Twentieth-century visitors to the Las Vegas Sands Hotel experienced the masonry work of Anthony A. Marnell, who removed his family from Riverside, California, to North Las Vegas in 1952 in order to build that structure. When he formed his own masonry company in 1958, he taught his namesake nine-year-old son the skills of a mason and the value of honest work. The younger Marnell learned all he could about construction from his father and completed his education by graduating USC School of Architecture in 1972, serving his apprenticeship, and becoming licensed in 1973. After designing McCarran Airport's A and B Gates, he teamed up with Lud Corrao in 1974 to form Marnell Corrao Associates, the first design-build firm in Southern Nevada. Marnell Corrao built many of Southern Nevada's most iconic hotel-casinos including the California Hotel, Maxim Hotel, and Sam's Town and Steve Wynn and Treasure Island, The Mirage, Bellagio, and New York New York as well as the Rio All-Suite Hotel and Casino and the M Resort Spa Casino. In this interview, the Riverside native speaks to the importance of teaching future generations about the value of work, of earning the sense of accomplishment, and of fueling one's inner spirit. His philosophy built a work environment that encouraged employee longevity from the beginning in 1974 (he is employee number one, and his assistant is employee number two). He talks of the American Institute of Architects (AIA), of entrepreneurial gamesmanship, and of casino greats Bill Boyd, Jay Sarno, Cliff Perlman, Kirk Kerkorian, and Steve Wynn. He describes the evolution of Las Vegas resorts from prioritizing casino games to fine dining to night clubs and entertainment. He credits his own Rio staff tradition of serving Chef's Table to the employees and the Rio's award-winning chef, Jean-Louis Palladin, for beginning the Las Vegas food renaissance in the late 1990s that rebranded Las Vegas as a Mecca for celebrity chefs. The nine-year-old who worked part time in his father's masonry business learned his lessons well, much to the benefit of Southern Nevada's growing skyline, its residents' growing waistlines, and its businesses' growing bottom lines.

Craig Palacios was born on November 1, 1971 and grew up in the Paradise Palms neighborhood in Las Vegas, Nevada. His family lived close to him and he remembers playing with his relatives up and down the Maryland Parkway Corridor. His first job was in construction where he poured and finished concrete. His talents for design became apparent and he began a new job as a swimming pool designer. Craig’s first company was a concrete company, but he later had to close its doors. After that, Craig decided to attend college and graduated with degrees in Architecture and Art History from UNLV in 2005. He worked for YWS Architecture for a few years before opening his own studio in 2011. Since then, BunnyFish Studio has worked on the Downtown Project and the Maryland Parkway Project.

Lee Cagely, an interior designer and professor who designed some of the most iconic hotels in Las Vegas, Nevada, was born in the Panama Canal Zone on January 31, 1951. His father Leo was a civil engineer for the Panama Canal Company and his mother Charlotte worked as a receptionist. After his father left his job in Panama, Lee spent his childhood in Dallas, Texas; Tulsa, Oklahoma; and Des Moines, Iowa. He started to attend Rice University for architecture, but he chose to leave before completing his degree. He returned to college a few years later and graduated from Iowa State University with a degree in interior design in 1975. While his first California jobs were in restaurant design, he quickly moved on to airports and hotels and moved to Las Vegas in 1990 after associating with Marnell Architecture. Cagley is known for his designs in the Rio All-Suite Hotel and Casino, Ceasars Palace Atlantic City, the Mirage, and the Bellagio Resort & Casino. He is currently Chair of the Iowa State University College of Design and is principal designer for Lee Cagely Design. Here, Cagley explains the importance of keeping the various pieces of the infrastructure of a resort—including landscape architecture, architecture, interior design, all kinds of HVAC [heating, ventilation and air conditioning] concerns, housekeeping, food service, maintenance, etc.-invisible in order to maximize the visitor experience. At the same time he illustrates through several examples how resort design does not happen in a vacuum-it is instead part of a complex team that works together to create the whole. He also describes the challenges the Las Vegas resort industry finds in creating the very best visitor experience for a broad range of groups-from Millennials to their Boomer grandparents and all the generations in between.

Oral history interview with Domingo Cambeiro conducted by Stefani Evans and Claytee D. White on October 18, 2016 for the Building Las Vegas Oral History Project. In this interview, Cambeiro discusses his upbringing in Havana, Cuba. He talks about his initial interests in architecture, starting his own architecture drawing service, and attending the University of Havana. Cambeiro recalls submitting a request to leave Cuba, emigrating to the United States, and arriving in Las Vegas, Nevada in 1962. Cambeiro talks about working with Las Vegas architect Julius Gabriel, obtaining his architecture license, and starting an architectural firm. Lastly, Cambeiro discusses being selected to create architectural drawings for the Thomas & Mack Center.

Architect Paul Senzaki, and artist-illustrator Charlie White III recall their experiences of working in Las Vegas: Paul on Treasure Island, The Palms, Fremont Street Experience, and World Market Center and Charlie on Treasure Island and its successor, TI; New York New York. Architectural historian Alan Hess, who is an expert on Las Vegas architecture, offers historical context and asks pertinent questions. While this interview touches on several iconic Las Vegas buildings, the conversation mostly details why and how Steve Wynn's Treasure Island involved the labors of artists, illustrators, art directors, and designers of stage and screen as well as the those of architects, contractors, planners, and subcontractors.