, the words Circus Circus and then Entrance below that are spelled in metal channel lettering with exposed red neon on the interior. On either side of the red neon text are the words free parking painted in white. Directly through the gate further in the distance in the Parking lot, the parking garage can be seen highlighted by the vertical channel lettering, in block text the words Free parking on the west elevation and on the north elevation the key circus circus turn of the century lettering spell circus circus lighted with red neon. The words light up in sequence back and forth in animated turn, saying Circus, Circus. Below that Free Parking is also spelled in block text channel lettering, with exposed red neon. Along the north side of the parking lot is Circus Circus Manor, the recreational vehicle park is highlighted with it's own unique signage.
Sign - type of display: Neon; Incandescent; Backlit; Matrix
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating, flashing
Sign environment: The site is bordered on the South by Slots of Fun, on the north by the Hilton timeshare under construction, and across the Strip by the Riviera.
Sign manufacturer: YESCO (porte and pylon)
Sign designer: Rudy Crisostomo/LeeLinton (Porte cochere) Dan Edwards (Lucky the Clown Pylon)
Sign - date of installation: Pylon: 1976, Porte Cochere: 1983
Sign - date of redesign/move: The back-lit plastic message board of Lucky the Clown was replaced with an LED matrix screen. In 1983, the porte cochere was redesigned by Rudy Crisostomo and architect Lee Linton.
Sign - thematic influences: The Circus Circus is entirely encompassed by the theme of the big top extravaganza of the three ring circus. The furiously animated light arrays, sheer magnitude of the number of bulbs, intensity of light, all add to the exciting concept of the circus. The turn of the century fonts, reminiscent of the Barbary Coast block Style, are mostly consistent through out the property.
Sign - artistic significance: This theme was en effort to give a bit more respectable image to gambling originally in the late sixties and early seventies. They would incorporate live aerial acts over the casino floor The unique concept was accented by a higher capacity for staying travelers and more family oriented attractions. The giant backlit sculpted pylon Lucky the Clown sign stood as a standard for size and dominance. The 84 ton steel structure was all internally contained and lit from head to toe and welcomed guests and was on of the most memorable Las Vegas sign experiences. Artistically it was influential on the standard on how a resort could be totally encompassed by a theme to create a unique spectacular for most people as well as retain the brilliance of Las Vega's garish style.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Flashing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Matrix; Steel; Plastic; Fiberglass; Graphics; Paint

Photos show Caesars signs during the day and the porte-cochere at night. Two surveys were conducted to gather information about this sign. One was conducted in 2002 and one was conducted in 2017. PDFs are available for both surveys. See the 2017 survey PDF for additional information that is not included in the object description.
Site name: Caesars Palace (Las Vegas, Nev.)
Site address: 3200 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: Caesars Palace is located between the Flamingo Rd. on the western side of Las Vegas Blvd Caesars has grown over the years since it's opening, but remains the true to its classic form. Signage for the resort is limited compared to some but consists of significant pieces of signage such as two large pylon signs, a rotating sign for Planet Hollywood, building signage consisting of logo text, as well as a porte-cochere. The property itself is an over abundance of classic design form after another, mixed among modern amenities like an Omnimax theatre. Caesars Palace is a permanent icon in Las Vegas Imagery and folklore.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The YESCO pylon is located at the northern side of the property and is constructed of black painted steel and centers around a base of four columns aligned in a row. The sign faces north/south. The four columns rise out of the ground about six feet in the air before a long horizontal, gold bordered, rounded end cabinet, that reads and points to free covered parking. The text is graphically applied and internally lit. The cabinet is lit from the backside with neon, creating a halo behind the sign. The columns continue upward until they are met with the triangular cabinet, pointing east, with the two faces, being occupied a color LED message center. The interior edge of the face of the sign is bordered with green neon. Above the visible top edge of the wedge shaped message boards, the Caesar's Palace logo if illuminated in red neon upon a rectangular section created out of two entablatures, stacked on top of each other. The top entablature reads "Caesars" in red letters and "Palace" in the second row The two are capped with pediment lined on the interior edge with gold neon and a back-lit Caesar's logo. The exterior of the cabinet is polished aluminum, with metal channel letters. The original pylon built much earlier, utilized six-column shafts capped with golden statuary, secured to a large concrete base. When facing the columns, facing north, or south, the majority of the view of the vertical pieces is taken up by the giant internally lit message center, with removable lettering. The outer edge is crafted the same as the face of the other pylon, but it is bordered in pink neon. The four center columns supports an entablature supporting the logo text, and above that a pediment rounds out the classic architectural combination. The top half of the pediment is larger and supports the text "Caesars," while the lower, narrower section reads "Palace". The entire pediment is striped horizontally with bands of aqua neon that creates a field for the text. The text is in the stylized roman text, in channel letters, and lined with red neon. One of the most attractive pieces of signage is the Caesars porte-cochere. The famous fountains lead up to the main entrance, which is shadowed by the massive porte-cochere, which is one of the few remaining on the strip that displays such grandeur. The Porte-cohere is a hulking collection of levels, stacked upon on another, but grow in size as each level steps upward. The rest looks as if a massive set of plaster steps were turned upside down and placed over the entrance. The edge of each level is lined with brass treatments that are repeated vertical poles of polished brass, greeting a repeated striping pattern. From behind this treatment and pushed further back beyond the human eye, a rose colored glow is produced by intense lighting fades into a soft halo as it dies out toward the edges. The mass and girth of the structure is helped out visually by the angles chosen to in its design. The entire construction seems to sag under it's own weight, for each level is slightly cupped into a concave shape. Each levels edges are concave as well, producing a illusion of movement in space. To the right of the porte-cochere there is still the aqua tinted light pouring out of the latticework, that fills the arcade of arches. On the main tower directly behind the porte-cochere, the red neon logo is present as well as elsewhere on the building as well. Facing east this particular set of letters looms high over head. The section of the building is a vertically elongated temple front, stretching the height of the building. Four pilasters run the vertical length of the building, holding black spans of tinted windows in between. They each are topped with golden Corinthian capitals, which hold up the classic entablature and pediment. "Caesars Palace" is spelled across the entablature in channel letters and filled with red neon. In the pediment above a golden crest of Julius Caesar's profile flanked by two encompassing olive branches. The crest is ambiently lit with white light. The tower just behind the main building also supports text on its east face as well. As the narrow edge of the tower, the vertical plane rises upward but is flat and smooth until it reaches the top section. It is essentially a giant entablature created out of the temple fronts on either side that wrap around to meet on the width. On this flat plane, "Caesars Palace" is spelled in the classic lettering and neon treatment seen on the building letters just below that. The building itself is ambiently lit but the profile of Caesar above the text is not a brightly lit as the other. On the south side of the parking garage, on the western edge of the property, the channel letter logo reads in red neon as well.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The V-shaped red channels on the silver main pylon chase each other downward toward the ground. The main text on the pylon animates as well. The letters light up one at a time with red neon from left to right as the arrows continue to chase downward. The logo/text sign located above the giant replica of the Harley Davidson, animate as well. The incandescent bulbs which fill the text, spelling the name of the establishment, oscillate, steady burn, then shut off, and then restarting the sequence. The letters that spell cafe on the lower portion of the sign animate in concert and with the same sequence as the main text.
Sign environment: Caesars Palace sits in one of the biggest and busiest sections of the strip, and has always been a mainstay. The ambiently lit classic features of architecture seem almost specter like moments, with the blazing red eyes of the Caesars text staring from afar. From the street, the actual structures are set a bit back from the street, seeming rather distant. Construction is currently present around the exterior edges of the property, which rather dampens effect of the theming, but everything shines through. The theme does step out to the street with the statuary, creeping out to pedestrians and the pylon signs. The main signs are street side, pointing toward the casino. Headed south on the west side of the street the two pylon signs lead up to the porte-cochere. Standing underneath the porte-cochere looking out, the fountains provide a picturesque scene to see the other side of the street. The buildings loom high over head. The environment contains elements, which can be seen repeated throughout hotel exteriors. The large water element, the Classic architectural design motif, and the spectacular porte-cochere are still evident in properties built today. Even though Caesars continues to evolve with the current trends, all of these elements were presenting its original design.
Sign manufacturer: Pylon 1: YESCO Pylon 2: Ad Art
Sign - date of installation: 1966, 1998
Sign - date of redesign/move: On-going additions since 1966
Sign - thematic influences: Caesars Palace may be the first themed resort, which has taken its theme to an extreme the likes of which had never been seen before. Ever since it's original inception in 1966, Caesars Palace has sought to give its guest the most of the Ancient Roman theme. Caesars is simply dripping with imagery and architecture that is steeped in the theme of Ancient Rome. No matter where you go there are collections of statuary, domes and columns, false temple fronts create the facades of the towers, and low geometric hedges and cypress trees all add to the theme. Any themed property can draw influence from Caesars Palace, and still stands as one of the highest markers for competitors to be judged by.
Sign - artistic significance: Very important signage that can be seen reflected in many aspects of non-casino culture. Caesars Palace is one of the icons of American popular culture, and the distinctive Romanesque neon is a big reason why.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Masonry; Paint

Nighttime views of the Westward Ho signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site name: Westward Ho Motel (Las Vegas, Nev.)
Site address: 2900 S Las Vegas Blvd
Sign details: The space of the westward Ho is limited yet busy on the landscape of the strip. Approaching from the south, the property lies on the West- side of the Strip. Signage is available on the south elevation, wrapping around into the east elevation, which happens to be the front. Starting with the pylon sign a similar courtyard stretches north with its translucent vinyl awnings, until it reaches its abrupt end with the Circus Circus and Slots A Fun properties.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Porte-cochère
Sign-specific description: Approaching the Westward Ho headed north you are immediately confronted by a couple of signs. The first being giant yellow channel letters in Western style font and outlined in blue neon. The font is similar to that of the Frontier Hotel and Casino. The ends of extended appendages of the letters swell in block shapes with points jutting from the flat surface. The letters are filled with incandescent bulbs which all flash on together almost illuminating the entire parking lot in for a brief few seconds and then off again. Below that the building is horizontally striped with polished gold panels sporting three back lit signs for various resort attractions of buffets and drink specials. The building long panel is bordered on the top and the bottom by chasing incandescent bulbs on a polished raceway from left to right when facing this south elevation. The brick facade is adorned with a long backlit message cabinet with yellow painted raceways with incandescent bulbs. On either end of the backlit cabinet are two large square backlit cabinets. These two are bordered with a large steel raceway painted black. Dividing the two large raceways is a channel painted yellow. Inside the recessed channel are incandescent bulbs. The black raceways are faced each with three stripes of neon in blue, whir. The facade of signage and mirrored panels leads the eye to the obvious main pylon sign for the motel. The giant exploding pylon of gold raceways shooting upward into the sky and finally mushrooming out into umbrella formations at different elevations. The sign is comprised of five separate towers: One giant one in the center, which is the tallest, two lower ones flanking the center poles, then one smaller one on the south side of the sign and one equal size on the East side of the structure. The polished gold aluminum raceways comprise the body of the structure and are illuminated with incandescent lamps. The very base of the structure is supported with a structure of red brick masonry. The only elements of actual signage are the back-to-back color animated LED message centers, which are crowned by the 'old west' style text of various sized red neon bordered channel letters. Viewed from the side the Westward ho sign takes on a more sculptural aspect than that of signage. The reason for this is the brilliant finishing of the backs of the message centers. The rears of each panel are finely finished with brushed aluminum gold panels, which combined with the electrifying animation of the incandescent bulbs, creates a high degree of reflectivity. (Barnard) As if echoing the main pylon sign, stretching to the north is a small plaza utilizing the same three-dimensional sculpted umbrella designed awnings to create a pedestrian ready experience to the design. The umbrellas are made into coverings by the addition of illuminated vinyl. The pole structures are steel, covered with brick masonry. Each one of the umbrellas has a planter base and benches where visitors my rest or enjoy the surrounding environment. As the pylon, bulb laden, polished aluminum raceways form the skeleton of the Umbrella. Non-illuminated brass raceways stretch down from the inside and down the center pole. As well as the pylon, polished metal lacework finds its way around the circumference of the Umbrellas bottom edge. The East face of the building is mirrored to ad to the reflectivity of the entire plaza, and adding the illusion of depth to the rather limited space. The half columns and half umbrella's are set into the wall looking as if it is whole against the mirrored surface. A backlit triangular polished cabinet is of particular interest, because it is a sculpted cabinet frame. The top of the two faces is made to mimic the shapes of the pylons swelled crowns. Westward Ho is spelled in red paint.
Sign - type of display: Neon; Incandescent; Backlit; Matrix; Ambient
Sign - media: Steel; Plastic; Glass; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: The Westward Ho's unique design of an incorporated courtyard frontage, creates a small strip of closed environment between the Stardust and the Circus Circus/Slots A Fun. The space between the Stardust's property and the Westward Ho's is separated by a small parking lot, which holds claim to the giant letters which boom out casino to the passerby. With its party atmospheric, umbrella design, and mirrored backdrop the pedestrian element makes its own environment distinct to the passerby. Walking through this section gives a sense of a specific taste held in Las Vegas two decades ago, yet still evident today in almost every casino design.
Sign manufacturer: Sign Systems, Inc (pylon and courtyard) YESCO (south side signage)
Sign designer: Brian K. Leming (Pylon and Umbrella frontage)
Sign - date of installation: 1983 (Pylon and Umbrella frontage)
Sign - date of redesign/move: Original backlit plastic message center was replaced with the now existing LED matrix screen
Sign - thematic influences: The Westward Ho facility itself is a Western themed establishment but the design by Lemming reflects a more party atmosphere with its umbrella shaped overhangs and highly animated incandescent raceways. The courtyard was originally designed with a different idea fore a pylon, but the idea of the canopies was carried over into that of the design of the pylon. The over use of the theme of the polished aluminum is reminiscent of that period in Vegas history when the materials could be found virtually everywhere. Such examples included the porte cocheres at the Silverbird Hotel and Casino and the Stardust as well. This theme is still seen on virtually almost every sign. The only elements of Western imagery or style are found in the pylon sign are the font style of the lettering. As for the he building's flavor of the old west, the south wall's yellow channel letters reading "CASINO" is reminiscent of the style of font found on the pylon.
Sign - artistic significance: Besides the fact that the pylon structure stood independently in sculptural aspects as well as functional aspects, the use of materials proved to be a trend setting achievement in that period of Las Vegas. Not only did the property take extensive use materials that could maximize the ability of the lighting such as polished aluminum and mirrored paneling, it was the first to significantly employ the use of colored, translucent vinyl.(Barnard) Soon after the use of this translucent materials in signs could be seen all over the Strip on the interior and exterior of signs and buildings.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Porte-cochère; Neon; Incandescent; Backlit; Matrix; Steel; Plastic; Masonry; Glass; Paint; Graphics

Photos show Tropicana signs at night. Two surveys were conducted to gather information about this sign. One was conducted in 2002 and one was conducted in 2017. PDFs are available for both surveys. See the 2017 survey PDF for additional information that is not included in the object description.
Site name: Tropicana Hotel and Casino (Las Vegas, Nev.)
Site address: 3801 S Las Vegas Blvd
Sign owner: Aztar
Sign details: The southeast corner of Las Vegas Blvd and Tropicana Boulevard belongs to the Tropicana Hotel Casino. The Tropicana is composed of two high-rise towers, the low-rise wings of rooms, and the casino itself. One tower faces southwest/northeast, while the other tower, further east on the property faces southeast/northwest. The expanse of the corner, near the street is an open concrete pedestrian plaza, with rising planters, a large functioning waterfall, also surrounded by foliage, and various vendors. The porte-cochere connects the plaza to the hotel, with the connecting bridge to the Excalibur, residing on top.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: On the north and south faces of the porte-cochere roof line, on a pediment between the sloping blue roof and a row of brass fixtures, large channel letters in the faceted Tropicana font, horizontally spell "Tropicana." The exteriors are painted black wit a blue reflective finishing the interiors. They are filled with blue neon. The ceiling of the porte-cochere holds two distinct features to its credit. The north half is adorned with a glass domed hole through the roof. The interior thickness and recessed lip are covered in a polished metallic surface. Seashells adorn the edge where the lip meets the ceiling as well as on the face of the ledge as well. Teal, red and gold organic lines are floating across the surface in paint. The south half of the porte-cochere is covered with six recessed rectangular areas. Within the giant coffering a field of polished metal squares form a tiled field bordered with incandescent bulbs. In each of the corner intersections a sculpted glass cover, hold a single incandescent bulbs. Each field holds forty or so of these bulbs and their coverings. Two identical pylons flank the courtyard. One of them is on the south side of Tropicana avenue facing east /west, while the other faces north/south on the east side of the street. The pylon is essentially a giant double-sided rectangle with a top section that angles back into space on either side to meet at a peak. The result is a small roof like peak at the top of the sign supporting text on its face. The text however is standing up horizontally at a 90-degree angle. Besides the text logo at the top, the sign possesses an internally lit message cabinet on the bottom of the face, a small LED message center, and another backlit cabinet with a color advertisement for Follies Berger. The message center at the bottom is white plastic with vinyl lettering. The small message center is flanked by three steel poles, the height of the sign and finished to look like bamboo. The horizontal line created by the top edge of the sign is also lined with this false bamboo. The channel lettering at the top are polished metallic, shallow channel letters, which extend in depth all the way back to the face of the roof like form. The faces are filled with incandescent bulbs and bordered in neon. The sides of the sign are treated with a vertical bull nose like shape which runs vertically up the width of the sign. It is pointed wit ha triangular shape on both ends. The shape begins flush with the triangular peak of the signs profile and ends with its point approximately halfway down the height of the bottom message center. The bull nose is faceted with three faces. At the triangular tips, the three faces appear to make the space retain a jewel like shape. The middle face is laden with incandescent bulbs. The rest of the width of the sign is also finished in polished gold metal. The remaining open space on the faces of the cabinet, as well as exposed pieces of the cabinet, are painted a teal color. A border on incandescent bulbs runs around the entire face of the signage. The only signage present on the towers , is the on the first tower, closest to the corner. Running vertically down the west side of the southwest face of the tower, giant metallic channel letters spell "Tropicana" and are lined on the interiors with a double row of neon. Along the western end of the tower, three, double rows of incandescent bulbs run the entire height of the building. These animate, chasing each other down, simulating a waterfall.
Sign - type of display: Neon; Incandescent; Backlit; LED
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, oscillating
Notes: Pylons: The incandescent bulbs inside the channel letters for the logo oscillate, as well as on the vertical width of the pylon. The raceways around the backlit screen chase each other, but it is a double row of incandescent bulbs that chase in opposite directions to each other. Building: The giant raceways of incandescent bulbs on the northwest corner of the Tropicana's front tower, chase each other from top to bottom, representing a waterfall.
Sign environment: The Tropicana belongs to one of the four major properties which comprise the intersection of Tropicana Ave. and Las Vegas Blvd The corner is occupied by a plaza and pedestrian element that is also seen in the other neighbors in the intersection as well. The towers loom over the plaza, as is accented by kiosks for patron promotions, and other services such as refreshments. The property is a good example of a property which has adapted over the years to fit and compete with the rapid evolution of Las Vegas.
Sign manufacturer: Original fascia design ( letters on building are what remain after remodel) by Heath and Company. Pylons: by YESCO
Sign designer: Original prismatic design was submitted by AD-Art's Jack DuBois ,but produced by Raul Rodriguez for heath and Company.
Sign - date of installation: 1978
Sign - date of redesign/move: The original facade was remodeled, which altered the exterior of the porte- cochere, but the letters remain.
Sign - thematic influences: The theme surrounding the Tropicana is that of the island paradise. References to the theming, that are evident on the exterior, are the shape and style of the text utilized in the various signage as well as those shapes being carried over into the designs other architectural elements. The blue incandescent bulbs that chase each other down the face of the building obviously reference a waterfall. Juxtaposed to the aesthetic, actual water elements have been incorporated into the front facade also. The angular design of the text is reminiscent of prism like faceted fonts is reminiscent many aspects dealing with Las Vegas, but fit more into the theme of the property than Vegas. The prismatic design is also incorporated into the design of the actual pylon also. The edges of the vertical length of the pylon are faceted and the triangular end seen on the fonts can be found elsewhere on the pylon. Not only is this shape evident with the pylon but on the fascia of the neighboring facade. The peaked rooflines of the village like facade also mirror this shape, being accented by the incandescent bulbs that line the edges. The text are reminiscent of something tropical, the shape somehow represents something rustic and wooden, even a tiki-like flavor.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Graphics; Paint; LED