Search Results
Union Pacific Railroad Collection
Identifier
MS-00397
Abstract
The Union Pacific Railroad Collection (1828-1986) is comprised of the original corporate records of the Union Pacific Railroad's operations in Southern Nevada, Utah, and Southern California, particularly focusing on Las Vegas and Los Angeles. The collection documents the purchase of Stewart ranch and the construction of the original depot and town which became modern Las Vegas. The collection also contains the records of the Las Vegas Land & Water Company (LVL&W), a subsidiary of the railroad formed in 1905 to handle the railroad's land transactions. The collection contains office files, correspondence, reports, leases, various legal, governmental and financial document, the collection contains large and small format maps, architectural and engineering drawings, published technical reports, railroad operational manuals, bound legal briefs, ledgers, and payroll and receipt books. The collection also includes the personal files of Walter Bracken, the Union Pacific's special representative in Nevada and vice president of the Las Vegas Land and Water Company, and a paper index of the collection materials.
Archival Collection
Epilogue: Nevada Southern University Yearbook, 1965
Date
1965
Description
Yearbook main highlights: schools and departments; detailed lists with names and headshots of faculty, administration and students; variety of photos from activities, festivals, campus life, and buildings; campus organizations such as sororities, fraternities and councils; beauty contest winners; college sports and featured athletes; and printed advertisements of local businesses; Institution name: Nevada Southern University, Las Vegas, NV
Mixed Content
Las Vegas Fire & Rescue 65th Anniversary: commemorative book
Date
2008
Archival Collection
Description
Cherina Kleven appears on pages 124, 134, 135, 153, 159, 162, 198, 201, and 210.
Mixed Content
Mabel Hoggard: teaching materials
Date
1923 to 1977
Archival Collection
Description
Folder of materials from the Mabel Hoggard Papers (MS-00565) -- Educational work and legacy file. This folder includes teaching contracts, a Clark County School District Las Vegas Area map, teacher-student guidelines, newsletters, a conference booklet, a speech transcript, and other documents related to Mabel Hoggard's teaching career.
Mixed Content
Photographs of New York New York signs, Las Vegas (Nev.), 2002
Date
2002
2017-08-30
Archival Collection
Description
Photos show New York New York 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: New York-New York Hotel and Casino (Las Vegas, Nev.)
Site address: 3790 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: Occupying the northwest corner of Las Vegas Blvd and Tropicana Ave. is the New York New York Hotel and Casino. The property is a miniature representation of New York City in a collection of colorful architecture and sculpture. Colored reflective panels create the facades of high rises and skyscrapers. An almost cartoon like element is brought to the structures, flowing seamlessly sometimes throughout a surreal landscape of classical architectural elements and mock high rises. Distinguishable landmarks, such as the Empire State Building, the Statue of Liberty, and the Brooklyn Bridge, can be recognized with ease. A lagoon of water represents a harbor shooting water out of fountains disguised as boats.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The porte cochere is located on the south side of the property facing Tropicana Ave. The design cantilevers off of the main structure to the north, and then is supported by two columns on its far end. The three exposed sides hold the radiating crown of the New York New York logo sign. The two on the east and west sides are smaller than the one on the south side, but are essentially the same design. A half circle cabinet holds the text New York New York stacked in two lines. The channel letters are polished metal on the outside with incandescent bulbs on the interior. Their faces are bordered with red neon. The text is positioned on the front of the half circle cabinet. Breaking the surface of the radius edge, elongated triangular pan channels create a repeating pattern. The result is a crown of points running all across the top of the cabinet. It is reminiscent of the crown on the statue of liberty, or the rays of the rising sun. The face of the cabinet is painted blue, with metallic raceways, filling the negative spaces with more triangular shapes. The triangular pans are painted yellow on the interior with a blue finish on the exterior. The exterior width of the cabinet is also finished in a golden reflective surface. Three tubes of neon fashioned into succeedingly smaller triangles are inside each surface. The color scheme of the neon is yellow being the outer, orange being the second, and the center being red. The sign on the south side is designed the same, except being quite a bit larger, and the crowns of the cabinet angle forward instead of straight up in the air. All the edges are bordered with incandescent bulbs. The bottom edge below the signage, actually underlining the signage significantly, is a gold polished double bull nose that wraps the entire length of each side. The surface is strewn with small incandescent bulbs. An entablature runs above the bull nose, filling the spaces between the sign. The pediment is bordered on the top and the bottom with gold polished raceways and incandescent bulbs. Two mirrored posts support the southern end. The ceiling of the porte cochere is treated much the same as the logo signage on the three sides of the roof. Long pan channels are placed on the ceilings and shaped to look like waving banners, confetti, and beams, radiate out of a centerpiece positioned over the entrance to the casino. Red pans are painted orange on the interiors and green channels are painted blue on the interior. Tubes of neon are bent to the contours of the shapes of each one of these channels. The entire composition is a brilliant abstract pattern of light and colored steel shooting out toward Tropicana Ave. Headed east toward the northwest corner a bridge connects the Excalibur property to the New York New York. At the end of a bridge an entrance into the NY NY is below a LED message center and an arched logo cabinet, with the text and the radiating triangular channels. It is actually the same neon and color scheme, just fit to sit over the LCD display. The sign faces south. The sign has the distinct backdrop of a domed rotunda lined with columns. Rounding the corner another elevated bridge stretches east over the strip to the MGM property. The same configuration of the arched signage, along with the illuminated text, and LCD display screen is on the east side of the building. The corner facade of the harbor is flanked by these two collections of signs and walkways. Around the corner, the property extends north up Las Vegas Blvd continuing the facade of fake apartment buildings, with storefront windows at ground level. Here the replica of the Brooklyn Bridge serves as the main concourse of pedestrian activity. There are two sections of sign that are of particular interest to the eastern face of the building. The first is an advertisement for Panasonic. Panasonic is spelled in silver channel letters with blue fronts. The blocky font is internally lit. The entire text sits along the top edge of a matching message center. Further north on the face of the building, a section of building, finished in brick, combine graphics and three-dimensional elements for a sign for Pepsi. Toward the top of the face a logo/wall sign is crafted out of channel letters and filled with incandescent bulbs and bordered with blue neon. The entire text reads "Pepsi: Cola" The capital "P" and "C" are crafted out of one cursive style channel. The remaining letters are spelled in separate channel letters. The channel letters are stylized in a fashion reminiscent of the turn if the century. The colon placed between the "I" in Pepsi and the "C" in cola is also made out of channel boxes. Below the logo, a mural is painted on the majority of the remaining open space on the surface. Two police officers, in the style of early cartoons from the first few decades of the twentieth century, are the focus of the mural and are reminiscent of the famed "keystone" cops. The two figures are shown from about waist up in a circle, which is broken at the top by the white painted thought bubbles, bordered in black. The thought bubble on the left reads "bigger bottle" and the opposite reads, "better flavor". The two police officers correspond the appropriate thought bubble, with the one on the left being the larger figure, and the one on the right being smaller and apparently older. They are treated with blue paint, with their stripes, buttons and badges, treated in yellow paint. The skin tones are treated with proper hues, with facial features distinguished by black contour lines. The three-dimensional aspects come into play when describing their action. The officer on the left is pouring a bottle of the cola into the glass, which the other officer is holding. The one hand each officer is showing is a three-dimensional, fiberglass, white, cartoon, gloves. The one on the left is integrated into the tilted bottle. The bottle is coming off of the wall in a sculpted two-dimensional cabinet. The bottle is treated with the red white and blue Pepsi label, and reminiscent of the logo channel text. The tilted bottle points down toward a glass that the other officer holds. The glass is also a sculpted cabinet treated with paint on the surface, as well as the bottle, to appear as glass, utilizing highlights. Neon for the mural is cleverly designed to accent the mural and compliment the design. The text in the thought bubbles is overlaid with yellow neon, which animates back and forth to suggest an interaction of talking to each other. One half will illuminate, then the other as the first darkens. The yellow painted buttons, stripes, and badges of the characters uniforms are all outlined with yellow neon. The action of the neon in the bottle and glass can be seen through the semitransparent materials. Horizontal tubes of red neon fill the bottle, as well as the glass. In the space between the bottle and the glass waving tubes of neon pass through the apparent opening at the top of the cabinet, and can be seen behind the translucent face. When in action, the bottle appears as if it is pouring the liquid into the cup. (see animation notes) Among the ground level shops along the east side, marquis signage denotes passage. One on the southern end of the elevation just before the Brooklyn Bridge begins, and another, a bit further north, before the ESPN Zone signage. Two message panels come off the wall at an angle flattening off with a smaller panel boasting logo channel letters. Each one of the wings are spanned across the top of the face with channel letters spelling "entrance," painted in an off white on the interior. They are filled with incandescent bulbs and bordered with red neon. The remaining space on the bottom of the face is an LED message center. A narrow horizontal plane rises off of the top edge and is lined with three tubes of neon. The cabinet is made of a polished gold metal. The entire outline of the wing is lined with a raceway lined with incandescent bulbs. Smaller eastern face of the overhang is a square cabinet with an arched top. To either side of the cabinet is crafted into a set of two narrow horizontal planes. The one closest to the cabinet is taller that the one right next to it, with rounded corners echoing the curve of the main cabinet. The resultant effect is a sculpted cabinet with a top edge descending on either side in a water falling radius. These bookend elements are bordered with yellow, and three vertical tubes of neon running the length of the interior. They main cabinet is occupied by the internally lit double set initials "NY," stacked one set on top of the other. They too are filled with incandescent bulbs and bordered with red neon. The face of the middle cabinet is bordered with incandescent bulbs and finished in a slick blue hue. The underside of the overhang is covered in the polished gold surface and laden with incandescent bulbs. The northern end of the property is dominated by the signage for the ESPN Zone sports lounge, located inside the NY NY. The exterior signage is basically a theatre marquee entrance with a long overhang supporting an electronic message banner that reads from left to right. The majority of the theatre front is polished aluminum wit h thin tubes of red neon above and below the electronic reader board. Above the top edge of the actual front of the sign is a design of pan channels, crafted and shaped to form a complex background for the logo text spelling "ESPN." A wavy green crafted channel creates what looks like a horizon. The space between the marquee and the green channel is a black field laden with incandescent bulbs. Above the green channel an array of pan channels crafted into interlocking, swaying, pointed shapes. They are painted yellow and orange so the result is a bed of flames. These too are lined in the interior of the contour in red and orange neon. In the center of the entire face of the overhand in a black steel cabinet with the logo for the establishment spelling "ESPN Zone." The First portion of the two-word phrase is spelled in shallow channel letters lined with horizontal bars of white neon. The text is outlined in red neon as well. The second half spells "Zone," and is written in the same font with the "Z" being the largest letter in the sign, designed with the bottom horizontal leg underlining the rest of the letters in the word. The word is oulined with white neon as well. The latter portion is filled with horizontal bars of red neon. Situated along the middle of the sign, and against the vertical plane of the building, a blade sign repeats the design and colors of the bottom portion of the sign. The vertical cabinet is double sided spelling the "ESPN Zone" logo vertically with the same neon treatments for the respective words. The three toned background of black, green, red and orange on the bottom of the sign is interpreted on the blade. Running vertically, the black portion laden with bulbs runs against the wall, with the wavy channel next to that, disappearing temporarily behind the letters. The flames hang off of the outer edge of the sign. All of the neon treatments are seen here as well. Crowning the top of the blade sign two circular cabinets are arranged touching each other at one end, the faces pointing out to angled directions. Here the ESPN logo is arranged inside a circle. The bottom half below the letters is filled with horizontal bars of green neon, while the flames are present on the top half. The same cabinets can be seen mounted on the ends of the bottom overhang.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
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: Centering around the theme of the city of New York, it utilizes the corner to create a wrapping montage of sales kiosks, paralleled by a miniature replica of the Brooklyn bridge transforming into a corner bay flanked by the overhead walkways, and bringing the viewer in to the brightly lit arms of the porte cochere. The environment of the overhead wall signs and entrance signs blend in and compliment the theme aspect of being in a city. Of course they stand out a bit more with the over the top Vegas garishness, but they also add to the pedestrian interactive feature that creates the environment in which it sets out to accomplish. The corner fountain provides a unique experience with the views of the neighboring casinos but creates a bit more of a surreal nature with the small scale Statue of Liberty and backing of stylized skyscrapers and metropolitan architecture. To follow further around the corner headed south; the blazing neon adorned porte-cochere is backed by yet more architecture and the sweeping tracks of the resorts roller coaster.
Sign designer: Marnell Corrao Architect: Neal Gaskin
Sign - date of installation: 1997
Sign - thematic influences: The New York City theme is the consuming factor in the aspects of the outmost design interior and exterior, as well as influencing the design of the signage itself. From the corner design being used to create a miniature water spectacular representing a harbor, to the faux apartment and store-fronts, and replica Brooklyn Bridge, to the peaks of the logo cabinet work. It joins the array of properties on the strip which are heavily themed, and designed to attract a family oriented crowd. It is also themed after a city.
Sign - artistic significance: This resort has regularly been recognized as one of the architectural wonders of the Strip, and the signage contributes to its fame.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint; Graphics
Site name: New York-New York Hotel and Casino (Las Vegas, Nev.)
Site address: 3790 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: Occupying the northwest corner of Las Vegas Blvd and Tropicana Ave. is the New York New York Hotel and Casino. The property is a miniature representation of New York City in a collection of colorful architecture and sculpture. Colored reflective panels create the facades of high rises and skyscrapers. An almost cartoon like element is brought to the structures, flowing seamlessly sometimes throughout a surreal landscape of classical architectural elements and mock high rises. Distinguishable landmarks, such as the Empire State Building, the Statue of Liberty, and the Brooklyn Bridge, can be recognized with ease. A lagoon of water represents a harbor shooting water out of fountains disguised as boats.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The porte cochere is located on the south side of the property facing Tropicana Ave. The design cantilevers off of the main structure to the north, and then is supported by two columns on its far end. The three exposed sides hold the radiating crown of the New York New York logo sign. The two on the east and west sides are smaller than the one on the south side, but are essentially the same design. A half circle cabinet holds the text New York New York stacked in two lines. The channel letters are polished metal on the outside with incandescent bulbs on the interior. Their faces are bordered with red neon. The text is positioned on the front of the half circle cabinet. Breaking the surface of the radius edge, elongated triangular pan channels create a repeating pattern. The result is a crown of points running all across the top of the cabinet. It is reminiscent of the crown on the statue of liberty, or the rays of the rising sun. The face of the cabinet is painted blue, with metallic raceways, filling the negative spaces with more triangular shapes. The triangular pans are painted yellow on the interior with a blue finish on the exterior. The exterior width of the cabinet is also finished in a golden reflective surface. Three tubes of neon fashioned into succeedingly smaller triangles are inside each surface. The color scheme of the neon is yellow being the outer, orange being the second, and the center being red. The sign on the south side is designed the same, except being quite a bit larger, and the crowns of the cabinet angle forward instead of straight up in the air. All the edges are bordered with incandescent bulbs. The bottom edge below the signage, actually underlining the signage significantly, is a gold polished double bull nose that wraps the entire length of each side. The surface is strewn with small incandescent bulbs. An entablature runs above the bull nose, filling the spaces between the sign. The pediment is bordered on the top and the bottom with gold polished raceways and incandescent bulbs. Two mirrored posts support the southern end. The ceiling of the porte cochere is treated much the same as the logo signage on the three sides of the roof. Long pan channels are placed on the ceilings and shaped to look like waving banners, confetti, and beams, radiate out of a centerpiece positioned over the entrance to the casino. Red pans are painted orange on the interiors and green channels are painted blue on the interior. Tubes of neon are bent to the contours of the shapes of each one of these channels. The entire composition is a brilliant abstract pattern of light and colored steel shooting out toward Tropicana Ave. Headed east toward the northwest corner a bridge connects the Excalibur property to the New York New York. At the end of a bridge an entrance into the NY NY is below a LED message center and an arched logo cabinet, with the text and the radiating triangular channels. It is actually the same neon and color scheme, just fit to sit over the LCD display. The sign faces south. The sign has the distinct backdrop of a domed rotunda lined with columns. Rounding the corner another elevated bridge stretches east over the strip to the MGM property. The same configuration of the arched signage, along with the illuminated text, and LCD display screen is on the east side of the building. The corner facade of the harbor is flanked by these two collections of signs and walkways. Around the corner, the property extends north up Las Vegas Blvd continuing the facade of fake apartment buildings, with storefront windows at ground level. Here the replica of the Brooklyn Bridge serves as the main concourse of pedestrian activity. There are two sections of sign that are of particular interest to the eastern face of the building. The first is an advertisement for Panasonic. Panasonic is spelled in silver channel letters with blue fronts. The blocky font is internally lit. The entire text sits along the top edge of a matching message center. Further north on the face of the building, a section of building, finished in brick, combine graphics and three-dimensional elements for a sign for Pepsi. Toward the top of the face a logo/wall sign is crafted out of channel letters and filled with incandescent bulbs and bordered with blue neon. The entire text reads "Pepsi: Cola" The capital "P" and "C" are crafted out of one cursive style channel. The remaining letters are spelled in separate channel letters. The channel letters are stylized in a fashion reminiscent of the turn if the century. The colon placed between the "I" in Pepsi and the "C" in cola is also made out of channel boxes. Below the logo, a mural is painted on the majority of the remaining open space on the surface. Two police officers, in the style of early cartoons from the first few decades of the twentieth century, are the focus of the mural and are reminiscent of the famed "keystone" cops. The two figures are shown from about waist up in a circle, which is broken at the top by the white painted thought bubbles, bordered in black. The thought bubble on the left reads "bigger bottle" and the opposite reads, "better flavor". The two police officers correspond the appropriate thought bubble, with the one on the left being the larger figure, and the one on the right being smaller and apparently older. They are treated with blue paint, with their stripes, buttons and badges, treated in yellow paint. The skin tones are treated with proper hues, with facial features distinguished by black contour lines. The three-dimensional aspects come into play when describing their action. The officer on the left is pouring a bottle of the cola into the glass, which the other officer is holding. The one hand each officer is showing is a three-dimensional, fiberglass, white, cartoon, gloves. The one on the left is integrated into the tilted bottle. The bottle is coming off of the wall in a sculpted two-dimensional cabinet. The bottle is treated with the red white and blue Pepsi label, and reminiscent of the logo channel text. The tilted bottle points down toward a glass that the other officer holds. The glass is also a sculpted cabinet treated with paint on the surface, as well as the bottle, to appear as glass, utilizing highlights. Neon for the mural is cleverly designed to accent the mural and compliment the design. The text in the thought bubbles is overlaid with yellow neon, which animates back and forth to suggest an interaction of talking to each other. One half will illuminate, then the other as the first darkens. The yellow painted buttons, stripes, and badges of the characters uniforms are all outlined with yellow neon. The action of the neon in the bottle and glass can be seen through the semitransparent materials. Horizontal tubes of red neon fill the bottle, as well as the glass. In the space between the bottle and the glass waving tubes of neon pass through the apparent opening at the top of the cabinet, and can be seen behind the translucent face. When in action, the bottle appears as if it is pouring the liquid into the cup. (see animation notes) Among the ground level shops along the east side, marquis signage denotes passage. One on the southern end of the elevation just before the Brooklyn Bridge begins, and another, a bit further north, before the ESPN Zone signage. Two message panels come off the wall at an angle flattening off with a smaller panel boasting logo channel letters. Each one of the wings are spanned across the top of the face with channel letters spelling "entrance," painted in an off white on the interior. They are filled with incandescent bulbs and bordered with red neon. The remaining space on the bottom of the face is an LED message center. A narrow horizontal plane rises off of the top edge and is lined with three tubes of neon. The cabinet is made of a polished gold metal. The entire outline of the wing is lined with a raceway lined with incandescent bulbs. Smaller eastern face of the overhang is a square cabinet with an arched top. To either side of the cabinet is crafted into a set of two narrow horizontal planes. The one closest to the cabinet is taller that the one right next to it, with rounded corners echoing the curve of the main cabinet. The resultant effect is a sculpted cabinet with a top edge descending on either side in a water falling radius. These bookend elements are bordered with yellow, and three vertical tubes of neon running the length of the interior. They main cabinet is occupied by the internally lit double set initials "NY," stacked one set on top of the other. They too are filled with incandescent bulbs and bordered with red neon. The face of the middle cabinet is bordered with incandescent bulbs and finished in a slick blue hue. The underside of the overhang is covered in the polished gold surface and laden with incandescent bulbs. The northern end of the property is dominated by the signage for the ESPN Zone sports lounge, located inside the NY NY. The exterior signage is basically a theatre marquee entrance with a long overhang supporting an electronic message banner that reads from left to right. The majority of the theatre front is polished aluminum wit h thin tubes of red neon above and below the electronic reader board. Above the top edge of the actual front of the sign is a design of pan channels, crafted and shaped to form a complex background for the logo text spelling "ESPN." A wavy green crafted channel creates what looks like a horizon. The space between the marquee and the green channel is a black field laden with incandescent bulbs. Above the green channel an array of pan channels crafted into interlocking, swaying, pointed shapes. They are painted yellow and orange so the result is a bed of flames. These too are lined in the interior of the contour in red and orange neon. In the center of the entire face of the overhand in a black steel cabinet with the logo for the establishment spelling "ESPN Zone." The First portion of the two-word phrase is spelled in shallow channel letters lined with horizontal bars of white neon. The text is outlined in red neon as well. The second half spells "Zone," and is written in the same font with the "Z" being the largest letter in the sign, designed with the bottom horizontal leg underlining the rest of the letters in the word. The word is oulined with white neon as well. The latter portion is filled with horizontal bars of red neon. Situated along the middle of the sign, and against the vertical plane of the building, a blade sign repeats the design and colors of the bottom portion of the sign. The vertical cabinet is double sided spelling the "ESPN Zone" logo vertically with the same neon treatments for the respective words. The three toned background of black, green, red and orange on the bottom of the sign is interpreted on the blade. Running vertically, the black portion laden with bulbs runs against the wall, with the wavy channel next to that, disappearing temporarily behind the letters. The flames hang off of the outer edge of the sign. All of the neon treatments are seen here as well. Crowning the top of the blade sign two circular cabinets are arranged touching each other at one end, the faces pointing out to angled directions. Here the ESPN logo is arranged inside a circle. The bottom half below the letters is filled with horizontal bars of green neon, while the flames are present on the top half. The same cabinets can be seen mounted on the ends of the bottom overhang.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
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: Centering around the theme of the city of New York, it utilizes the corner to create a wrapping montage of sales kiosks, paralleled by a miniature replica of the Brooklyn bridge transforming into a corner bay flanked by the overhead walkways, and bringing the viewer in to the brightly lit arms of the porte cochere. The environment of the overhead wall signs and entrance signs blend in and compliment the theme aspect of being in a city. Of course they stand out a bit more with the over the top Vegas garishness, but they also add to the pedestrian interactive feature that creates the environment in which it sets out to accomplish. The corner fountain provides a unique experience with the views of the neighboring casinos but creates a bit more of a surreal nature with the small scale Statue of Liberty and backing of stylized skyscrapers and metropolitan architecture. To follow further around the corner headed south; the blazing neon adorned porte-cochere is backed by yet more architecture and the sweeping tracks of the resorts roller coaster.
Sign designer: Marnell Corrao Architect: Neal Gaskin
Sign - date of installation: 1997
Sign - thematic influences: The New York City theme is the consuming factor in the aspects of the outmost design interior and exterior, as well as influencing the design of the signage itself. From the corner design being used to create a miniature water spectacular representing a harbor, to the faux apartment and store-fronts, and replica Brooklyn Bridge, to the peaks of the logo cabinet work. It joins the array of properties on the strip which are heavily themed, and designed to attract a family oriented crowd. It is also themed after a city.
Sign - artistic significance: This resort has regularly been recognized as one of the architectural wonders of the Strip, and the signage contributes to its fame.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint; Graphics
Mixed Content
Photographs of Riviera signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Nighttime views of the Riviera Hotel and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site name: Riviera Hotel and Casino (Las Vegas, Nev.)
Site address: 2901 S Las Vegas Blvd
Sign owner: Riveria Holdings Corporation
Sign details: The Riviera is another of the properties on the Strip which brought its borders to the street. It is one of the properties with an extensive collection of signs on its properties. The glass wall and block long facade, which incorporates infinity lighting and neon displays. A highly animated an reflective ceiling of the westernmost pedestrian element right along Las Vegas Boulevard also plays host to a continuously pulsing entablature of text and neon. The outer portion of the wall facing west is also adorned with raceways, backlit signs, neon stars, and a host of other signs as well. The northwest corner is a unique collection of fascia wall design and sculptural elements on the corner as well for the "Nickeltown" portion of the casino. Along the east end of the property, more Riviera logo/wall signs denote entrances, while the eastern most edge plays host to the massive Riviera Pylon. Various signs also reside on the eastern side of the property. Text signs are located in several positions among various structures. There is also a rather busily illuminated awning, which is lined with incandescent bulbs and text.
Sign condition: Structure 5 Surface 4 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The main attraction to the Riviera is its mirrored round wall which serves as a multiuse billboard built around the neon advertisements for the Riviera's big show: Splash Front façade: The front façade of the Riviera is best described by starting with the giant glass well and heading north. The radius of the giant reflective extravaganza is in the general direction of the southwest so reflectivity is extremely good during the afternoon hours. The surface of the structurally integrated visions is surfaced with giant reflective mirrored panel which give way to the multicolored neon puzzle work of the Splash logo. The logo advertises for the show using iconography from the show itself represented with pan channel figures lined on the interiors with neon of corresponding colors for which they are painted. The text that spells "Splash" is painted red, with the circular raceway that sits in its background is painted yellow. The "Splash" text sits above the organic shapes of water shooting out from underneath the array of signage, painted blue and purple. The image of the female inside the logo text is graphically treated with the proper registration of illustrative quality. She is also lined with neon in the proper colors over the major outlines of her form. The entire array sits on a black background laden with incandescent bulbs. The neon is arranged so that as it progresses toward the ground the organic shapes radiate in a repeating pattern outward. The blue and purple neon radiate toward the ground while the red neon in the "Splash" radiates left toward the other side of the wall. Green channels spurt out of the top lined with green neon as well. On opposite sides of the radius wall, there are a series of signage that mirror each other. "Riviera" is written in channel letters filled with neon, and a series of internally lit, color cabinets, lined on the edges with incandescent bulbs. The middle portion of the wall is occupied with various sized stars, raceways, and incandescent bulbs found on extensions and diamond shaped faces. The stars are lined on the interior profile of the shape with blue and pink neon, as well as incandescent bulbs on the interior as well. The bottom of the radius wall is adorned with adorned with internally lit cabinets as well as various small neon creations. Moving north along the face of the building the façade the external elements are greatly supportive of the mirrored walls, and just as brilliant in their own right. The façade begins just to the south of the giant mirrored wall, with a section lined with vertical bars of neon animating in red, pink, purple, and blue neon. Riviera is written in cahnnel letters and filled with incandescent bulbs. The letters are outlined in red neon. On either side of the rectangular section, two small versions of the giant mirrored wall support green and blue wavy channels, lined on the interior edges with corresponding neon colors. Incandescent bulbs are present as well. The façade on the north side smoothly transitions into a wall of transparent plastic cubes, lit from the inside, with raceways running down the edges. This façade runs the entire length of the building, until the end is reached at the northwest corner and Nickeltown. Along the facade, internally lit cabinets surrounded by raceways occupy the vicinity of the lower portion of the sign. The faces are colored plastic and treated with graphics and text. Toward the end of the facade, a collection of small signs is fused together to create a single collection of busy signs. The entire structure is a chaotic vision of relief sculpture smashing into text and iconography, while bright, vibrant colors and neon, fight for attention. The majority of the sign is located on the body of the building, reaches down to touch the ground. Four fluted columns rise up from the ground to meet the bottom base of the massive wall sign. The columns rise up into a sculpted cabinet that is heavily crafted and adorned with ornate edges of hard-coated foam or fiberglass scrollwork. The swelling and swirling scrolls swell out in three dimensions. The entire border of the bottom section is turned into a detailed, organically shaped, cloud like shape. The scrollwork as well as the columns is finished white, with the recesses being toned a golden color. The effect accentuates the three dimensional nature of the design. The surface of this bottom portion is a diagonally crisscrossing pattern of white lattice- work on top of a golden surface. The center of the open surface is occupied by a giant pan channel, of the top three points at a purple, five-pointed star. Flanking either side of the star are small, steel, closed face cabinets, in the shape of squatty looking five pointed stars. They are varying sizes and are painted the three separate colors of purple, yellow, and green. The top point of the largest purple star rises through the top part of the bottom cloud section touching up into the massive collection of signs. This particular sign centers on a top logo reading "Riviera Slot Adventure" in channel letters in the style of action adventure movies such as "Indiana Jones." The first word is written in the logo style of the Riviera, and painted yellow on the interiors. The letters for the two words, "Slot Adventure" are bent with the force of motion and painted red, grading into an orange. Behind that, a circular cabinet, representing a globe, is painted blue in the center and fading to white. Flanking either side of the globe, associated more with the top portion of the globe, pairs of arching bronze colored cabinets slightly arch outward suggesting shining or an explosion. They are laden with incandescent bulbs. The remainder of the sign between the bottom star structure and the top slot adventure text, is occupied by a varied array of signage that can be designated between two halves of the collection. The left-hand side of the sign consists of three-dimensional sculptural elements, channel letters, relief elements. The far left side of the collection is rounded out by the three dimensional relief of crashing waves, creating a background for the three-dimensional structure of the mermaid. Red channel letters spell "Splash" above the mermaid, in white channel letters painted red on the inside. Neon lines the interior of the letters as well. Below the mermaid, more channel letters spell "Gardens" in red channel letters painted yellow on the interiors and lined on the interiors with neon. Above the crest of the wave a relief of a train shoots toward the north with a yellow and red circular cabinet above that with the text for jackpot junction. The train relief is also the designed with perspective to appear as if it is moving forward. Directly to the left of the train is set of yellow channel letters painted blue on the interior reading "Jackpot Factory," lined on the interior with neon. A purple backing cabinet is graphically painted on the face with images of gears. Just to the left of the text is the three dimensional sculpture representing a stack of coins. The space below the "Jackpot Factory" a purple cabinet with a colored face reads with graphics and text for "Valley of Games." Directly to the left of the "Valley of the Games" cabinet a three dimensional cherub is holding a large nickel, with a banner above that. The cherub is painted with the proper flesh tones, and the nickel is adorned with the proper details. The wings animate, utilizing two tubes of neon shaped as wings and in different positions to appear as flapping. A white arched steel banner, with blue text, reading "Nickel Heaven." Neon floats over the top of the letters. The right hand side of the entire collection is just as detailed and elaborate, if not ore than the left hand side. A white steel cabinet cut into the profile of the text, which is painted yellow with red outlines. The text reads 'Slot Frenzy' in two lanes. The red borders are lined with incandescent bulbs. The remaining negative space in the center of the sign is a painted slot handle with a circle of neon around the top of the handle. To the right of that, the surface of the board is created out of relief of faux rocks above what is a set of railroad tracks. A mine cart is on the tracks with giant diamond shaped gems residing in the interior space. A cabinet made of an arched banner and a square cabinet resides above the mine cart. The banner reads Double diamond in blue text, and "mines is spelled" in blue text on the rectangle. Further right the rocks give way to a portion of the cabinet, that reads "Jackpot City" in yellow channel letters, with yellow neon. Vertical raceways lined with incandescent bulbs shoot upward in the area of the text. All are supported on a multicolored flat cabinet, predominantly painted red. Nickel town: On the Northwest corner of the property three distinct images comprise the signage. The main marquee for Nickeltown over the entrance, a Riviera logo just to the right of that, and a large sculptural fountain, that dominates the corner with it's presence. Over the brass and glass doors for the entrance, a polished metal overhang radiuses above the door, and contains the words Nickel Town in channel letters. The two words are written horizontally in a line, and separated in the middle with a pan cjhannel star also lined with neon on it's interior. The star is centered with a channel number "5" which is filled with white neon. The star's neon colors are pink and blue, and are arranged as interior lining of the star. The underside of the awning, as the rest of the front facade, is adorned with the incandescent bulbs, placed neatly in the designated prismatic shapes. The neon rings also are present, running the pediment across the facade. Elements of the electric wall can be seen as well, with the metal diamonds supporting incandescent bulbs trailing upward from the awning up to the facade of the building behind it. Several different sizes of star rise up as well, they are identical in color and design shape. Since the interiors do not contain a channel letter, they contain a channel shaped star, lined with incandescent bulbs in the center. A different sort of star shape is present as well. This shape is an eight-sided shape, reminiscent of a snowflake. When I say snowflake, it is essentially a cross shaped piece crossed, with an "X" shape. The shape is designed out of a pan channel, filled with incandescent bulbs. White neon backs the channel. Directly to the right of the entrance, the mirrored facade reflects the entrance, as the reflective surface house vertical, neon bars as well. The three different colors are Blue, gold and green. Consuming the majority of the concrete expanse created by the small plaza, is the neon-laden fountain of light and steel, with a base of ceramic pool. The design is a circular pool, covered in 1"x1" ceramic tiles, and filled with water. Thee square poles are bent over, looking as if they are spraying up out of the fountain. They appear almost as if a bouquet. One is painted Blue, one gold, and the other red. These poles are striped with neon tubing of the corresponding colors. Internally lit cubes, of the same color scheme as the primary palette. Wrapping around the circumference of the top half of the plumage, is a silver pediment that radiuses around the fountain. The finish is polished metal, and matches the overhang presented in the Nickel Town signage. Raceways run along the top and bottom edges of the face, wile the internally lit advertisements occupying the open space of the pediment every so often. Riviera Convention Center: Directly to the east of Nickeltown, is the Riviera Convention center. Signage for the building is first evident when traveling west, looking at the east face of the building. Not far on the north side of the east face of the building, large channel letters hang denoting the building. The Riviera logo text is spelled in the signature text, outlined with red neon and filled with incandescent bulbs. Below that, a two lined text reads convention center in red channel letters, lined on the interior with red neon. On the south side of the building, two lines of text reads, "Royale Pavilion" and "Entrance" below that. These channel letters are red, and lined with red neon on the interiors. Tower: Along the north side of the main tower, "Riviera" is spelled with giant red channel letters, filled with incandescent bulbs, and lined with red neon. The rear entrance is shared for the hotel, and the convention center, and is denoted with signage, and an overhang. A large blockish overhang is cantilevered off of the side of the building and projects outward, toward the east. On the front edge, an arcade of arches is evident, which reveal five tube-like vaults that project the half radius all the way back to the building. All of the edges of the raceway, including the spaces on the underside, which separates the vaults, are lined with incandescent bulb lined raceways. The Riviera text spells "Riviera" across the front of the cantilevered structure. The channel letters are painted red, lined with red neon and filled with incandescent bulbs. Left of the cantilevered structure are letters, which spell convention center. They are channel letters with red plastic faces.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Glass; Fiberglass
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 manufacturer: Federal Signal (fascia front glass)
Sign designer: Marge Williams/ Arch: Nikita Zukov (fascia design)
Sign - date of installation: 1988-1989
Sign - date of redesign/move: Pylon was moved to Convention Center Dr. and Paradise Rd. c. 1988
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Glass; Fiberglass; Paint; Graphics
Site name: Riviera Hotel and Casino (Las Vegas, Nev.)
Site address: 2901 S Las Vegas Blvd
Sign owner: Riveria Holdings Corporation
Sign details: The Riviera is another of the properties on the Strip which brought its borders to the street. It is one of the properties with an extensive collection of signs on its properties. The glass wall and block long facade, which incorporates infinity lighting and neon displays. A highly animated an reflective ceiling of the westernmost pedestrian element right along Las Vegas Boulevard also plays host to a continuously pulsing entablature of text and neon. The outer portion of the wall facing west is also adorned with raceways, backlit signs, neon stars, and a host of other signs as well. The northwest corner is a unique collection of fascia wall design and sculptural elements on the corner as well for the "Nickeltown" portion of the casino. Along the east end of the property, more Riviera logo/wall signs denote entrances, while the eastern most edge plays host to the massive Riviera Pylon. Various signs also reside on the eastern side of the property. Text signs are located in several positions among various structures. There is also a rather busily illuminated awning, which is lined with incandescent bulbs and text.
Sign condition: Structure 5 Surface 4 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The main attraction to the Riviera is its mirrored round wall which serves as a multiuse billboard built around the neon advertisements for the Riviera's big show: Splash Front façade: The front façade of the Riviera is best described by starting with the giant glass well and heading north. The radius of the giant reflective extravaganza is in the general direction of the southwest so reflectivity is extremely good during the afternoon hours. The surface of the structurally integrated visions is surfaced with giant reflective mirrored panel which give way to the multicolored neon puzzle work of the Splash logo. The logo advertises for the show using iconography from the show itself represented with pan channel figures lined on the interiors with neon of corresponding colors for which they are painted. The text that spells "Splash" is painted red, with the circular raceway that sits in its background is painted yellow. The "Splash" text sits above the organic shapes of water shooting out from underneath the array of signage, painted blue and purple. The image of the female inside the logo text is graphically treated with the proper registration of illustrative quality. She is also lined with neon in the proper colors over the major outlines of her form. The entire array sits on a black background laden with incandescent bulbs. The neon is arranged so that as it progresses toward the ground the organic shapes radiate in a repeating pattern outward. The blue and purple neon radiate toward the ground while the red neon in the "Splash" radiates left toward the other side of the wall. Green channels spurt out of the top lined with green neon as well. On opposite sides of the radius wall, there are a series of signage that mirror each other. "Riviera" is written in channel letters filled with neon, and a series of internally lit, color cabinets, lined on the edges with incandescent bulbs. The middle portion of the wall is occupied with various sized stars, raceways, and incandescent bulbs found on extensions and diamond shaped faces. The stars are lined on the interior profile of the shape with blue and pink neon, as well as incandescent bulbs on the interior as well. The bottom of the radius wall is adorned with adorned with internally lit cabinets as well as various small neon creations. Moving north along the face of the building the façade the external elements are greatly supportive of the mirrored walls, and just as brilliant in their own right. The façade begins just to the south of the giant mirrored wall, with a section lined with vertical bars of neon animating in red, pink, purple, and blue neon. Riviera is written in cahnnel letters and filled with incandescent bulbs. The letters are outlined in red neon. On either side of the rectangular section, two small versions of the giant mirrored wall support green and blue wavy channels, lined on the interior edges with corresponding neon colors. Incandescent bulbs are present as well. The façade on the north side smoothly transitions into a wall of transparent plastic cubes, lit from the inside, with raceways running down the edges. This façade runs the entire length of the building, until the end is reached at the northwest corner and Nickeltown. Along the facade, internally lit cabinets surrounded by raceways occupy the vicinity of the lower portion of the sign. The faces are colored plastic and treated with graphics and text. Toward the end of the facade, a collection of small signs is fused together to create a single collection of busy signs. The entire structure is a chaotic vision of relief sculpture smashing into text and iconography, while bright, vibrant colors and neon, fight for attention. The majority of the sign is located on the body of the building, reaches down to touch the ground. Four fluted columns rise up from the ground to meet the bottom base of the massive wall sign. The columns rise up into a sculpted cabinet that is heavily crafted and adorned with ornate edges of hard-coated foam or fiberglass scrollwork. The swelling and swirling scrolls swell out in three dimensions. The entire border of the bottom section is turned into a detailed, organically shaped, cloud like shape. The scrollwork as well as the columns is finished white, with the recesses being toned a golden color. The effect accentuates the three dimensional nature of the design. The surface of this bottom portion is a diagonally crisscrossing pattern of white lattice- work on top of a golden surface. The center of the open surface is occupied by a giant pan channel, of the top three points at a purple, five-pointed star. Flanking either side of the star are small, steel, closed face cabinets, in the shape of squatty looking five pointed stars. They are varying sizes and are painted the three separate colors of purple, yellow, and green. The top point of the largest purple star rises through the top part of the bottom cloud section touching up into the massive collection of signs. This particular sign centers on a top logo reading "Riviera Slot Adventure" in channel letters in the style of action adventure movies such as "Indiana Jones." The first word is written in the logo style of the Riviera, and painted yellow on the interiors. The letters for the two words, "Slot Adventure" are bent with the force of motion and painted red, grading into an orange. Behind that, a circular cabinet, representing a globe, is painted blue in the center and fading to white. Flanking either side of the globe, associated more with the top portion of the globe, pairs of arching bronze colored cabinets slightly arch outward suggesting shining or an explosion. They are laden with incandescent bulbs. The remainder of the sign between the bottom star structure and the top slot adventure text, is occupied by a varied array of signage that can be designated between two halves of the collection. The left-hand side of the sign consists of three-dimensional sculptural elements, channel letters, relief elements. The far left side of the collection is rounded out by the three dimensional relief of crashing waves, creating a background for the three-dimensional structure of the mermaid. Red channel letters spell "Splash" above the mermaid, in white channel letters painted red on the inside. Neon lines the interior of the letters as well. Below the mermaid, more channel letters spell "Gardens" in red channel letters painted yellow on the interiors and lined on the interiors with neon. Above the crest of the wave a relief of a train shoots toward the north with a yellow and red circular cabinet above that with the text for jackpot junction. The train relief is also the designed with perspective to appear as if it is moving forward. Directly to the left of the train is set of yellow channel letters painted blue on the interior reading "Jackpot Factory," lined on the interior with neon. A purple backing cabinet is graphically painted on the face with images of gears. Just to the left of the text is the three dimensional sculpture representing a stack of coins. The space below the "Jackpot Factory" a purple cabinet with a colored face reads with graphics and text for "Valley of Games." Directly to the left of the "Valley of the Games" cabinet a three dimensional cherub is holding a large nickel, with a banner above that. The cherub is painted with the proper flesh tones, and the nickel is adorned with the proper details. The wings animate, utilizing two tubes of neon shaped as wings and in different positions to appear as flapping. A white arched steel banner, with blue text, reading "Nickel Heaven." Neon floats over the top of the letters. The right hand side of the entire collection is just as detailed and elaborate, if not ore than the left hand side. A white steel cabinet cut into the profile of the text, which is painted yellow with red outlines. The text reads 'Slot Frenzy' in two lanes. The red borders are lined with incandescent bulbs. The remaining negative space in the center of the sign is a painted slot handle with a circle of neon around the top of the handle. To the right of that, the surface of the board is created out of relief of faux rocks above what is a set of railroad tracks. A mine cart is on the tracks with giant diamond shaped gems residing in the interior space. A cabinet made of an arched banner and a square cabinet resides above the mine cart. The banner reads Double diamond in blue text, and "mines is spelled" in blue text on the rectangle. Further right the rocks give way to a portion of the cabinet, that reads "Jackpot City" in yellow channel letters, with yellow neon. Vertical raceways lined with incandescent bulbs shoot upward in the area of the text. All are supported on a multicolored flat cabinet, predominantly painted red. Nickel town: On the Northwest corner of the property three distinct images comprise the signage. The main marquee for Nickeltown over the entrance, a Riviera logo just to the right of that, and a large sculptural fountain, that dominates the corner with it's presence. Over the brass and glass doors for the entrance, a polished metal overhang radiuses above the door, and contains the words Nickel Town in channel letters. The two words are written horizontally in a line, and separated in the middle with a pan cjhannel star also lined with neon on it's interior. The star is centered with a channel number "5" which is filled with white neon. The star's neon colors are pink and blue, and are arranged as interior lining of the star. The underside of the awning, as the rest of the front facade, is adorned with the incandescent bulbs, placed neatly in the designated prismatic shapes. The neon rings also are present, running the pediment across the facade. Elements of the electric wall can be seen as well, with the metal diamonds supporting incandescent bulbs trailing upward from the awning up to the facade of the building behind it. Several different sizes of star rise up as well, they are identical in color and design shape. Since the interiors do not contain a channel letter, they contain a channel shaped star, lined with incandescent bulbs in the center. A different sort of star shape is present as well. This shape is an eight-sided shape, reminiscent of a snowflake. When I say snowflake, it is essentially a cross shaped piece crossed, with an "X" shape. The shape is designed out of a pan channel, filled with incandescent bulbs. White neon backs the channel. Directly to the right of the entrance, the mirrored facade reflects the entrance, as the reflective surface house vertical, neon bars as well. The three different colors are Blue, gold and green. Consuming the majority of the concrete expanse created by the small plaza, is the neon-laden fountain of light and steel, with a base of ceramic pool. The design is a circular pool, covered in 1"x1" ceramic tiles, and filled with water. Thee square poles are bent over, looking as if they are spraying up out of the fountain. They appear almost as if a bouquet. One is painted Blue, one gold, and the other red. These poles are striped with neon tubing of the corresponding colors. Internally lit cubes, of the same color scheme as the primary palette. Wrapping around the circumference of the top half of the plumage, is a silver pediment that radiuses around the fountain. The finish is polished metal, and matches the overhang presented in the Nickel Town signage. Raceways run along the top and bottom edges of the face, wile the internally lit advertisements occupying the open space of the pediment every so often. Riviera Convention Center: Directly to the east of Nickeltown, is the Riviera Convention center. Signage for the building is first evident when traveling west, looking at the east face of the building. Not far on the north side of the east face of the building, large channel letters hang denoting the building. The Riviera logo text is spelled in the signature text, outlined with red neon and filled with incandescent bulbs. Below that, a two lined text reads convention center in red channel letters, lined on the interior with red neon. On the south side of the building, two lines of text reads, "Royale Pavilion" and "Entrance" below that. These channel letters are red, and lined with red neon on the interiors. Tower: Along the north side of the main tower, "Riviera" is spelled with giant red channel letters, filled with incandescent bulbs, and lined with red neon. The rear entrance is shared for the hotel, and the convention center, and is denoted with signage, and an overhang. A large blockish overhang is cantilevered off of the side of the building and projects outward, toward the east. On the front edge, an arcade of arches is evident, which reveal five tube-like vaults that project the half radius all the way back to the building. All of the edges of the raceway, including the spaces on the underside, which separates the vaults, are lined with incandescent bulb lined raceways. The Riviera text spells "Riviera" across the front of the cantilevered structure. The channel letters are painted red, lined with red neon and filled with incandescent bulbs. Left of the cantilevered structure are letters, which spell convention center. They are channel letters with red plastic faces.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Glass; Fiberglass
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 manufacturer: Federal Signal (fascia front glass)
Sign designer: Marge Williams/ Arch: Nikita Zukov (fascia design)
Sign - date of installation: 1988-1989
Sign - date of redesign/move: Pylon was moved to Convention Center Dr. and Paradise Rd. c. 1988
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Glass; Fiberglass; Paint; Graphics
Mixed Content
Photographs of Imperial Palace signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Nighttime views of the Imperial Palace Hotel and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3535 S Las Vegas Blvd
Sign owner: Ralph Engelstad
Sign details: Shadowing Oshea's, the Imperial palace looms high above the street. The tower for the hotel is located just east of the strip, but one of the main entrances is the unique porte-cochere and facade on the east side of the strip. The main tower resides east, seen behind the Harrah's Carnival Court. Signage includes Giant channel letters on the tower, five cabinets of the Imperial Palace logo initials placed along the towers, internally lit sculpted cabinets on the front tower, as well as the an LED screen, and a vastly lit porte- cochere, along with cabinets.
Sign condition: Structure 4 Surface 3 Lighting 4 The structure of the Imperial Palace's main tower signs seem to be intact, while the front towers signage and porte cochere are in great repair. The surfaces of the main tower are rather dull and pale during the day, but the light color aids in the luminescence at night. The lighting is in excellent repair.
Sign form: Fascia; Porte-cochère
Sign-specific description: The structure is themed after an Asian palace, complete with multi tiered swooping tiled Asian style roof lines, and wooden square beams placed to be representative of rice paper doors and windows, and symbols of dragons. Between two gaping square entrances of the front tower, sliding doors almost cower below a giant color LED message center, flanked by two back-lit , color, flex-front, two-dimensional dragons. The dragons stand upright pawing at each side of the central cabinet. The entire array sits on the lowest swooping Asian design roof level in blue tiles. As the building rises upwards, the center section repeats in multi tiered, blue roof lines, finally crowning with a fourth one, peaked at the top. The bottoms of each ones of these rooflines is bordered on the bottom with blue tubes of neon. The two main drives into to covered porte cochere, head east then turn inward, forming a squared U shape. Obviously one door is for entrance and one an exit. The ceiling is comprised of polished aluminum square panels, each one with four large, spherical, incandescent bulbs. The effect is an engaging field of animated bulbs, interrupted only by the presence of five large circular cabinets, which hang facing the floor. One hangs just into the entrance and exit, and one in the center of the north/south connecting sections of the two flanking tunnels, and two more set in the corners. The two just into the mouth, and in the corner of the tunnels, are polished aluminum themselves, with internally lit plastic fronts. These fronts are blue and white, pained graphically with an Asian geometric design, which fills the entire surface. The one cabinet is treated in the same exterior finish, but the design is created out of blue neon. Above the doors to the casino, in this cove, polished channel letters with blue plastic fronts, and borders created with narrow channels, are lined with incandescent bulbs. The tower set back into the property is adorned by a set of two story tall, white channel letters, facing west just below a long blue tiled roof, spell "Imperial Palace" and are filled with blue neon. Letters can be seen on the East face of the tower as well. On the same level of the southern end of the tower, a square, blue, channel edged cabinet, holds the channel letter initials "I" and "P." Another cabinet faces north on the north side of the tower. The channels and initials are lined with blue neon. The same arrangement can be found on the east side of the tower as well. The I and P can also be seen on the north and south end of the tower, but without the border. All of the rooflines on the tower are lined with blue neon as well. Both towers are ambiently lit with blue spotlights, casting a blue hue all over the property. At the very top of the front tower, a spike rises into the air, and is adorned with rings of blue neon.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics
Sign animation: Oscillating
Notes: The incandescent bulbs covering the ceiling of the porte cochere, oscillate vibrantly, creating a shimmering cave of light.
Sign environment: The Imperial Palace is placed in an unusual position, with the front tower pushed right up to the street, with cars and taxis zipping in and out of the large square entrances. Just to the north is the Harrah's Carnival Court, which pushes right up to the edge of the north face of the front tower. Just to the south O Shea's sits in the great blue shadow of the Imperial palace.
Sign - date of installation: The hotel opened as the Imperial Palace in 1979. The front tower was built in 1981. The hotel was finished in three phases 1981, 1982, and 1987-1989.
Sign - thematic influences: The Imperial Palace is themed after an Asian palace, signifying the theme through several structural elements seen on the exterior. The stylized roofline, and actual shape of the roof are the representative of the classic eastern palace design seen throughout most Asian cultures in their history. The text on the main towers is stylized and representative of western text written to resemble the graceful brush stroke of Asian characters. Another obvious aspect is the backlit Asian dragons on either side of the giant LED screen on the front of the tower containing the porte-cochere. The Imperial Palace is a themed hotel, revolving around a culture, like that seen in Paris or the Bellagio. The significance of the signage relies in its Porte cochere. Related to the Riviera's parking garage due to the fact that it is located inside of one of the buildings, hidden away from plain sight. The stunning array of incandescent bulbs, lining the ceiling, and reflecting off of the high use of reflective panels. The use of the reflective metals is evidence of the leftover trend massive trend used in the 1970's due to an energy shortage. It itself, is a one of a kind porte-cochere and, is one of the most vibrant still in existence.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Graphics
Mixed Content
Photographs of Battista's signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Photos show Battista's 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 address: 4041 Audrie St
Sign details: Battista's "hole in the wall" Italian restaurant is located in a small shopping mall on the corner of Audrie and Flamingo, just east of the strip. The actual establishment of Battista's faces east in the northwest corner of the shopping center. The pylon sign sits on the northwest corner of FlamingoRd and Audrie st., the entrance to the building is also adorned with neon signs as well. On the extreme north end of the property a pole sign for a general store also shares signage with Battista's.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The pylon sign for Battista's is on the corner of Flamingo and Audrie, on the wet side of Audrie. It is a double- backed roadside pole sign with two cabinets, and an LED message center. The sign is a host of visual candy, laden with neon and incandescent bulbs. The upper portion of the sign is comprised of the larger cabinet, below that the LED message-center, then below that the smaller cabinet makes up the bottom of the sign. The top cabinet has sculpted edges created bulging edges as well as a round top. The two corners are stepped. The bottom of the sign is a flat horizontal edge. The surface of the sign is painted red. The majority of the sign's face is occupied by channel letters spelling "Battista's Italian Restaurant," in channel letters with red neon borders. Below that "Lounge," and then "Banquets" is spelled one on top of each other in yellow channel letters. Yellow neon in on the interior of the channels. Two tubes of green neon extend horizontally from each side of this text. On the far left and right-hand sides of the cabinet, green neon scrollwork adorn the space between the main text and the edge of the cabinet. Spelled in small painted letters above the main text, resides the phrase "hole in the wall. Yellow neon tubes spell the same text, hovering over the graphics. In the remaining space above this text and the top edge, purple and green neon are sculpted to appear as a bunch of grapes and their vines. The entire sign is bordered in gold polished raceways with incandescent bulbs. Below the main section of the cabinet is a tri-colored LED message center, running scrolling messages about the restaurant in red, white, and green, which are the colors of the Italian flag. The smaller cabinet below the message center has sculpted edges also, with the top edge being straight along the length of the message center. It is painted green. General store is spelled across the top of the sign in white channel letters with white neon on the interior. Graphically painted in red, below the white text, the words "groceries, beer wine, souvenirs, and slots" are overlayed with red neon. In the remaining space on the bottom of the cabinet a small logo for "Coors Light," is graphically painted and overlayed with corresponding neon. To the left and right of that two arrows point toward the property, painted in red then overlayed with red neon. Over the entrance to the building, a wooden A-frame shaped structure forms a cover over the main entrance to the restaurant. In an arched pattern on the wooden face of this awning, "Battista's" is spelled it it's specific text in channel lettering, filled with neon. Below that in green channel letters, in the same arched pattern, spell hole in the wall, and has green neon in the interior. On other side of the dual arched text two, channel designed scrollwork pieces are illuminated with yellow neon. On the far north end of the lot a pole sign is designated next to the general store that the main pylon advertises. The top of the sign is an internally lit cabinet with graphic treatments for the general store. Incandescent bulbs line the edge of the cabinet. Further down the pole a small back-lit, horizontal, rectangular cabinet advertises for the Battista's establishment. Below that a square, internally lit cabinet, has red and green graphical treatments reading "Fine Italian Cuisine." The last bit of signage on the pole is a small, internally lit cabinet, flag poled off of the east end of the pole with red neon spelling, "groceries 24 hrs." On the North side of the building another sign for Battista's is present.
Sign - type of display: Neon; Matrix; Backlit; LED
Sign - media: Steel
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing
Notes: The raceways which run around the border of the surface of the sign, chase each other from right to left. The incandescent bulbs which surround the internally lit cabinet on the pole sign designated for the convenience store also chase each other.
Sign environment: The Battista's pylon share unique company when it comes to it's environment. East across Audrie, is the Bourbon Street Hotel Casino, while the extensive Bally's property resides south across Flamingo Dr. The small shopping center proves a break in the action of casino hotels. The pylon stands as a prominent figure on the corner of the lot. Just to the west of the pylon, on the same side of the street, is the original Flamingo pylon, preceding the Barbary Coast. If you continue north on Audrie, the Flamingo Hilton may be assessed through a drive to the west.
Sign manufacturer: YESCO
Sign - thematic influences: The theme of the facility centers around the theme of an Italian restaurant. The pylon's colors, and matrix message center are all in accordance with colors of the Italian flag, as well as the signage above the door. The graphics, and neon representations of grapes on the pylon reference the afore mentioned theme. The entrance to the facility is the A-framed roof-like structure wood structure, referencing a rustic cottage or facility. This is significant in the name "Hole in the wall," which the facility boasts.
Sign - artistic significance: The significance of the Battista's establishment fits in with other facilities on the Strip such as The Rosewood Grill, Alan Albert's, and the Peppermill. Considering that most dining establishments are located on the interior of the properties, these stand as excellent quality, intimate restaurants seen by and available to the pedestrian public. Like the everyday establishments dressed to fit in the Las Vegas Strip such as the neighboring Walgreens, Alan Albert's is a non-casino dressed up to fit in with the local surroundings. It is also unique in the fact that the establishment which dominates the space which it resides. Unlike Alan Albert's which is tucked down a narrow alley, it is spoken out loudly with a pylon sign, another pole sign and a wall sign as well. Both pole signs are reminiscent of old roadside motel signs.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Fascia; Pylon; Neon; Matrix; Backlit; LED; Steel; Paint; Graphics
Site address: 4041 Audrie St
Sign details: Battista's "hole in the wall" Italian restaurant is located in a small shopping mall on the corner of Audrie and Flamingo, just east of the strip. The actual establishment of Battista's faces east in the northwest corner of the shopping center. The pylon sign sits on the northwest corner of FlamingoRd and Audrie st., the entrance to the building is also adorned with neon signs as well. On the extreme north end of the property a pole sign for a general store also shares signage with Battista's.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The pylon sign for Battista's is on the corner of Flamingo and Audrie, on the wet side of Audrie. It is a double- backed roadside pole sign with two cabinets, and an LED message center. The sign is a host of visual candy, laden with neon and incandescent bulbs. The upper portion of the sign is comprised of the larger cabinet, below that the LED message-center, then below that the smaller cabinet makes up the bottom of the sign. The top cabinet has sculpted edges created bulging edges as well as a round top. The two corners are stepped. The bottom of the sign is a flat horizontal edge. The surface of the sign is painted red. The majority of the sign's face is occupied by channel letters spelling "Battista's Italian Restaurant," in channel letters with red neon borders. Below that "Lounge," and then "Banquets" is spelled one on top of each other in yellow channel letters. Yellow neon in on the interior of the channels. Two tubes of green neon extend horizontally from each side of this text. On the far left and right-hand sides of the cabinet, green neon scrollwork adorn the space between the main text and the edge of the cabinet. Spelled in small painted letters above the main text, resides the phrase "hole in the wall. Yellow neon tubes spell the same text, hovering over the graphics. In the remaining space above this text and the top edge, purple and green neon are sculpted to appear as a bunch of grapes and their vines. The entire sign is bordered in gold polished raceways with incandescent bulbs. Below the main section of the cabinet is a tri-colored LED message center, running scrolling messages about the restaurant in red, white, and green, which are the colors of the Italian flag. The smaller cabinet below the message center has sculpted edges also, with the top edge being straight along the length of the message center. It is painted green. General store is spelled across the top of the sign in white channel letters with white neon on the interior. Graphically painted in red, below the white text, the words "groceries, beer wine, souvenirs, and slots" are overlayed with red neon. In the remaining space on the bottom of the cabinet a small logo for "Coors Light," is graphically painted and overlayed with corresponding neon. To the left and right of that two arrows point toward the property, painted in red then overlayed with red neon. Over the entrance to the building, a wooden A-frame shaped structure forms a cover over the main entrance to the restaurant. In an arched pattern on the wooden face of this awning, "Battista's" is spelled it it's specific text in channel lettering, filled with neon. Below that in green channel letters, in the same arched pattern, spell hole in the wall, and has green neon in the interior. On other side of the dual arched text two, channel designed scrollwork pieces are illuminated with yellow neon. On the far north end of the lot a pole sign is designated next to the general store that the main pylon advertises. The top of the sign is an internally lit cabinet with graphic treatments for the general store. Incandescent bulbs line the edge of the cabinet. Further down the pole a small back-lit, horizontal, rectangular cabinet advertises for the Battista's establishment. Below that a square, internally lit cabinet, has red and green graphical treatments reading "Fine Italian Cuisine." The last bit of signage on the pole is a small, internally lit cabinet, flag poled off of the east end of the pole with red neon spelling, "groceries 24 hrs." On the North side of the building another sign for Battista's is present.
Sign - type of display: Neon; Matrix; Backlit; LED
Sign - media: Steel
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing
Notes: The raceways which run around the border of the surface of the sign, chase each other from right to left. The incandescent bulbs which surround the internally lit cabinet on the pole sign designated for the convenience store also chase each other.
Sign environment: The Battista's pylon share unique company when it comes to it's environment. East across Audrie, is the Bourbon Street Hotel Casino, while the extensive Bally's property resides south across Flamingo Dr. The small shopping center proves a break in the action of casino hotels. The pylon stands as a prominent figure on the corner of the lot. Just to the west of the pylon, on the same side of the street, is the original Flamingo pylon, preceding the Barbary Coast. If you continue north on Audrie, the Flamingo Hilton may be assessed through a drive to the west.
Sign manufacturer: YESCO
Sign - thematic influences: The theme of the facility centers around the theme of an Italian restaurant. The pylon's colors, and matrix message center are all in accordance with colors of the Italian flag, as well as the signage above the door. The graphics, and neon representations of grapes on the pylon reference the afore mentioned theme. The entrance to the facility is the A-framed roof-like structure wood structure, referencing a rustic cottage or facility. This is significant in the name "Hole in the wall," which the facility boasts.
Sign - artistic significance: The significance of the Battista's establishment fits in with other facilities on the Strip such as The Rosewood Grill, Alan Albert's, and the Peppermill. Considering that most dining establishments are located on the interior of the properties, these stand as excellent quality, intimate restaurants seen by and available to the pedestrian public. Like the everyday establishments dressed to fit in the Las Vegas Strip such as the neighboring Walgreens, Alan Albert's is a non-casino dressed up to fit in with the local surroundings. It is also unique in the fact that the establishment which dominates the space which it resides. Unlike Alan Albert's which is tucked down a narrow alley, it is spoken out loudly with a pylon sign, another pole sign and a wall sign as well. Both pole signs are reminiscent of old roadside motel signs.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Fascia; Pylon; Neon; Matrix; Backlit; LED; Steel; Paint; Graphics
Mixed Content
Photographs of Blue Note signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Views of the Blue Note club signs on the Las Vegas Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3663 S Las Vegas Blvd
Sign owner: Blue Note International: Father & Son team of Danny and Steven Bensusan
Sign details: The Blue Note is located a short distance east, down Harmon Ave., on the north side of the street, facing south. It is part of the Aladdin Hotel Casino. A vacant lot resides on the corner, and is the only thing that separates the Blue Note from the Strip. Signage for the property includes two logo wall signs on the west wall of the building, a vertical blade sign and an entrance sign over the main port to the establishment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Just east off of Las Vegas Blvd, down Harmon Ave, lies the entrance to the "Blue Note: Jazz Capital of the World." The Blue Note is actually part of the Aladdin property, residing in the eastern most wing of the building, on the south side of Harmon. The majority of the signage hangs on the front of the building, which faces south toward Harmon Ave., with additional signage on the west face of the structure that extends from the Aladdin property. A vacant lot on the north east corner separates the Blue Note from the rest of the strip. The structure of the building and the design of the signage are juxtaposed with the building still being finished in a Persian Palace theme. While the signs are reminiscent of roaring twenties style font and theatre front design. Several different types of signs adorn the Blue Note. Two wall /logo signs hang on the west side of the building, while a sculpted entrance marquee, a hanging logo sign, and a vertical blade sign hung on the south side of the building. The west wall logo sign is composed of blue channel letters spelling the text " Blue Note," separated by a circular cabinet with a tube of neon bent to emulate the shape of a musical note placed in the middle. Five steel bars just out from either side of the cabinet. Below the text, a white steel cabinet with rounded ends, support a thin set of blue channel letters reading, "Jazz capital of the world." Further to the right a set of pink channel letters rest upon the upper portion of the corner of the structure. The letters are filled with pink neon. Along the South face of the building the first sign, hung in close proximity to the southwest corner, a vertical blade sign sits on a radius base of shaped molding jutting out of the wall. The actual body of the sign is a double backed cabinet finished in polished aluminum, with blue pin striping along the edges as well as along the rounded edge of the top. Near the top of the sign, the same rounded cabinet seen on the west wall of the structure, is integrated into the blade facing east/west. The cabinet is thicker in width to compensate for the width of the actual sign. The edges of the steel structure are painted in the same blue tone. The afore mentioned blue neon tubing fashioned into the shape of the note resides in this cabinet also. Along the east/west sides of the sign the text "The Blue Note," runs vertically from top to bottom, in blue channel letters only interrupted by the circular cabinet. The panel, which the text resides is painted white. Along the edge of the blade, which faces south, the text "Blue Note" is spelled vertically in blue channel letters. Sitting along the edge of the base, which the sign sits on, thin red channel letters stand almost independently, wrapping around the radius of the base. Starting on the west side of the sign and finishing on the east side, the text reads "Club & Cafe." These letters are filled with tubes of red neon. The letters are attached to a backing radius band of metal appearing to be gold. Further down the face of the building the main entrance to the building plays host to an overhead marquee/logo sign incorporating sculptural elements as well. Directly in the center of the composition, a long horizontal cabinet plays host to the red channel letters filed with red neon, reading, "World's Finest Jazz Club." Sitting on the top edge of the cabinet the same configuration of the Blue Note logo sign along with the circular cabinet, rests in front a sculpted piece of black steel. This piece of black painted steel is cut to appear as if it is the open top to a piano. Along the interior edge of the lid tubes of blue neon form a blue border. Between the piano top and the Blue Note logo, a horizontal steel grate serves as a divider as well as support for the blue channel letters. This entire section sits on a long horizontal ledge composed of a long polished steel section with a long LED message center just below that. Slightly recessed below the message center another width of overhang constructed of steel is painted to appear as if it is made of piano keys. Along the wall, just above the door, the pink channel letters read "Insomnia" with pink neon on the interior.
Sign - type of display: Neon
Sign - media: Steel; Fiberglass
Sign - non-neon treatments: Paint
Sign environment: Situated just east off the strip, down Harmon Avenue, the Blue Note is the only attraction in its immediate area. Even though it is part of the Aladdin complex, the closest property is the Harley Davidson Cafe on the south east corner of Harmon and Las Vegas Blvd At night, the property loses its Arabian Nights architecture emitting a sultry glow of neon. It is hard to miss, if a pedestrian peers down the street while traveling north or south, on the east side of the strip. During the day, the architecture helps to blend in the property to appear as it is, part of the Aladdin.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The building itself is part of the actual Aladdin property, so the faced of the structure is themed in the manner of an ancient Persian city. It is an interesting juxtaposition for the sleek, modern finish and colors of the signage, with the organic facade of domed towers and stone facade. The Blue note signage is themed around the subject of music, specifically Jazz and Blues music. The blue hue of the neon, and the cabinet containing the crafted musical note are all evidence of this. The blade sign is thematically influenced by marquee building signs for theaters and music clubs from the first part of the century, specifically the forties and fifties. Such examples that utilized a similar designed blade sign were properties from the 1930's 40's and 50's such as The Boulder Club, The Pioneer Club, and the Las Vegas Club.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Steel; Fiberglass; Paint
Site address: 3663 S Las Vegas Blvd
Sign owner: Blue Note International: Father & Son team of Danny and Steven Bensusan
Sign details: The Blue Note is located a short distance east, down Harmon Ave., on the north side of the street, facing south. It is part of the Aladdin Hotel Casino. A vacant lot resides on the corner, and is the only thing that separates the Blue Note from the Strip. Signage for the property includes two logo wall signs on the west wall of the building, a vertical blade sign and an entrance sign over the main port to the establishment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Just east off of Las Vegas Blvd, down Harmon Ave, lies the entrance to the "Blue Note: Jazz Capital of the World." The Blue Note is actually part of the Aladdin property, residing in the eastern most wing of the building, on the south side of Harmon. The majority of the signage hangs on the front of the building, which faces south toward Harmon Ave., with additional signage on the west face of the structure that extends from the Aladdin property. A vacant lot on the north east corner separates the Blue Note from the rest of the strip. The structure of the building and the design of the signage are juxtaposed with the building still being finished in a Persian Palace theme. While the signs are reminiscent of roaring twenties style font and theatre front design. Several different types of signs adorn the Blue Note. Two wall /logo signs hang on the west side of the building, while a sculpted entrance marquee, a hanging logo sign, and a vertical blade sign hung on the south side of the building. The west wall logo sign is composed of blue channel letters spelling the text " Blue Note," separated by a circular cabinet with a tube of neon bent to emulate the shape of a musical note placed in the middle. Five steel bars just out from either side of the cabinet. Below the text, a white steel cabinet with rounded ends, support a thin set of blue channel letters reading, "Jazz capital of the world." Further to the right a set of pink channel letters rest upon the upper portion of the corner of the structure. The letters are filled with pink neon. Along the South face of the building the first sign, hung in close proximity to the southwest corner, a vertical blade sign sits on a radius base of shaped molding jutting out of the wall. The actual body of the sign is a double backed cabinet finished in polished aluminum, with blue pin striping along the edges as well as along the rounded edge of the top. Near the top of the sign, the same rounded cabinet seen on the west wall of the structure, is integrated into the blade facing east/west. The cabinet is thicker in width to compensate for the width of the actual sign. The edges of the steel structure are painted in the same blue tone. The afore mentioned blue neon tubing fashioned into the shape of the note resides in this cabinet also. Along the east/west sides of the sign the text "The Blue Note," runs vertically from top to bottom, in blue channel letters only interrupted by the circular cabinet. The panel, which the text resides is painted white. Along the edge of the blade, which faces south, the text "Blue Note" is spelled vertically in blue channel letters. Sitting along the edge of the base, which the sign sits on, thin red channel letters stand almost independently, wrapping around the radius of the base. Starting on the west side of the sign and finishing on the east side, the text reads "Club & Cafe." These letters are filled with tubes of red neon. The letters are attached to a backing radius band of metal appearing to be gold. Further down the face of the building the main entrance to the building plays host to an overhead marquee/logo sign incorporating sculptural elements as well. Directly in the center of the composition, a long horizontal cabinet plays host to the red channel letters filed with red neon, reading, "World's Finest Jazz Club." Sitting on the top edge of the cabinet the same configuration of the Blue Note logo sign along with the circular cabinet, rests in front a sculpted piece of black steel. This piece of black painted steel is cut to appear as if it is the open top to a piano. Along the interior edge of the lid tubes of blue neon form a blue border. Between the piano top and the Blue Note logo, a horizontal steel grate serves as a divider as well as support for the blue channel letters. This entire section sits on a long horizontal ledge composed of a long polished steel section with a long LED message center just below that. Slightly recessed below the message center another width of overhang constructed of steel is painted to appear as if it is made of piano keys. Along the wall, just above the door, the pink channel letters read "Insomnia" with pink neon on the interior.
Sign - type of display: Neon
Sign - media: Steel; Fiberglass
Sign - non-neon treatments: Paint
Sign environment: Situated just east off the strip, down Harmon Avenue, the Blue Note is the only attraction in its immediate area. Even though it is part of the Aladdin complex, the closest property is the Harley Davidson Cafe on the south east corner of Harmon and Las Vegas Blvd At night, the property loses its Arabian Nights architecture emitting a sultry glow of neon. It is hard to miss, if a pedestrian peers down the street while traveling north or south, on the east side of the strip. During the day, the architecture helps to blend in the property to appear as it is, part of the Aladdin.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The building itself is part of the actual Aladdin property, so the faced of the structure is themed in the manner of an ancient Persian city. It is an interesting juxtaposition for the sleek, modern finish and colors of the signage, with the organic facade of domed towers and stone facade. The Blue note signage is themed around the subject of music, specifically Jazz and Blues music. The blue hue of the neon, and the cabinet containing the crafted musical note are all evidence of this. The blade sign is thematically influenced by marquee building signs for theaters and music clubs from the first part of the century, specifically the forties and fifties. Such examples that utilized a similar designed blade sign were properties from the 1930's 40's and 50's such as The Boulder Club, The Pioneer Club, and the Las Vegas Club.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Steel; Fiberglass; Paint
Mixed Content
Photographs of Casino Royale and Denny's signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Daytime and nighttime views of the Casino Royale and Denny's signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3419 S Las Vegas Blvd
Sign owner: Tom Elardi
Sign details: The Casino Royale is located on the east side of the strip facing west, just south of the Venetian. The smaller establishment shares its space with a Denny's restaurant, which was present before the Royale was opened. The exterior is adorned with a stylized, European-esque, architecture, including apparent windows, domes, towers, and a cohesive landscape of connected buildings. The exterior of the Royale is a brightly lit facade of white raceways, lined with incandescent bulbs, boxing in vibrantly toned walls, and subdued neon. The colors correspond with those seen in the sign itself, as well the neon placed inside the edges of the windows. One section displays purple, the next a teal color, next a blue, then a red. Total signage of the property includes a two LED screens, one on the west side of the building, and the other housed in the logo cabinet on the south west corner of the property. Two logo cabinets, one in the aforementioned spot, and the second facing west over the main entrance on the west side of the building. Two double-faced cabinets lie on the northern end of the west side of the building, advertising for Denny's restaurant. Two small logos signs are also placed on the west face of the structure, for Caffe Trilussa.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Upon the southwest corner of the building, a blue cabinet houses an LED screen in the rectangular body of the cabinet. The cabinet continues upward where the blue steel face supports white channel letters bordered in red neon and filled with incandescent bulbs. The text is written in two lines. The cabinet continues upward and is transformed into the sculpted design of a pink, purple, red, and blue crown on channel faced scrolls and sweeping shapes. The interiors of each section are lined with neon of a corresponding color to the paint treatments. Around to the west side of the building, the same style of text and scrolling adornments are used in a different marquee sign denoting the main entrance to the establishment. The same style of text seen on the southwestern sign is present with the same pattern of scroll work, crafted in a cabinet style, with channel faces. The major difference between the two signs is the size. The main entrance sign is much larger than the corner sign, as well as not having a LED screen incorporated below the text. The western sign possesses more scroll work below the text instead. The neon treatments are the same, as well as the incandescent bulbs, inside of the text. The lower roofline of the property plays host to the small but noticeable signage for Caffe Trilussa. Upon a extended surface of the roof line, two separate signs for the establishment are present. The roof shape is three sided with the signage on the northwest and southwest sides of the extension. Inside a section of the entablature created with white raceways, brown channel letters, spell the text "Trilussa," stretching across the length of the surface. The brown letters sit upon a yellow surface and are filled with incandescent bulbs, which are as wide as the channel letters themselves. Spelled in bent neon tubing, the word "Caffe" is spelled in all capital letters, sitting just above the left hand side of the title text. The right of the collection is occupied by a graphically treated, two-dimensional cut-out of a palm tree. The palm tree is treated on the surface with neon tubing as well. The tubing glows green and a gold corresponding to the graphical treatments. At the northern end of the property, two signs sit outside facing north, south. The double backed, internally lit cabinets represent the advertisements for the Denny's restaurant attached to the Royale. The first is at ground level outside the main entrance of the restaurant, the six sided, green cabinet, sports a yellow plastic face with red graphic text, reading "Denny's" in script text. Around the border of the face, incandescent bulbs run in a raceway pattern, and are covered in a plastic sheath. An angular cabinet rests on top of the other cabinet, creating a shallow peak. The internally lit, white face reads "Casino Royale" in black text. The same cabinet can be seen cantilevering off of the west side of the building above its partner sign. The cabinets are of identical design except for there is no plastic sheath covering the raceway of incandescent bulbs, and the plastic face of the main section of the cabinet is treated in different graphics. The script reads "Denny's" similar red script, but with a different background.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, oscillating
Notes: The incandescent bulbs inside the channel letters of the main text oscillate, while all incandescent bulbs on the raceways along the building chase each other also. The incandescent bulbs, which surround the Denny's cabinet, also chase each other.
Sign environment: The Casino Royale stands independently on it's own even though it is surrounded on all sides by casino giants. To the north stands the Venetian, to the South stands Harrah's, and the Mirage lies west across the street. Yes, the property itself seems to be dwarfed by the immense neighbors, but the ultra bright, clear external signage and facade create a charming and bright environment that announces its presence.
Sign manufacturer: YESCO
Sign - date of installation: 1992
Sign - date of redesign/move: The Royale was once the Nob hill, which was closed in 1980. It was reopened in 1992 as the Casino Royale.
Sign - thematic influences: The theme seems to be tied to a European theme with the French term "Royale" in the title. The scrollwork is reminiscent of confetti or Mardi Gras theme. Such a combination of elements to suggest a theme is seen in the Harrah's property also. The party themed reminiscent sculpted cabinets are also reminiscent of the Fleur de Li. Believe it or not, the property is tied to many other larger, corporate, properties in one respect regarding its facades. The facade of a town or city, shrunken down and stylized into the facade of the property is present all over the Strip. Such properties which utilize this technique, to one degree or the next, include: New York New York, Oshea's, Treasure Island, Bellagio, The Venetian, The Luxor, The Tropicana, and the Excalibur.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Fascia; Neon; Incandescent; Backlit; Steel; Plastic
Site address: 3419 S Las Vegas Blvd
Sign owner: Tom Elardi
Sign details: The Casino Royale is located on the east side of the strip facing west, just south of the Venetian. The smaller establishment shares its space with a Denny's restaurant, which was present before the Royale was opened. The exterior is adorned with a stylized, European-esque, architecture, including apparent windows, domes, towers, and a cohesive landscape of connected buildings. The exterior of the Royale is a brightly lit facade of white raceways, lined with incandescent bulbs, boxing in vibrantly toned walls, and subdued neon. The colors correspond with those seen in the sign itself, as well the neon placed inside the edges of the windows. One section displays purple, the next a teal color, next a blue, then a red. Total signage of the property includes a two LED screens, one on the west side of the building, and the other housed in the logo cabinet on the south west corner of the property. Two logo cabinets, one in the aforementioned spot, and the second facing west over the main entrance on the west side of the building. Two double-faced cabinets lie on the northern end of the west side of the building, advertising for Denny's restaurant. Two small logos signs are also placed on the west face of the structure, for Caffe Trilussa.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Upon the southwest corner of the building, a blue cabinet houses an LED screen in the rectangular body of the cabinet. The cabinet continues upward where the blue steel face supports white channel letters bordered in red neon and filled with incandescent bulbs. The text is written in two lines. The cabinet continues upward and is transformed into the sculpted design of a pink, purple, red, and blue crown on channel faced scrolls and sweeping shapes. The interiors of each section are lined with neon of a corresponding color to the paint treatments. Around to the west side of the building, the same style of text and scrolling adornments are used in a different marquee sign denoting the main entrance to the establishment. The same style of text seen on the southwestern sign is present with the same pattern of scroll work, crafted in a cabinet style, with channel faces. The major difference between the two signs is the size. The main entrance sign is much larger than the corner sign, as well as not having a LED screen incorporated below the text. The western sign possesses more scroll work below the text instead. The neon treatments are the same, as well as the incandescent bulbs, inside of the text. The lower roofline of the property plays host to the small but noticeable signage for Caffe Trilussa. Upon a extended surface of the roof line, two separate signs for the establishment are present. The roof shape is three sided with the signage on the northwest and southwest sides of the extension. Inside a section of the entablature created with white raceways, brown channel letters, spell the text "Trilussa," stretching across the length of the surface. The brown letters sit upon a yellow surface and are filled with incandescent bulbs, which are as wide as the channel letters themselves. Spelled in bent neon tubing, the word "Caffe" is spelled in all capital letters, sitting just above the left hand side of the title text. The right of the collection is occupied by a graphically treated, two-dimensional cut-out of a palm tree. The palm tree is treated on the surface with neon tubing as well. The tubing glows green and a gold corresponding to the graphical treatments. At the northern end of the property, two signs sit outside facing north, south. The double backed, internally lit cabinets represent the advertisements for the Denny's restaurant attached to the Royale. The first is at ground level outside the main entrance of the restaurant, the six sided, green cabinet, sports a yellow plastic face with red graphic text, reading "Denny's" in script text. Around the border of the face, incandescent bulbs run in a raceway pattern, and are covered in a plastic sheath. An angular cabinet rests on top of the other cabinet, creating a shallow peak. The internally lit, white face reads "Casino Royale" in black text. The same cabinet can be seen cantilevering off of the west side of the building above its partner sign. The cabinets are of identical design except for there is no plastic sheath covering the raceway of incandescent bulbs, and the plastic face of the main section of the cabinet is treated in different graphics. The script reads "Denny's" similar red script, but with a different background.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, oscillating
Notes: The incandescent bulbs inside the channel letters of the main text oscillate, while all incandescent bulbs on the raceways along the building chase each other also. The incandescent bulbs, which surround the Denny's cabinet, also chase each other.
Sign environment: The Casino Royale stands independently on it's own even though it is surrounded on all sides by casino giants. To the north stands the Venetian, to the South stands Harrah's, and the Mirage lies west across the street. Yes, the property itself seems to be dwarfed by the immense neighbors, but the ultra bright, clear external signage and facade create a charming and bright environment that announces its presence.
Sign manufacturer: YESCO
Sign - date of installation: 1992
Sign - date of redesign/move: The Royale was once the Nob hill, which was closed in 1980. It was reopened in 1992 as the Casino Royale.
Sign - thematic influences: The theme seems to be tied to a European theme with the French term "Royale" in the title. The scrollwork is reminiscent of confetti or Mardi Gras theme. Such a combination of elements to suggest a theme is seen in the Harrah's property also. The party themed reminiscent sculpted cabinets are also reminiscent of the Fleur de Li. Believe it or not, the property is tied to many other larger, corporate, properties in one respect regarding its facades. The facade of a town or city, shrunken down and stylized into the facade of the property is present all over the Strip. Such properties which utilize this technique, to one degree or the next, include: New York New York, Oshea's, Treasure Island, Bellagio, The Venetian, The Luxor, The Tropicana, and the Excalibur.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Fascia; Neon; Incandescent; Backlit; Steel; Plastic
Mixed Content