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Photographs of Flamingo signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Flamingo Hotel and Casino (Las Vegas, Nev.)
Site address: 3555 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: The majority of the Flamingo hotel and casino's neon signage encompasses the stretch of property that faces the strip. Even though the original porte-cochere and pylon sign are no longer in use, or in the original position, they are still evident and very much present. The original pylon has been moved around the corner onto Flamingo, actually closer to the Barbary coast than the Flamingo. The famous sculpted bull-nose design is repeated several times throughout the property and the design is repeated in visual reference on the towers of the hotel.. The Flamingo was one of the first hotels to push its entrance out to the street.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The Flamingo's vast array of signage of various types and styles make the hotel one of the more unique facades. Headed north just past the corner entrance to the Barbary Coast, only a two-lane drive separates the two properties. Across the drive, the original top of the old porte-cochere creates the first of the several three-dimensional, sculpted, corner sign you see. The well known swollen base and flexing body of this trademark crowning figure spread out in a bouquet of pink and orange steel feathers. Neon runs horizontally in a repeated pattern up the lengths of the feathers, with the outlying edge portions painted white and filled with incandescent bulbs, turning into single row raceways at the waving ends of the very tips. This corner serves as a pedestrian entrance now, and one of the main causeways between the Barbary Coast and Flamingo. The fattened plumage is set up high a top the corner of the building pointing to the southwest. The broad corner is dominated by the expansive sculpture. Standing atop of the plumage a channel letter logo sign faces outward spelling "Flamingo" in the Flamingo cursive text. The text is appropriated in a radius pattern, supported by a steel support structure making the logo seem as if it is floating above the sculpture. The sign is filled with incandescent bulbs. Two tubes of blue neon wrap the bull nose molding just below the three-dimensional structure, creating a space for the facade of the faceted pediment. Wrapping the face of the corner is a large entablature of patterned squares forming a grid like terrain with incandescent bulbs in the center of each square. Each square is faceted into pyramid shapes with bulbs at the center of each. Just above the pedestrian's head and below the faceted entablature, a raceway sandwiched by two tubes of pink neon creates a bottom line of the composition. The configuration continues to the right of the entrance into a smaller representation of the same effect. To the right of the old porte-cochere entrance, a small wall sign for "mega-jackpot world" is displayed with pink and Purple channel letters filled with neon on the section of wall which faces to the west. The sign is also incorporated into the famed pink and orange flame style, with the plumage emulated in channel pans on either side of the text. They are complete with horizontal neon bars and sections lined with incandescent bulbs as well. The section of wall that the sign sits upon is in the style of the faceted entablature spoken of previously. The two tubes of blue neon are above the pediment and sign and the bottom is also rounded out with the pink neon. Continuing east down the south face of the building, a continuous glass entablature is first seen, at the same height as the blue neon capped molding. The entablature is a glass wall lined with glass faced, two, dimensional figures of flamingos and shrubbery. Details such as wings, and other features are denoted by pink colored glass. Standing several inches off of the wall, the flamingos are lit from behind with red and pink neon creating halos, which reflect off of the glass behind them. The top edge of the pediment is lined with teal neon, while the bottom is blue. The top edge of the building, above the pediment and along other edges of the face, is a rolling design of hills lined pink neon. This element continues down the south wall of the building until it reaches the current porte- cochere. This structure is a circular drive covered with a circular roof. The east and west edges of the structure play host to large channel letter logo for the Flamingo. The pink steel structure spells "Flamingo" in their continuous cursive fashion, and filled with incandescent bulbs. The ceiling of the porte-cochere is an ornate pattern of raceways lined with incandescent bulbs. The pattern is reminiscent of a flower and it's radiating petals. The mirrored pediment continues past the porte-cochere on the wall of the building. Down the west face of the building, being the front of the facility along the strip, past the original porte-cochere, the glass pediment continues until it stops at a small wing of the building denoting another entrance. The entrance slightly radiuses out from the flat plane of the building, and is crowned by another three dimensional swollen bouquet of steel plumage spreading generously over the entrance, stretching it's waving fingers a good degree out on either side. It is constructed with the same color scheme and array of placement for incandescent lighting and neon. While not quite as bulbous as the southwest corner entrance, it breadth is the quality that beckons to the entrance. On the entablature below, the Flamingo logo is spelled in channel letters, and filled with pink neon. Teal neon lines the top of this pediment as well as blue along the bottom. The glass pediment continues on the wall north of the entrance until the face of the building goes from a stucco finish into a section of the elevation created by a wall of glass window panels. This section of the front is anchored in the center by as giant Doric column crowned by a third set of three dimensional sculpted array of pink and orange plumage. Like the two previously mentioned elements of this nature, the swollen base and stretching feathers take on a waving effect. This element is smaller in width than the previous two, but it's feathers or fingers curl forward in the center providing a support for a triangular cabinet section, with the two visible faces pointed northwest and southwest. The feathers continue in a smaller portion on top of the cabinet, appearing as if they rise thorough the cabinet.. The appearance of this set of plumage takes on different appearances for two reasons. The first being it's position upon the top of a column making appear as a torch. The plumage takes on the effect of being flames instead of feathers. The second being the severity of the curve of the center leaf or flame. From the side, coupled with the outer wings, it takes on the persona of a perched bird. The glass pediment continues past this section, stopping with another rooftop set of plumage on the entrance to the building, facing northwest. Above a backlit plastic advertisement cabinet, the fiery fingers of the sculpted, swollen signage, stand as a solid marker to the end of the property, or entrance to the pedestrian headed south. The glass pediment picks up again along the north face of the building headed east. On the East side of the Flamingo property, two fully three-dimensional sculpted steel structures serve as a gateway to the east side of the porte-cochere. Flanking either side of the drive, two identical bud-like structures stand with the same influence as the swollen elements of the front property. A short, faceted column, supports a three tiered, three layered rosebud shape crafted out of leaves more akin to palm fronds. Sagging leaves, pointed toward the ground, create the section between bud shape and the supporting column. They are folded down, representing the action of the leaves being opened. Neon runs in short horizontal bars along the outer surface leaves and all flat planes excluding the topsides of the relaxed leaves. These two markers also take on the persona an organic structure as a sapling palm tree, or rosebud, as well as the image of a burning torch. Building signage: Upon the western tower Flamingo is spelled in channel letters designed with the Flamingo text, and filled with pink neon. Upon the eastern face of the south tower, the half plumage of neon, flaming upward, reside underneath the Flamingo text logo. The same sign is repeated on the north edge of the west tower. Pylon: The original pylon sign now located on the north side of Las Vegas Blvd, in close proximity to the hotel, but actually between the Bourbon Street and the Barbary Coast. The vertical pylon is a double-sided pylon that faces east west. It has slightly modified over the years. The internally lit message center has been scaled down to fit its new environment. The pylon rises up in a square pole design, with neon running vertically up the center, approximately fifteen feet above the pedestrian's head, before being interrupted by the message cabinet. The cabinet has a white plastic face with removable letters. Gold polished raceways line the face of each of the sign, and incandescent bulbs line the raceways. The sides of the cabinet slope inward, round at the corners at the top, reaching toward the center that rises at a peak. The neon continues upward past the highest peak of the cabinet, and continues up to fan outward, created a giant frond of vermilion and red. The giant fan shape at the top supports channel letters, that spell "Flamingo' in white channel letters that are outlined in blue neon and filled with incandescent bulbs. The top fan shape is actually comprised of seven different levels, appearing to be stacked on top of one another. The center, oblong shaped panel, is the highest, with three sections on each side, fanned out, stepping back into space. The furthest wings on the edge are scrambled with bent and undulating tubes of pink neon. The center two are red, and the center holds the pink members. The waving tubes, which lose form and pattern as they spread toward the edges, resemble veins of a leaf, or the elements, which make up the feather. The sides of the pylon, including the internally lit cabinet, are treated with a pink paint.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Glass
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: The Flamingo is in between the Barbary Coast and O'Shea's on the east side of the street. The establishment itself dominates the stretch of property, separating the pedestrian from the sidewalk with various shrubbery and palm, a phenomenon seen often on the strip. Exiting the Barbay Coast, headed north, the passerby is seamlessly brought into the Flamingo, bombarded by the vibrant pink and orange plumage, and continuous atmosphere. O'Shea's lies on the north end of the Flamingo, adding a bookend type effect along with the Barbary Coast. Even though the Barbary Coast is a vibrant and active property, most of it's action lies on the south side of the building, thus the Flamingo signage is the most dominating within its length along the Strip.
Sign manufacturer: Original Pylon: Ad-Art, Facade: Heath & Co
Sign designer: Original : Raul Rodriguez. Original Pylon: Bill Clarke
Sign - date of installation: Original Pylon: 1968 Original Porte Cochere 1976
Sign - date of redesign/move: When Park Place Entertainment separated the Flamingo name from Hilton, all of the text signs which read Hilton were removed. The original pylon sign was moved from the west side, or street side of the property, and moved East down Flamingo Rd., Between the Barbary Coast and the Bourbon Street during remodeling done in the Eighties. The pylon has been modified several times over the years, but has evolved into a slimmer, less flamboyant version, including a simplified internally lit message center.
Sign - thematic influences: The theme surrounding the resort is the theme of the pink flamingo bird, and its tropical environment. The blazing pink tone ( Vermillion ) of the neon is seen extensively throughout the property, as well as the repeated image of the pink bird. The white plaster facade and sculpted edges of the exterior's roof line are reminiscent of sun drenched villas, while staying well within the realm the surrounding environment. Elements such as the mirrored entablatures lined with illuminated pink Flamingos
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Glass; Paint
Mixed Content
Photographs of Barbary Coast signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Daytime and nighttime views of the Barbary Coast signs on The Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3595 Las Vegas Blvd
Sign owner: Coast Casinos
Sign details: Just West of the Maxim, on a strip of property adjacent to the Flamingo, the Barbary Coast appeared in 1977 dressed in Burgundy and gold with full wrap mansard canopies and simulated Tiffany glass fascias. YESCO's Brian Lemming drew from 19th century woodblock alphabet styles to create the new distinctive logo style. It has since earned the nickname Barbary Coast Block. Lemming's bull nose design paired two opposing drum elements, which tapered near midpoint and were ringed with traceries of traveling lamps alternating with decorative panels outlined in red neon. Other signage includes a pylon sign on Flamingo Rd., textual wall an logo signs, as well as LED display screens. The screens are located near walkways, which extend north/south across Flamingo road, and east/west across Las Vegas Blvd
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: Upon the south elevation of the building, eight foot tall channel letters spell the "Barbary Coast" logo. South of the main logo, two square poles support the Barbary Coast pylon, which is on the north side of Flamingo, facing east/west. The two legs play Atlas to a double backed, internally lit, message cabinet, with vinyl lettering. The two legs protrude through the top of the sign for a short distance before the main logo cabinet begins. It is about half the size in height of the internally lit message center and containing more elements of design. "Barbary Coast" is spelled in white channel letters and filled with incandescent bulbs, in the Barbary Coast text. The edges of the letters are actually narrow channels that house tubes of gold neon. The neon and the channels actually create the designed curves of the fonts. The centers of the top and bottom edges of the cabinet, are crafted into protrusions in the rectangular shape. They are placed cleverly shallow into the surface to almost seem as if they are resting on the width of the cabinet instead of being part of it. Being completely treated in a gold paint on its width edge, which are parallel to the straight portion of the cabinet edge width, helps with the illusion of the sections being separate entities. Orange and burgundy scroll works are graphically placed into the faces of these protrusions in the panel to finish them off. Headed west at the beginning of the actual property, the first vestiges of signage hangs above the parking garage. A triangular back lit cabinet is finished in polished gold aluminum with a raceway acting as an element, on the edge pointing north, then transforms into a raceway arrow pointed toward the entrance of the garage. The famed overhang creates an arch over the garage entrance, which is recessed all the way back to the main wall of the structure. Mirrors create the surface of the wall at the back of the tunnel vault, of the recessed arch. Upon the mirrored surface a channel logo for the "Drai's" nightclub, hangs quite high above the pedestrian's head. The logo is bordered with green neon and filled with incandescent bulbs. The entire sign is a shallow channel letter design allowing enough room for the depth of the bulb. Another arch and tunnel, with a mirrored wall, is located just west of the first arch. It plays host to a brass colored chandelier with spherical lamps. At ground level underneath the middle section of the famed structure where the main logo text resides, we have an entrance to the casino with a cabinet denoting that over the door. The cabinet is a mirrored face with a gold aluminum polished raceways with incandescent bulbs. The text spelling "Hotel Casino Entrance" is in gold polished channel letters and filled incandescent bulbs. Underneath the canopy, the faux Tiffany glass is separated on its edges by gold polished raceways with incandescent bulbs. Past the main entrance another tunnel arch is formed just past the "B" in Barbary main logo and plays host to a different entrance. It too has a brass chandelier and a mirrored cabinet of the same design as the afore mentioned entrance. The only difference is the text. It spells " Casino Entrance." The rest of the treatments for this sign are identical to the first entrance. On the northeast corner underneath the bull nose, a giant brass chandelier hangs in the center, supported with a multisided, mirrored column. The corner of the building is also an entrance. The west side of the building boasts two wall signs. The south side of the building plays host to the main logo text for the Barbary Coast facility, upon the fascias architecture. The middle of the sign is a long low rise arch. Giant channel letters spell Barbary Coast, above the row of faux stained glass squares, and stand independently away from the wall. They are filled with incandescent bulbs and bordered with neon. The interiors are painted red and the exteriors are treated in gold. Rows of red, vertical, neon tubes line the face of the facade behind the standing channel letters. Continuing around the corner upon the west face of the building the facade continues for a short stretch north after the corner rotunda. The wall of the building itself is where another Barbary Coast text logo resides It's large, and occupies a good portion of the area of the wall. The letters are designed in the same fashion as the letters on the pylon, painted white on the interior and treated gold on the exterior. Above and below the text, two cabinets crafted into scrollwork, similar to those seen on the pylon yet are not attached to the text. The cabinets are slightly recessed providing room for a border of gold neon. Below that and above an LED screen another logo for Drai's, as seen on the south elevation, hangs on the wall. A pair of LED screens flank the NW corner, on the west and south faces of the building. The LED screen on the south wall is at the end of an elevated walkway, that crosses Flamingo. The West wall LED is appropriation to the elevated walkway crossing Las Vegas Blvd, on the west side of the building as well. Another Drai's logo sign shares the west wall also. Along the fascia awning that wraps around the building graphics adorn the rounded panels, which simulate the Tiffany glass. Vertical raceways separate these panels. Neon borders each one of these panels as well as polished raceways along the top and bottom. Incandescent bulbs line all the raceways, as well as the outer edges of the underside. On the North wall of the building, just around the corner from the signage on the west face of the building, another Barbary coast logo wall sign is located on the top portion of the building. It is accompanied by an internally lit, plastic, message board, with vinyl lettering. The two pieces together sit in a slightly recessed niche, so that the board and the text are flush with the rest of the building. The letters are painted yellow on the inside, possess incandescent yellow incandescent bulbs on the interior. The letters are also treated with the same gold finish seen throughout the establishment.
Sign - type of display: Neon; Incandescent; LCD; LED
Sign - media: Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Flashing, chasing, oscillating
Notes: All incandescent bulbs on the polished, gold raceways, chase each other down their entire lengths. The bulbs inside the polished channel letters oscillate as well. The incandescent bulbs in the Drai's sign also oscillate. The pylon sign: The background of vertical red neon bars chase each other from the outer ends, until the entire background is illuminated, then the incandescent bulbs inside the letters chase down and fill the letters, which then oscillate. The text then steady burns, chases downward, then leaves the letters dark in it's path. Once the letters are dark then the neon background curtains open chasing from the center to either end. Once the neon goes dark, then the empty text chases downward again, oscillating, then chasing from top to bottom leaving the letters dark in it's path. The text on the west side of the building lights up one letter at a time, then oscillates, and then steady burns. The letters then oscillate again, shut of for a split second. Then each individual word lights up one at a time. "Barbary" then "Coast," "Barbary" then "Coast" again. On the last sequence of the individual words lighting up they stay lit, and turn off one letter at a time. The main marquee: Each letter of the main marquee illuminate one letter at a time, then oscillate. While they are oscillating then, the vertical red neon bars chase from either end of the sign illuminating each bar in it's path. Right before it reaches the center, the letters shut off briefly then lights up "Barbary" then "Coast," then they both oscillate. They shut off briefly lighting up one word at a time again, oscillating once more. This pattern runs one more time while the red background chases from the center to the ends leaving the rest dark in it's path. The letters remain dark until the red bars regenerate, by chasing outward from two different spots, meeting in the center and extending to the ends. By the time the background is regenerated then the text begins to light up again, rapidly from left to right as if saying "Barbary Coast." It does this a total of three times. All the while the background is opening and closing from the two spots a total of three times. Once the background regenerates one more time, then the letters flash off then on, then alternates with the background. Letters, then background, letters, then background, then off. The two are not lit at the same time during this exchange, but take turns lighting up.
Sign environment: The Barbary Coast sits in the unique intersection of Flamingo Rd. and Las Vegas Blvd, once the main four corners of the Strip. The majority of the surface of the building is located on Flamingo road, just off the strip, headed east. Walking underneath the covered awing on the south side of the building, the constantly pulsating incandescent bulbs and various sounds of the casino bombard a pedestrian, enveloping one until you meet the end of the establishment at either end. The large drummed corner, makes the rest of the adjacent facade hard to miss. Directly south, across Flamingo the Bally's multimedia pylon behemoth resides, and the vibrant Flamingo, sits snugly next to the Barbary Coast's north side. The two establishments of Flamingo and Bally's are considered akin, due to such close proximity. Once you exit the Barbary Coast, utilizing the portals on the west side, headed north, you are almost automatically standing in a small courtyard, in the grasp of the attractive, bright, pink and orange plumage of the Flamingo Hilton. The pedestrian traffic flows from one establishment to the next with ease.
Sign manufacturer: YESCO
Sign designer: Brian K. Leming (bull nose and wrap around fascia)
Sign - date of installation: 1977
Sign - date of redesign/move: LED screens were added to the west and south faces of the building
Sign - thematic influences: A good phrase to describe the thematic influence would be that of a turn of the century ambiance. With it's logo style derived from 19th century woodblock prints, canopies covered in faux Tiffany glass, ornate brass tracings, and distinctive mansards, the decor is reminiscent of a bustling turn of the century gala or festival.
Sign - artistic significance: The full wrap fascia design by Leming, is reminiscent of older Fremont street properties such as the Golden Nugget, and Binion's Horse Shoe. The pedestrian passes underneath the pulsating signage, next to the entrances to the facility. It is a significant design maximizing the space with its design.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Flashing; Pylon; Fascia; Neon; Incandescent; LED; LCD; Plastic; Paint; Graphics
Mixed Content
Union Pacific Railroad Collection
Identifier
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
University of Nevada, Las Vegas law school planning: reports, correspondence, and clippings
Date
Archival Collection
Description
Folder contains materials related to establishing a law school at UNLV, including: "pre-law at UNLV" brochure, August 1975; lists of related archival materials; "UNLV Law" survey of previous law school studies, compiled by Jan Gould, 1976; an issue of "Factor E" magazine containing "The Law School Story," spring 1975; newspaper clippings; and other related reports and correspondence. From the University of Nevada, Las Vegas William S. Boyd School of Law Records (UA-00048).
Text
Photographs of New York New York signs, Las Vegas (Nev.), 2002
Date
Archival Collection
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
Mixed Content
Photographs of Riviera signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
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
Epilogue: UNLV Yearbook, 1980
Date
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: University of Nevada, Las Vegas
Mixed Content
University of Nevada, Las Vegas (UNLV) Fall 2016 commencement program
Date
Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
Text
Transcript of interview with Alice Thiriot Waite by Carole Terry and Donna Andress, October 19, 2011
Date
Archival Collection
Description
The memories and recollections of Alice Thiriot Ballard Waite provide a most interesting look at both at the Junior League of Las Vegas in the 1970s and the early days of Las Vegas. Alice recalls her childhood and young adult years after she arrived in Las Vegas at the age of five, giving the reader a rare picture of Las Vegas in the 1950s and 1960s. She was most active in the volunteer community of Las Vegas and served as Junior League President in 1964-5. Her reminiscences about the events and activities during the years while she was a Junior League member are an invaluable insight into its history. The exhibits she is sharing are an important documentation of those years after the Service League became the Junior League. She herself was a forerunner of today's Active members because she was a single, working mother while serving as the first "professional" President of the League.
Text
Epilogue: UNLV Yearbook, 1981
Date
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: University of Nevada, Las Vegas
Mixed Content