Includes meeting minutes and agenda. CSUN Session 30 (Part 1) Meeting Minutes and Agendas.

Kenneth Fong reflects on growing up in Las Vegas and being the son of two successful and philanthropic community members, Wing and Lilly Fong. When Ken was born the family live in a modest home on 20th and Stewart. It was a close-knit neighborhood and era, kids played tag and roamed freely. When he entered third-grade, his parents moved their family to a newer subdivision near Rancho and West Charleston Avenue: the Scotch 80s. Their new custom home on Silver Avenue reflected Asian architecture and the family’s Chinese cultural heritage; it also included a pool and a small basketball court. Memories of the neighborhoods are distinct. He learned to be comfortable with his sister and he being the only Asian Americans in school at the time. He kept busy with community volunteering at Sunrise Hospital and tutoring younger children on the Westside among other high school activities. Ken speaks lovingly of his parents and their achievements, family outings to local venues such as Mount Charleston and Red Rock and to California, where they bought Chinese baked goods. His mother, Lilly was born into a large Chinese American family of ten children, each of whom achieved a college education. After her marriage to Wing, she moved to Las Vegas with plans to work as a teacher. Ken retells the story of her encounter with discrimination and overcoming that, and her trajectory to be the first Asian American elected the Nevada Board of Regents. His orphaned father, Wing, immigrated to the United Sates in 1939 to live with uncles. They worked as cooks in Las Vegas and established the first Las Vegas Chinese restaurant, Silver Café. Wing was merely thirteen years old and spoke no English. These were not to be obstacles. He would go on to graduate from Las Vegas High School, earn a college degree in business, have a successful career in commercial real estate and banking, building the notable Fong’s Garden. Ken calls his father his most influential mentor. Today Ken is also a successful in real estate management, active at Grace Presbyterian Church, involved in Rotary Club, and a proud father of two daughters.

Photos show Paris 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: Paris Las Vegas Hotel & Casino
Site address: 3655 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: The Paris property lies on the east side of Las Vegas Blvd, between the Aladdin and Bally's. The three properties stretch from Harmon Avenue, all the way to Flamingo Rd. The only real neon signage includes the text seen on top of the replica of the Eiffel Tower, and a three-dimensional balloon shaped pylon sign located at the south end of the property.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Leaving the Aladdin property, headed north you are immediately confronted with the giant hot-air balloon, which acts as the main marquis sign for the Paris Hotel and Casino. The three-dimensional balloon shape sits among trimmed shrubbery and foliage, representational of a classic French garden. The sign is located on an island with a long driveway on its north side running east into the property. It towers high above the viewer, almost appearing as if it is floating. In the spirit of properties like the Aladdin and the Excalibur, the facade of the resort is modeled after a theme, which is the French City of Paris. Complete with fountains, replica street fronts and markets, the main focal point is a life size replica of the Eiffel Tower. Some signage is located high up on the tower, in yellow channel letters. The sign reads "Eiffel Tower Restaurant." The three-dimensional sculpted pylon sign is composed of basically three pieces. At the very bottom, a large post holds up the second section of a large cube. All four sides of the cube are occupied by square, advertising screens. The two facing east/west are back lit color plastic, while the ones facing north/south are LCD screens. The cube is finished in stucco, with sculptural treatments along all of the edges of the cubes. The edges are made to look like giant ropes with knots on all eight corners. The sign is located on the East Side of the strip, yet the only directional orientations are on the cube that the balloon sits on. The spherical structure is an exterior frame with blue vinyl material stretched to form the balloon shape. Steel framework also runs around the circumference in six different places along the structure. On the north and south sides Paris is spelled in red channel letters, filled with incandescent bulbs and bordered in neon. The blue vinyl material is treated with graphic painted images, which are repeated around the circumference of the balloon. The images are of lion heads holding red sashes, above golden eagles. On the middle section an image of a woman's face is surrounded by a golden halo. The yellow structural supports, which are visible on the exterior, also house tubes of neon. The resulting effect is a repeating pattern of neon running up the length of the structure, with horizontal bands around the bottom of the structure, below the channel letters and above them also. A criss-cross pattern adorns the two bands below the text, as well as a scalloped pattern above the text also. The porte cochere is a circular drive with the only lighting being incandescent bulbs running along the raceways, which create the structure of the interior. The structure is finished in a patina bronze, made to look oxidized.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic
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: Located between Bally's and the Aladdin, two heavily frequented and boisterous properties themselves, the Paris fits nicely creating it's own environment that stands alone when entered. If a pedestrian is present among the stunning architecture, it is easy to be pulled into the theme. Even though the Bellagio is west across the street, the expanse of the street keep the Paris far enough away to be mostly independent, that is of course if the Bellagio's water show is not being displayed. The surrounding properties of Bally's, the Aladdin, and The Bellagio make the area of Las Vegas Blvd between Harmon Ave. and Flamingo rd. a fantastic world stylized cities and dazzling imagery, yet an interesting mix of architecture and signage.
Sign designer: Architect/consultant: Bergman, Walls & Youngblood Ltd. Contractor: Perini Building
Sign - date of installation: 1997
Sign - thematic influences: The Paris Hotel Casino is obviously themed after the actual French city of Paris. The entire facade represents the Parisian atmosphere containing the most famous of Parisian attractions including the Eiffel Tower, the Arch de Triumph, open air cafes, plazas utilizing fountains, and the ornate architecture that spans from gothic to neo classical. The Paris fits into the themed hotel casino industry seamlessly, actually boasting one of the more ornate and unique facades. Other properties that parallel the Paris in style and genre include the Aladdin, the Venetian, and the New York New York. In fact it fits into the category of Hotel/Casino whose theme is what dominates the aesthetic surroundings as well as operation inside and out. Other facilities contain elements of a theme, such as the Stardust, but the interior and exterior are no longer the dominant aspect of the aesthetics. It also fits into the category of resorts themed after actual cities.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Paint; Graphics