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Photographs of Mandalay Bay signs, Las Vegas (Nev.), 2002

Date

2002
2017-08-15

Description

Photos show Mandalay Bay signs during the day and 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: Mandalay Bay (Las Vegas, Nev.)
Site address: 3950 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Mandalay Bay resides on the west side of the Strip, south of the Luxor. The expanse of property is surrounded with ornate foliage, jutting faux rocks, and assorted statuary accented with the flavor of an ancient island. The three-winged tower looms over the low-rise casino structure. The surface of the tower is covered with an impressive expanse of gold mirrored windows, and vertically striped with gold tubes of neon. The towers also home to the giant channel letters, which serve as the logo building text for the establishment. The ground level the property is home to two giant pylon signs at either end of the property as well. One resides on the east side of the property, while the other on the west.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The Mandalay Bay has little signage, but is cohesively joined together into a simple yet effective use of lighting, which fits in well with it's environment. The building itself is actually the biggest piece of signage, being vertically striped with tubing of gold neon. There is actually over three miles of neon tubing which runs up and down the surface of the tower, reflecting off of the gold, mirrored, surface of the tower. The tower itself during the day is unassuming, for the off white stucco, and mirrored surface, blend to create a harmonious surface. When dark, the building transforms into a mysterious figure clad in golden stripes. On each wing of the Y shaped tower, " Mandalay Bay" is spelled in channel letters across the top edge of the surface. These giant black pans hold incandescent bulbs, which oscillate rapidly. The two pylon signs sit flanking the building on extreme edges of the property. The two pylons are rather plain in design, but are efficient and large. They are highly integrated architecturally, being essentially two giant vertical rectangles. Two massive square legs support an upshot of space defined by two internally it color screens advertising for the "Shark Reef" and for the "House of Blues" These two are squares which sit side by sides, comprising the bottom section of the face. Above that, a large LED screen stretches up to the end of this section. The three signs are closed in on either side by a set square legs capped on the top and bottom with molding. Making up the top section of the pylon another horizontal plane rises up a bit before being topped with a series of crown moldings. Two lines of channel letters spell " Mandalay Bay" and are filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating
Notes: The incandescent bulbs inside the channel letters which spell the text for the establishment oscillate in a pattern which makes them appear as if shimmering. This style is the most common animation next to the incandescent bulbs on the raceway.
Sign environment: The Mandalay Bay resides in exclusive company on the south end of the Strip. It stands as one of the four major establishments before Tropicana Ave. The other three include the Luxor, the Excalibur, and the Tropicana
Sign manufacturer: LED and plastic sign inside pylon were manufactured by Ad-Art
Sign - date of installation: 1999
Sign - thematic influences: The theme of the Mandalay Bay is one revolving around an island paradise, transformed into a sleek ultra modern super resort, creating a sort of independent city of steel glass, neon, lush foliage, and assorted statuary. It could best be said that it is a combination of the influences of the Tropicana, the Mirage, and Treasure Island, all mixed together as one. The pylons themselves find themselves more a kin to those displayed by the large corporate properties like the Bellagio, and the Mirage. The simple vertically oriented rectangle, plays host to LED screens and backlit color advertisements, and channel letters filled with incandescent bulbs. These elements can be seen in other large properties such as the Mirage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Masonry; Paint; Graphics

Mixed Content

San Pedro, Los Angeles & Salt Lake Railroad Company Records

Identifier

MS-00007

Abstract

The collection is comprised of records of the San Pedro, Los Angeles & Salt Lake Railroad Company (1901-1976). The construction of this railroad led to the founding of Las Vegas, Nevada and the creation of the Empire Construction Company and Las Vegas Land and Water Company. The records document the company's operations and include correspondence and contracts relating to lots in the Las Vegas townsite, payments and accounts, invoices and other audit materials from 1905 to 1923. The collection also includes the records of the railroad agent at Arden Station, located ten miles south of the Las Vegas Station, which contain correspondence, ledgers, freight and way bills, shipping orders, and telegrams.

Archival Collection

Basic Magnesium, Inc.

Basic Magnesium, Inc. (BMI) formed in June 1941 as a joint venture between Basic Refractories, Inc. of Cleveland, Ohio and Magnesium Elektron, Limited of England. Basic Refractories, Inc. owned mining claims in Gabbs Valley, Nye County, Nevada, which produced the magnesite and brucite needed to produce magnesium metal. Magnesium Elektron, Limited owned the patent for the electrolytic process of extracting metallic magnesium from these minerals.

Corporate Body

Roger D. Foley Papers on United States v. Cappaert

Identifier

MS-00020

Abstract

The Roger D. Foley Papers on United States v. Cappaert are comprised of materials collected by District Judge Roger D. Foley while performing his duties as judge in United States v. Francis Leo Cappaert, et al. from 1972 to 1976. The collection includes transcripts of the case, exhibits, and copies of motions filed with the Court in regards to this case, which centered on the protection of the Devils Hole pupfish in Nevada.

Archival Collection

Hank Harrison Photograph Collection on Helldorado Days

Identifier

PH-00212

Abstract

The Hank Harrison Photograph Collection on Helldorado Days contains two black-and-white photographs of the Helldorado Days festival in Las Vegas, Nevada from approximately 1940 to 1977. The first photograph depicts a rodeo clown distracting a bull; the second photograph is of Ned Romero, an actor in Helldorado.

Archival Collection

Celesta Lowe oral history interview

Identifier

OH-01151

Abstract

Oral history interview with Celesta Lowe conducted by Patrick W. Canlton on February 06, 2002 for the Boyer Early Las Vegas Oral History Project. Lowe begins by discussing her early life in Baker, California and her father’s role as a station agent for the Tonopah Tidewater Railroad during the 1920s and 1930s. Lowe then describes her family moving to Las Vegas, Nevada in the 1940s. Lowe chronicles the process state legislatures took to open Nevada Southern University in 1957 and her role as an administrative assistant in the main office of the school. Lowe recounts her career at Nevada Southern University, the expansion of the campus, and renaming it University of Nevada, Las Vegas. Lastly, Lowe talks about her switch from an administrative assistant to a librarian at UNLV.

Archival Collection

Larry Ruvo oral history interview

Identifier

OH-02236

Abstract

Oral history interview with Larry Ruvo conducted by David G. Schwartz on January 27, 2009 for the Remembering Jay Sarno Oral History Project. Ruvo begins by discussing his position as a front desk clerk at Caesar’s Palace in Las Vegas, Nevada in the 1970s. Ruvo then describes how Jay Sarno changed the casino industry by designing Caesar’s Palace with a single theme. Ruvo then chronicles how gaming gradually was legalized in more areas throughout the world and how Sarno capitalized on making Caesar’s Palace an iconic casino which made people want to travel to Las Vegas. Lastly, Ruvo discusses Sarno’s focus on offering both gaming and entertainment options for guests at Caesar's Palace.

Archival Collection