Category: Las Vegas

ROGUEHAA PUBLISHED IN MONU #15 – “CHOOSE YOUR OWN URBANISM”

Tuesday, December 27th, 2011


This new MONU issue on the topic of Post-Ideological Urbanism probably touches on one of the most fascinating and biggest issues of our time and in our culture, or what is left of it: the non-ideological – or better post-ideological – conditions of our society when it comes to cities. Today, ideology ap…pears to have become, and to have been reduced to, something merely aesthetic, something you can buy yourself into as Wouter Vanstiphout explains in an interview with us entitled “Acrobatic Narratives”. In that sense cities have become suspicious territories where hypocrisy and fakery prevail when it comes to urban ideologies…and a new sincerity is obviously needed in a world consisting of a multiplicity of choices and urban outcomes without a single consistent urban ideology as Melissa Dittmer, Jamie Witherspoon, and Noah Resnick point out in their piece “Choose Your Own Urbanism Presents: The Case of the Missing Ideal”.

The following text is an excerpt from an article entitled “CHOOSE YOUR OWN URBANISM PRESENTS: The Case of the Missing Ideal” that has been recently published in the latest MONU magazine:

It’s a hot, dry and dusty afternoon… But, then again, all the afternoons are hot, dry and dusty in Sin City.  You’re in your shoebox of an office with the top three buttons of your white cotton shirt undone, a damp towel on the back of your neck, and the sound of a rickety two-dollar fan blowing in your face.  The A.C. is on the fritz again, and you’re just about to phone up that good-for-nothing building super to complain, when you hear three soft taps on the glass pane of your office door – the one that reads: Calvin Lynch, Private Detective.

You ask her to have a seat in the worn leather armchair and offer her a cigarette and a glass of flat ginger ale.  She accepts neither and says she prefers to stand. 

“I’m searching for something,” she finally says, after standing in front of the window, staring out through the half-closed blinds. “They say what happens in Vegas, stays in Vegas, but this thing didn’t stay.  Or, maybe it never existed to begin with. Either way, I need your help.”

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Las Vegas Storm Drain Gallery

Wednesday, September 30th, 2009

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Las Vegas offers no forgiveness for graffiti.  Annually, the city allocates more than $30 million in private and public funds to clean up graffiti.  Under the Las Vegas strip lays a labyrinth of civic infrastructure and one of the few Las Vegas locations where graffiti is left undisturbed.  These storm drains offer rebellious sanctuary to some of the most beautiful and unexpected urban art forms.  Dating back to the 1980’s, these underground galleries sustain an evolving canvas and last resort for many graffiti artists.

(Images from Las Vegas Sun) (more…)

CRISS ANGEL PROJECT PUBLISHED IN CONTRACT

Thursday, April 16th, 2009

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PROJECT. The Criss Angel BeLIEve project has been published in the March edition of CONTRACT magazine.  The project is a re-design of the entry sequence into the theatre at the Luxor Hotel and Casino in conjunction with the debut of the newest permanent Cirque du Soleil show, Criss Angel BeLIEve.  Its opening in September 2008 provided a sneak-peak into the major renovations that will occur at The Luxor through 2009.  The 2.1M project began in October 2007 and opened for the public in October 2008.  Project scope includes a Box Office & Retail space of 6000 square feet and Bar/Lounge of 14,500 square feet.

CONCEPT. By reflecting the enigmatic characters of Criss Angel and Cirque du Soleil, the architect’s call to action was to redesign the Box Office, Entrance, Retail Space and Theatre Bar/Lounge for the new dramatic experience.  This scope allowed a concept which considers the emotional mind-set of the audience as it approaches, spatially and temporally, the theatrical event.  The narrative of BeLIEve parallels Lewis Carroll’s classic literary work, “Through the Looking Glass,” as both pieces follow a protagonist’s journey into a whimsically absurd alternate reality.  In each piece, access to this other world is gained only through a very specific, yet different, threshold; one tangible (the looking glass), one experiential (an accident induced dream). Thresholds between levels of certainty, as literary premise inspired the architect to consider a similar perception when designing the tangible space of (sub)conscious journey.  The architectural realization of this journey provides a sequence of spatial thresholds (stages) through which BeLIEvers are slowly submerged.  Passing through each stage means passing into progressive levels of engagement with the artist’s warped perception, the ultimate destination. (more…)