The Void: The Essence, The Experience, The Pleasure of Las Vegas

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Stewart Christensen Chris Levy University of Nevada Las Vegas AAL 486 Lee-Anne Milburn Spring 2010

The Void: the essence, the experience, the pleasure of Las Vegas

abstract The Las Vegas Strip is adorned with huge casino frontages that dwarf the pedestrian and provide no opportunity for refuge or rest. As the Strip becomes increasingly urbanized it becomes the responsibility of the city (not the casinos) to provide useful open space for visitors and residents.

However most of the space on the Strip is privately owned, therefore it has become difficult for the municipalities to have an influence on the presentation of “the Strip.� There are however a few large areas that have been left to the various municipalities which have become neglected, or wasted space. In an effort to showcase the ability of landscape architecture to revive empty space, a blank site (a void) at Harmon Avenue and Las Vegas Boulevard was chosen for this project. The design was established through a system of contextualization, process, and synthesis. This process was demonstrated in a series of models, sketches, and initial designs that addressed what it means to design a park on the Las Vegas Strip. The final park design provides seating, tree cover, shade, and an overall comfortable environment. However, it also fits within the context of the Strip through the use of lighting, sound, and materials. The resulting design was a simple site layout with complex lighting, tracking, and monitoring systems that allow the site to fluctuate with the constantly changing scene of Las Vegas.

The Void: the essence, the experience, the pleasure of Las Vegas

4 8 11

INTRODUCTION

preamble site selection the void

4 16 16

CONTEXTUALIZATION

inventory analysis

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PROCESS

concept inputs data collection

34 52 56 60 66 68 68 71

SYNTHESIS

stories story simulation layout conclusion work cited image credits appendix

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List of Figures fig. name

pg

1. The High Line 2. Paley Park 3. Chess Park 4. Urban Void 5. Site Selection Map 6. Site 1 7. Site 2 8. Site 3 9. Site 4 10. Site 5 11. Site 6 12. The Void 13. Program Essence 14. Program Essence 15. Contextualization 16. The Site 17. Average Temperatures 18. Average Precipitation

7 7 7 6 8 8 9 9 9 10 10 11 12 13 14 16 17 17 18

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Las Vegas Heat Shade On Site Vehicular Traffic Pedestrian Strip Traffic Strip Experiences Map Residential Units Map Seating Opportunities Map 26. The Strip 27. Site from City Center 28. Site from Pedestrian Bridge 29. Looking Onto Site 30. City Center From Site 31. Bubbly Lights 32. Las Vegas Boulevard/ Harmon 33. Strip Experiences 34. Analysis

18 19 20 21 22 22 23 24 24 24 24 27 28 29 32 34

35. Process 36. Light As Space 37. Transformation Of Space 38. Flux Concept 39. VPT Process 40. People Icon 41. People Mass 42. People Movement 43. Time Icon 44. Place Icon 45. Sun on Lights 46. Servers 47. Server Icon 48. Video Icon 49. Pressure Icon 50. Weather Icon 51. Audio Icon 52. Data Collector Map

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Synthesis Converge and Enjoy Revenue Entertainment and Performance 57. Theatrics 58. Story Diagram 59. Converge Story Diagram 60. Plan 61. Plant Materials 62. Concrete Properties 63. LED Mist Nozzle 64. Focal Element 65. Perspective 66. Process Diagram

52 53 54 55 56 58 60 62 62 63 63 64 67

The Flux Voi The Essence, The Experience, The Pleasure of Las Vegas

The Void Spring 2010

preamble Many large cities have successful urban park spaces that provide seating, entertainment, exercise, and enjoyment for nearby residence and visitors. These urban parks enhance the atmosphere of the city by providing a break from the buildings, roads, and other urban structures. The High Line in New York is a good example of this reuse of urban space (figure 1). In relatively small spaces pocket parks are used and provide many of the same benefits of larger urban parks.

Pocket parks are often designed to

provide seating, shade, and places to relax or play. There is a large variety of pocket par ks from those designed specifically for children (6th Avenue NW Pocket Park, Seattle), to the working business man/woman (Paley Park, figure 3), and those design for the enjoyment of everyone (Chess Park, figure 4).

The challenge for the designer of the future is transforming a void urban space in meaningful and useful way and placing it within the context of the community.

id Las Vegas’ standing as an international destination makes it an ideal location to showcase what is possible with landscape architecture and void urban space. Las Vegas’ Strip is also ideal because it does not have true open space, despite it being a major pedestrian thoroughfare.

A pocket park in Las Vegas is something new: Las Vegas lacks open space, therefore there is both a need and an opportunity.

In some peoples’ minds, Las Vegas is the ultimate urban city, but ironically, it lacks many of the fundamental open spaces that create the backbone of social spaces in a

large city. Las Vegas is dominated by grand entrances and casino frontages. Some of these edge conditions are designed for the pedestrian scale, though most are not. If a person walks the Strip, s/he will quickly realize that there are no places to sit, rest, and relax. This is by design: the casinos strive to drive traffic in their doors so seating is located inside, not out. Because of this, Las Vegas has a distinctly different feel from any other city. However, as Las Vegas becomes more urban, the need for a pedestrian-friendly scale becomes more evident.

07

urban void (figure 4)

the high line (figure 1)

paley park (figure 2)

In many cities the city government itself takes responsibility for creating open space and a user-friendly environment. In Las Vegas all of this work is done for the city by private industry i.e. the casinos. However this does not dissolve the city from their responsibility to improve the urban environment. There comes a point when the city itself needs to take some responsibility for the experience of Las Vegas. While the city is very limited in the amount of space that it has available to work with, there is still space that can be improved and enhanced. The current state of the Strip (unfinished buildings and vacant lots) provides many opportunities and possible sites for urban land to reclaim the Strip. This project will create a park on the fringe corner of a casino, in the neglected border space between properties and will invite people to rest and give them time to contemplate their lost money. It will create a pocket park on Las Vegas Boulevard that rivals some of the famous pocket parks of other large cities.

chess park (figure 3)

Defining the Void: The proposed park will occur in one of Las Vegas’ many “voids.� The term void is used to describe neglected, underdeveloped, and underutilized land. Most of these spaces are located within dense city cores and newly developed areas.

Naturally they happen between developments, in street medians, and in areas of infrastructure. These spaces often become sites of trash deposits and criminal acts bringing the overall value of the surrounding area down (see figure 4).

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site selection

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1. Fit the description of a "Void."

2. Have direct access to Las Vegas Boulevard’s pedestrian traffic. This traffic must pass directly in front of or through the site.

3. Be of relatively small scale.

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Site selection focused on sites located on Las Vegas Boulevard between Tropicana Avenue to the south and Spring Mountain Road to the north, which is the traditional “heart” of the Strip (see figure 5). Property density and tourist activity made this stretch of the Strip ideal for a visible well-used park. In order to meet the project goals the site needed to fit three criteria:

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The Void Spring 2010

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site selection map (figure 5)

Site 1: The site is a long narrow asphalt alley located on the east side of Las Vegas Boulevard between Harrah’s Casino and Casino Royal. Windows line the wall of the hotel portion of Casino Royal on the north end of the site. Pros: The site’s direct access to Las Vegas Boulevard, hard surface and large surrounding walls act as a shelter. Cons: It is too long and narrow (see figure 6) to be a viable public space; it is located on a portion of the Strip that is focused on cheap drinks and a young crowd. Also, hotel windows look directly into the site, a privacy and safety concern for both the park visitors and the hotel patrons. site 1 (figure 6)

Site 2: Site two is located in front of Caesar’s Palace, on the public right-of-way near Flamingo Road. The site is long, narrow and located on a sidewalk. Pros: The site is located in the public right-ofway, pedestrians are forced to enter the site, and it is in close proximity to public transportation.

Cons: The site is extremely long and narrow (similar to site 1, see figure 7) and the east side of the site is exposed to site 2 (figure 7) traffic on Las Vegas Boulevard.

Site 3: Site three is located on the east side of Las Vegas Boulevard in front of Bally’s parking garage. The site is a long flat concrete slab just off the sidewalk.

Pros: The site is in close proximity to a high traffic walkway, has an excellent vantage point to view the Bellagio fountain show, and the site is a good size (see figure 8).

Cons: The site is exposed on three sides and is located entirely on Bally’s p r o p e r t y, c a u s i n g site 3 (figure 8) potential cooperation concerns.

Site 4: Site four is located on the west side of Las Vegas Boulevard on the south end of the Bellagio property. Pros: The site’s proximity to public transportation, distance to Las Vegas Boulevard, and size.

Cons: The site is somewhat developed, it is used as a nursery/staging area by the Bellagio, and it is located entirely on Bellagio's property causing potential cooperation concerns (figure 9). site 4 (figure 9)

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“A place unto itself, The Void could only happen in Las Vegas”

Site 5: Site five is located on concrete islands at the new inter section of east Har mon Avenue and Las Vegas Boulevard.

Pros: A portion of the site has pedestrian through traffic; it is in close proximity to City Center; it is undeveloped, entirely on public right-of-way; and it is a good size (figure 10). Cons: The site has a large number of utilities that range from a power line to electrical boxes. A turn lane passes directly through the site.

Site 6: Site six is a long narrow alley located between CVS and City Center on the west side of Las Vegas Boulevard (figure 11). Pros: The site’s proximity to Las Vegas Boulevard, pedestrian traffic, and City Center.

Cons: The site is too long and narrow to be a viable public space.

The Void Spring 2010

site 6 (figure 11)

site 5 (figure 10)

the void las vegas boulevard and harmon avenue, the void (figure 12)

The Void: The site selected for the project is site five (see figure 12), due to its location and characteristics. Because site five is located entirely on a newly constructed right-of-way it reinforces the city’s responsibility to develop urban open space.

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program essence (figure 13)

program essence (figure 14)

Design Guidelines: 1. Trash cans should be readily available and emptied often.

2. Benches should be easily accessible.

3. Shade should be available and preferably provided by trees.

4. Drought tolerant vegetation should be used.

5. The site should be maintained and cleaned at least once a day.

6. To discourage illegal activity, the park should be highly visible from many directions.

7. People should be used as inputs and controllers of the experience.

8. Inputs should be carefully identified and conveyed back to the pedestrians. For example: if a crowd is angry the site should respond in a manner that either echoes this emotion (without being over stimulating to the user) or produce the opposite response and react in a calming fashion.

9. The use of multiple technologies should cohesively indulge the user, thus creating a site fabric that is unique and identifiable.

10. Lights that compliment City Center, Planet Hollywood, and the Harley Davidson Cafe should be used. The site should not be a complete contrast to the buildings surrounding it.

11. LED lights should be used to uplight key elements and draw users in.

12. The lights should not be too overpowering. They can be very vibrant and “loud� at times, but should mostly be subdued and subtle.

Program: A world-renowned urban park will be created using elements of theatrics to create a transformative space, with lighting, movement, and action (figure 14). The park should be a place to converge and enjoy, while facilitating entertainers and performers. The park must also create revenue. The park will be an experiential park, meaning that users are to interact with, and be a part of the park. Figure 13 paints a picture of the theatrics and essence that can be created through the use of light, reflection, movement, etc.

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CONTEXTU

ALIZATION Definition: To place (a word, event, etc.) into a particular or appropriate context for the purpose of interpretation or analysis. (figure 15)

inventory The site is located in Las Vegas, Nevada on the corner of Las Vegas Boulevard and Harmon Avenue (see figure 16). The entire site is a public right-of-way and consists of sidewalks, utilities, and open concrete. The area is zoned as CT - Commercial Tourist, which means the site is located in the “resort corridor.� This location provides a great opportunity to explore progressive designs that would not be suitable for a more conventional location. A vacant lot lies directly north of the site. This lot is currently owned by Clark County and is designated as a public right-of-way. However this site was recently put up for sale and should be transferring ownership in the near future. The future use of this northern lot is unknown. The Planet Hollywood Resort is located one lot to the north and is very visible from the project site. Directly next to the site on the south end lies the Harley Davidson Cafe. To the west of the site is City Center.

Las Vegas Boulevard north

The Void Spring 2010

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the site (figure 16)

Average Low

Average High

110 88 66 44 22 0

Jan

Feb Mar Apr May Jun

Jul

Aug Sept Oct Nov Dec

average temperatures in degrees fahrenheit (figure 17)

Avereage Precipitation 0.7

0.525

0.35

0.175

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Jan Feb Mar Apr May Jun

Jul Aug Sept Oct Nov Dec average precipitation in inches (figure 18)

Climate: The Las Vegas Valley experiences four defined seasons but they are not typical of other regions in the nation. The summers are extremely hot with highs well in the 100s and lows in the 70s (NOAA). These summer temperatures are made more bearable due to the low relative humidity, but it is an uncomfortable environment.

Winters in this region are mild and comfortable with midafternoon highs around 55 degrees and clear skies, see figure 17 (Weather). The city averages 24 days of below freezing temperatures but this is mild compared to other

19

las vegas heat (figure 19)

parts of the nation. The spring and fall months are ideal in this region and make outdoor activities very pleasant. The Sierra Nevada and Spring Mountains prevent the valley from receiving rain and Las Vegas only averages 4.1 inches a year, see figure 18 (NOAA).

The Void Spring 2010

Microclimate: The site’s specific location provides some opportunities and challenges related to microclimate. Throughout the day during winter months the site receives a fair amount of shade from the Harley Davidson Cafe, and in the afternoons a large shadow is cast

by City Center that covers the site in shade (see figure 20). This shade can be quite welcome on the warmer winter days in Las Vegas, however for the most part it is too cold in the winter for shade. During summer months the site is very exposed, receiving no shade from the Harley Davidson Cafe, and only late afternoon shade from City Center. However because of City Center, the site does receive shade earlier than most areas along the east side of the Strip. There is no vegetation or other elements to provide a comfortable environment on the site. The site is located at a fairly low elevation (2186 feet) and in the center of the city, therefore it experiences some of the highest temperatures in the valley.

pm shade cast by city center (figure 20)

3,300 1,698

TOTAL CARS HOUR / HARMON E. vehicular traffic (figure 21)

TOTAL CARS HOUR / LAS VEGAS BLVD N.

Vehicular Traffic: The site is directly adjacent to Las Vegas Boulevard. Therefore a large amount of vehicular traffic passes the site. At peak morning traffic, 873 vehicles per hour head north on Las Vegas Boulevard. Another 2,526 pass the site on Harmon Avenue, and yet another 304 vehicles pass directly through the site at this same time, see figure 21 (Kimley 17). The site is divided into two by the right-hand turn lane for vehicles leaving Las Vegas Boulevard, heading east on Harmon Avenue. During peak afternoon traffic, 1,467 vehicles per hour pass the site northbound on Las Vegas Boulevard. An additional 3,300 pass by on Harmon Avenue, and 231 pass through the site turning right onto Harmon Avenue from Las Vegas Boulevard, see figure 21 (Kimley 17). Some of these vehicles consist of billboard trucks and buses. There is some bicycle traffic but it is very minimal.

Pedestrian Traffic: Numbers have been collected for overall pedestrian traffic on the Strip, however there are no site-specific numbers available. According to research done by Applied Analysis, the average visitor spends 4.1 hours per trip walking the Strip.

When aggregated, this amounts to 424,000 person hours on the Las Vegas strip every day of every year, or 155 million person hours annually (Applied). The peak pedestrian hours on the Strip are between four PM and two AM. During this time pedestrian person hours follow a curve between 18,000 hours at four PM, to a peak of 40,000 hours at eight PM, and back down to 22,000 hours at two PM, see figure 22 (Applied).

The pedestrians on the site consist mainly of tourists and advertisers (escort service card flippers). The card flippers are mainly stationary elements that repel and annoy tourists.

They gather in groups of two to six flippers at key points on the site, e.g. crosswalk entrances, pedestrian pinch points, and exit points.

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45,000

6 hr avg 34,000

40,000 35,000 30,000 25,000 20,000 15,000 10,000 5,000

sunrise

The Void Spring 2010

11p - 12a

6p - 7p

12p - 1p

6a - 7a

12a - 1a

425,000

sunset

PEDESTRIANS WALK STRIP PER DAY pedestrian strip traffic (figure 22)

293,000

DURING NIGHT

132,000

DURING DAY

The tourists are very diverse, and range from single college students, to business men/women, and families. The tourist demographic also consists of international travelers from all over the world.

The demographics and activities also change depending on the time of day. Tourists pass through the site fairly quickly. Currently the site acts as a large sidewalk; pedestrians only stop to take photos, or while waiting to cross the street at the two crosswalks. Most of the traffic is north/south traffic however there is some pedestrian traffic that heads east through the site down Harmon Avenue. Pedestrians cannot cross Las Vegas Boulevard from the site.

There is a pedestrian overpass bridge just to the north of the site that connects to the City Center

property. Many pedestrians that pass through the site come from or head towards the City Center property via this bridge. The Harley Davidson Cafe also attracts a fair amount of pedestrian traffic and creates a gathering space in front of the building.

Other Strip Experiences: It was important as part of the inventory to locate other on-street “experiences” or “shows” on the Strip (figure 23). One block from the site, on the west side of the street, are the Bellagio Fountains.

The fountains are a main on-street attraction and a destination for many visitors. The other two onstreet shows are the Mirage volcano and the Treasure Island (TI) show. The volcano is still a

1.4 mi

ti siren show

.9 mi

mirage volcano

.3 mi

bellagio fountains

strip experiences (figure 23)

destination show, but it has lost some of its popularity due to competing shows like the fountains and TI. The TI show is the p i r a t e s h i p s h o w p e r f o r m e d by provocatively dressed women.

All of these shows are located within a couple miles of the site and will be competition for the attention of pedestrians.

Residential Considerations: There are a total of 8,500 residential units within a one-mile radius of the site (see

figure 24). This number of high-rise residential units within a mile radius is the highest high-rise density in Las Vegas, with the corner of Las Vegas Boulevard and Sahara Avenue being the only other location with multiple high-rises in close proximity. Most of these units are fairly expensive and are used as residential or vacation homes. Many of the units are used by tourists who rent them from the actual property owners.

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bellagio

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3 2 4city center 1 monte carlo

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excalibur

mgm

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madarin oriental 225 units

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panorama towers 1015 units

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veer towers 674 units

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mgm 22 units

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cosmopolitan 2200 units

ph westgate 7 1200 units

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vdara 1495 units

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mgm signature 1728 units

residential units within 1 mile (figure 24)

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Seating Opportunities:

In order to understand the need for an urban park, the availability of seating opportunities was assessed in this area. The only free seating is located across the street on seat walls in front of City Center.

On the east side of Las Vegas Boulevard the only seating opportunities are restaurant seating that require users to pay. The Harley Davidson Cafe has outdoor seating as part of the restaurant, and the Hawaiian Tropic Zone to the north also has outdoor restaurant seating. Further north, on the east side of the Strip, is another small cafe with limited seating (see figure 25).

seating opportunities (figure 25)

the strip (figure 26)

Strip Character:

The Strip has a very unique character that cannot be replicated. It is a montage of many architectural and time period styles pushed to the extreme (figure 26). In order to keep up with the latest trends in consumer habits and tourist desires, the Strip is constantly changing and adjusting. This constant change gives the strip its character: it is a place of change.

The buildings immediately surrounding the site include the very modern City Center, the renovated Planet Hollywood, and the Harley Davidson Cafe. The City Center complex is the most recent project. The buildings are very minimal and strong in architectural form. The frontage to the Crystals shopping center within City Center includes large signage, lights, and compelling forms.

The Planet Hollywood building has been renovated twice. The building was once The Aladdin and architectural cues still suggest that theme. The Harley Davidson Cafe to the south has a very prominent motorcycle wheel that protrudes from the front of the building. The wheel is a tourist attraction and many people take photographs of it. Further south on the Strip is a set of small strip mall style shops with “Vegas� paraphernalia. These shops are small and run down.

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site from city center (figure 27)

city center from site (figure 30)

Views Into the Site: The site is visible

site from pedestrian bridge (figure 28)

to vehicular traffic traveling on Las Vegas Boulevard as well as to the vehicles traveling on Harmon Avenue. West-bound vehicles on Harmon Avenue have a direct visual line into the site before the road turns to meet the new intersection at Las Vegas Boulevard and Harmon Avenue. Pedestrians traveling in either direction on Las Vegas Boulevard have a direct view of the center island of the site. There is a pedestrian bridge that travels east to west over Las Vegas Boulevard that connects City Center to Planet Hollywood. Pedestrians traveling on this overpass bridge will have a unique perspective of the site as will those people on the second story of the City Center grounds (see figures 27, 28, and 29). Views that were not originally considered are the views from the high-rise towers of MGM Signature, Westgate, and City Center units. These properties will have a unique aerial perspective of the site below.

Views From the Site:

The Void Spring 2010

The site has direct views of City Center (figure 30), the south end of Planet Hollywood, and the Harley Davidson Cafe. The south end of the Planet Hollywood property is exposed to the site and consists of a large monochrome wall. Next to this property is a large vacant lot filled with

looking onto site (figure 29)

debris and trash. To the east are views of the MGM Signature towers and the track for the Monorail.

Materials: The site consists entirely of concrete and an asphalt roadway. During the construction of City Center the intersection of Harmon Avenue and Las Vegas Boulevard was realigned. The realignment left two very large and awkward spaces that were paved over with concrete; these spaces make up “the site.�

There is no vegetation, soil, or amenities on the site.

Use: The site mainly functions as a sidewalk, and pedestrians enter and exit the site with speed and predicability. Due to its size, the site adapts well to increases in pedestrian traffic on busy days. However, the eastern-most half of the site is rarely used and does not have much traffic. The site is used for busking, impromptu theater, and related activities by various performers. These performers stand just outside the flow of traffic and can draw small crowds. Pedestrians also stand on the site in order to take pictures in front of the Harley Davidson Cafe. During the site observation, it was noticed that police vehicles are sometimes parked on the eastern end of the site. People rarely gather on the site (except for those few

instances mentioned above), and during summer months, people spend even less time on the site during the day due to its lack of shade and the resulting heat. Overall the site is used as a large sidewalk.

Crime: Because the site is located on the Strip, there are concerns related to security, safety, vandalism, litter, etc. Currently the site has large amounts of litter consisting of escort service cards, random flyers, and alcoholic beverage containers.

Parking:

There are many parking opportunities along the Strip and most are free. Directly behind the Harley Davidson Cafe is a four-story parking structure that is available for use, but the Cafe does require that the user patrons their Cafe.

Other parking opportunities exist at Planet Hollywood, City Center, and the Bellagio.

Utilities: The site is a median that contains public infrastructure structures and utilities.

Some of these structures include a large, high voltage power pole, a large utility vault, and four stop light/cross walk poles. There is also a large electrical box and other utility access areas. See appendices A through C for detailed utility information and site maps.

The Void Spring 2010

analysis Location: Las Vegas was chosen for this project because of its international exposure and the sheer number of people who walk the Strip every day. Jeremy Aguero of Applied Analysis stated that “there are nearly 18,000 people walking along the Las Vegas Strip on an average hour and more than 40,000 people walking along the Las Vegas Strip at peak times.

This is like having an arena the size of Los Angeles’ Staples Center nearly full every hour of every day, and enough people to more than fill the MGM Grand Garden and the Mandalay Events Center, combined, during normal peak periods” (Applied).

Speaking on the same topic, Marla Letizia, president of Big Traffic Mobile Billboards Worldwide said, “While it will come as no surprise that Las Vegas is a prolific marketplace, when you pencil out what it means to reach 37 million people from around the world... the value of that relatively small piece of real estate we call ‘the Strip’ comes into much sharper focus... Most retailers would give their eye teeth to have 40,000 people in a single hour walk in front of their storefront -- we do that daily. Perhaps most importantly, our research indicates that these visitors recall what they see while they are in Las Vegas and are taking those messages home with them. There are few, if any, places in the world that provide this unique opportunity” (Applied). Because of Las Vegas’ unique standing among world destinations there is a real opportunity to create a park that will be recognized the world over and become a signature Las Vegas experience. Furthermore, because the site is “in” Vegas, the park must fit within the context of Vegas. It must be more than a standard urban park and must speak to the experience people have come to expect when walking the Strip. Because the site is a public rightof-way the county has the ability to directly contribute to the Las Vegas experience and even profit from it. The site is also located along one of the busiest sections of the Strip corridor: this means massive exposure to visitors and residents alike. In such a competitive marketplace the site must strike a cord with people and interact in a way not seen before. The site must grab the attention of the pedestrians passing by. It must have appeal or it will revert back into a void, a very expensive void. This section of the Strip is built up but there is more space to be developed and buildings (like the strip malls to the south) that look about ready to be demolished and replaced. This site is positioned in one of the best locations along one of the most famous roads in the world.

We dreamed it, designed it, and lived it. The people from every corner of the world, complete it.

The Void. bubbles (figure 31)

Climate/ Microclimate: Las Vegas has

The Void Spring 2010

roughly eight months of mild weather and four months of harsh hot weather. The layout and design of the site should take into consideration this fact and address this concern in an effective way. The design should not completely nullify the existing environmental conditions, but the natural conditions should play a factor in the final outcome. Per the program, the site should have places to “converge and enjoy” that are in the best possible location relative to comfort and environmental conditions. Seating areas should be shaded and comfortable in the summer and perhaps exposed to the sun and sheltered from wind in the winter.

The eastern-most end of the site will be the last area to receive shade, therefore extra precaution should be taken to provide this area with shade in the summer. This can be accomplished through shade structures or vegetation, though, in order to provide sun exposure in the winter, deciduous trees may be the best design solution. The design must also take into consideration Las Vegas’ arid environment, and use a plant palette that recognizes the challenges associated with the weather conditions.

Vehicle Traffic: The vehicular traffic next to and through the site poses some safety concerns for pedestrians and motorists. In order to mitigate accidents some special considerations should be taken. Design solutions should prevent pedestrian/vehicular conflicts. The traffic that cuts directly through the site is the greatest threat to pedestrian safety. The road is a narrow turn lane that is easy to cross without regard to traffic signals.

Because this road is easy to jaywalk, many people do so, and this is where most of the pedestrian/vehicular conflicts occur. Special

solutions should also be created to address the edge of the site that abuts Las Vegas Boulevard (see figure 32). This boundary is necessary to keep the large number of pedestrians out of the flow of traffic, and keep vehicles from entering the pedestrian pathway.

las vegas boulevard and harmon (figure 32)

Pedestrian Traffic:

The number of pedestrians who travel through the site is quite significant. These numbers are not unusual for the Strip, but they are unusual for most urban spaces. This traffic creates ingress, egress, and flow issues that must be addressed by the design. The “holding” areas at the cross walks must be large enough to handle large numbers of people but also designed in a way as to not look undesigned or forgotten. Pedestrian safety is a big concern. The design should address many issues regarding pedestrian safety including vehicle hazards, other pedestrians, robbery/theft, and lewd acts, for example, card flippers, prostitutes, drug paraphernalia, etc. As stated above, the use of barriers or other retaining devices will most likely be necessary.

strip experiences (figure 33)

Good lighting and open sight lines must also be maintained to ensure pedestrian safety.

Other Strip Experiences: The Strip has an abundance of shows, lights, and elements, therefore it is important to ensure the project does not create an experiential overload for visitors (figure 33). Relative to the location of the other on-street shows, the selected site is in a good location and will not overwhelm visitors. The large banner LED displays that cover the facade of the Planet Hollywood complex are visible from the site and the light from these displays bleeds out onto the sur rounding buildings. These lights are not a major concern because they add to the overall experience of the Strip and the park. The

design should not try to compete with these lights but compliment them instead.

Besides the lights at the Planet Hollywood, there are no other lighting elements that directly affect the site to a significant extent.

Residential Considerations: The true density of residential units was not immediately clear when the site was originally selected. After doing the inventory it was noticed that the site is located in one of the densest areas for high-rise residential towers in the city. This density creates the opportunity to serve both visitors and residents of Las Vegas.

As discussed previously, Las Vegas lacks urban amenities, and the Strip lacks green open space, making the Strip a less than ideal place to live.

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Seating Opportunities: The inventory showed that there is a lack of seating on the Strip. This is probably due to the casinos’ desire for visitors to come into their property to rest (and gamble), but this lack of seating should not be ignored. The county has a real opportunity to improve the entire experience of the Strip by providing comfortable locations for people to rest. In the immediate area of the site there is seating but it is limited to restaurants: a comfortable parksetting will seating and shade would be a real asset to visitors. Currently the only readily available seating is along seat walls and planter beds.

This type of seating is neither inviting nor comfortable. Seating provided within the park should be comfortable, shaded during summer months, and provide opportunities for conversation and relaxation.

The seating areas must also be very well lit in order to prevent crime and increase the feeling of safety.

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Utilities: The utilities and other structures on the site are real issues that will have to be addressed in the design. On the center island there are multiple structures that limit space and cause pedestrian bottlenecks. The large electrical boxes and power poles are unattractive and become objects for pedestrians to leave their trash on.

Not only will the design have to mitigate these problems, but it will have to incorporate the utilities into the site as well. Overall this site has

many limitations relative to utilities, however its potential far outweighs its limitations.

Strip Character: It would be difficult to respond to the character of the surrounding buildings in any meaningful way because each building is so entirely different.

Therefore it was more important to the designers to design the park to fit within the overall context and character of Las Vegas, than to respond to the diver se and contradictor y surrounding architectural styles. Las Vegas is known as “Sin City�. There are many perceptions of what Las Vegas is, but most of those perceptions revolve a r o u n d fl a s h , g l i t z , a d u l t enter tainment, gambling, and partying. People come to Las Vegas to have fun and be entertained.

Therefore, the site needs to provide that same level of attraction and fit within the context of Las Vegas.

This is where the program elements become more apparent. The site must enter tain, perform, and produce revenue, because that is what defines Las Vegas.

It is necessary for the site to have lights, music, and motion because a standard pocket park with trees and standard seating does not fit within the context of Las Vegas.

Views: The views into the site are important for reasons of safety, revenue, and pull. Visual corridors should be maintained through the site, allowing people to see from

one end of the site to the other. This will help prevent crime from occurring. It is also important to avoid blocking views into the site because this may prevent people from being attracted to, and entering into, the site. If visitors can see from across the street that something interesting is happening on the site, they may be more inclined to walk over and experience it for themselves.

City Center, however City Center does not have any par ticularly interesting elements to look at other than the architecture (there are no “shows” or “attraction” elements in front of the property). The views of Planet Hollywood are considered negative views but this view will change when the adjacent lot is developed in the future.

As part of the program, revenue is one key element of the park. In order to maximize the park’s revenue potential it is important for various spaces in the park to be visible from even great distances.

The pedestrian overpass bridge and the elevated walkway at City Center both become possible viewing platforms.

Therefore the site should be designed with open space for projections or other forms of advertisement, so that they can be seen or heard from these two locations.

reasonable budget it is important to predominantly use fair ly common materials, with more extravagant materials highlighted in limited situations. Standard grey brushed concrete will make up the entire ground plane because it is cheap and durable, and a safe, slip resistant material. Concrete can also be a very reflective surface if some water is present.

This notion of using water in conjunction with concrete creates opportunities to use the ground plane as a projection plane, a place to create additional texture, and additional depth within the site. Plant materials will be used to soften the park elements and edge conditions. These materials will also improve the feeling of the park and bring a bit of nature to the Strip. Lights, water, and moving platforms may also be used in order to create the necessary effects desired on the site.

Views out of the park are not particularly pleasing. However it is Las Vegas and tourists are enamored with views of elements like the Harley Davidson Cafe’s motorcycle wheel. This wheel feels as though it encroaches onto the site, but it should not be obstructed because tourists love to take pictures in front of the strange and bizarre on the Strip. Likewise, views to the other adjacent buildings should also not be purposefully screened or blocked. The juxtaposition of all of these competing elements (including the park) is part of the character of Las Vegas.

This being said, the design should not be compromised to maintain a view of any one building. The best views are those of

Materials: In order to maintain a

Use: The site will be used as a corridor for pedestrians, a park with seating, a stage for performers, and a source of revenue for the county.

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Crime: In order to reduce crime, clear sight lines should be maintained through the site. The site should also be well lit at night. Overall pedestrian and park security will be addressed by the Metro Police, who are visually prominent on the Strip. The park is very small and in a highly visible location: if it is well lit, safety should not be of any greater concern than elsewhere on the Strip. Vandalism of park elements and trash will be the source of most of the maintenance issues and costs. As discussed in the inventory there is currently a fair amount of trash and vandalism on the site. It can be assumed that a park in the same location would have an equal (or increased) amount of litter and vandalism. It is also assumed that if trash receptacles were available on site there would not be as many beverage cups and trash littering the site. However, the site would most likely not see a decrease in escor t ser vice paraphernalia without enforcement efforts by park security or Metro Police. Care should be taken in specifying materials that are easy to clean and maintain.

Parking: Parking for the park will not be provided on site, because free parking is available at the adjacent casinos, hotels, and restaurants.

eidetic analysis (figure 34)

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PR

OCESS Definition: A particular course of action intended to achieve a result.

process (figure 35)

concept W h i l e wo r k i n g t h r o u g h t h e inventor y and analysis, three concepts began to make themselves evident: light as space; transformation of space; and the flux. All of the concepts encompass central ideas that address the motifs of the site including articulation of space, dynamic movement and simple but inventive medium execution. The concept that was chosen for design of the site was the flux.

Light as Space: This concept is based around the idea of light and its ability to be articulated to control and influence ingress and egress of pedestrian traffic on the site. The root of the concept is the site’s ability to use light as an interactive element (see figure 36).

The light’s application would not be that of ambiance, but more of striking boldness. Light cast onto areas of the site would be very defined and vibrant, thus creating rooms that would be navigated and inhabited by the pedestrian.

Transformation of Space: This concept is based on the control, articulation and movement of space with water. Water as the medium to control space is ideal, because of its fluidity, impassible essence, and ability to reflect surfaces and light (see figure 37).

These attributes are very important for the concept because the water would be used in a strategic manner, revealing and concealing elements like seating. The essence and elusiveness of the water would create a mystifying experience for the pedestrian.

The Void Spring 2010

transformation of space (figure 37)

light as space (figure 36)

flux concept (figure 38)

Project Concept: The Flux The fluctuation of Las Vegas is unlike any other city, specifically the area of Las Vegas defined by the Strip corridor. Within this corridor tourists from all over the world visit casinos that can change in a matter of weeks, and street vendors that appear overnight. This change is very apparent when a new popular trend is discovered.

In most recent years the instant popularity of Las Vegas nightclubs had hotel casinos scrambling to open the next hotspot. This process repeated itself when topless pools became the new rage. There is no other place in which transformation happens so quickly. No single visitor shares the same experience as another. In order for the site to be a true reflection of Las Vegas’ constant flux, the site will have to change and transform. This concept was chosen for its direct link to the context of the site, its ability to create individualistic experiences, and desire to remain dynamic over time (figure 38).

As part of the process of design, the team developed a process called Viral Process Theory (VPT). The development of this process occurred in conjunction with the development of the concept of flux.

Because the nature of the concept is fluctuation, it was important to create an approach that would encourage the site to evolve and change in a meaningful way.

The goal of the Viral Process Theory is to

exceed people’s expectations. Therefore, when this process is applied to the concept it becomes the goal of the site: visitors must be taken through a specific sequence of events in order for them to be excited about the experience. If this process is carried out on the site, the park will become a popular world-renowned park; a destination.

Viral Process Theory: The Viral Process occurs in five basic steps (see figure 39). First, the Implicit Pull creates a simple but engaging situation. Second, the site must elicit an emotional response from the user, termed Transparent Emotion. During this phase the user is not aware of their interest in the site, they are just experiencing the situation. In the next phase, Cognitive Experience, the user becomes aware of their excitement and they begin to become emotionally attached. The fourth step is Dynamic Fulfillment. In this phase, the user decides to remain and see what else can be discovered. They become fans of the site: the user becomes completely intrigued and is very excited about the site. It is in this phase that the user’s expectations must be exceeded. The final phase is the Transfer of Identity, and critical to the success of the process. During this stage, a person is excited enough about the site to convince their friends they need to experience it. If this process is executed effectively, the result is a site that is raved about, which creates more visitors. This is the rational for the term “viral.” The viral process is applicable to any project, product, or process. In order for a project to be viral and have people constantly talking about it, the individual user must

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be taken through this experience. If one step, emotion, or interaction is missed, then the chain will be broken and the item will not be viral.

VPT Expanded: 1. Implicit Pull: The Implicit

The Void Spring 2010

Pull is the initial exposure to any item when that presented has not been recognized or associated with a person’s existing schema. For example, it may be three seconds of a commercial or the feel of a storefront from a distance. The objective of the implicit pull is to grab the user’s attention, creating the oppor tunity for the implementation of the rest of the Viral Process. However, this does not mean that the implicit pull has to be over the top, loud, flashy, etc.

It could be very simple. Whatever the image, sound, etc. used, it must be subtle, and its meaning should be implicit. The image’s only value is the user’s per sonal semiotic.

Therefore the producer of the image has limited control over how the individual will interpret this first image, though the image itself is ver y impor tant. If the wrong experience is presented, the user will not be drawn in and may even be turned off.

2. Transparent Emotion: Transparent Emotion is the process wherein an individual’s body and mind reacts to stimuli without them

being cognitively aware of the reaction. The user is at the point of interest and intrigue, their body is beginning to react and produce an emotional response, but they are unaware of their building interest.

For example, this happens when a person is reading and their mind wonders in a new direction: they may even read a page or two before their cognitive br ain suddenly realizes that they have been daydreaming for ten minutes.

Another way this can be accomplished is through the arrangement or smell of a store.

This will cause a subliminal emotional response.

3. Cognitive Experience: The cognitive experience happens at the very moment the person becomes aware of their emotions and their investment in the product. This process is a gradient, a process that unfolds incrementally.

The transparent emotion builds and builds until the moment the individual becomes aware . Once the cognitive experience begins the user is still not “sold” on the idea/product, they are just now aware of their interest.

They begin to associate the product with their own life, imagining how it would be used, and registering what their body is telling them. It is at this moment that the “sale” is either made or lost. The rational brain is now asking: “can I afford this?,” “will it really work?,” and “what is the catch?”. If the product and delivery

implicit pull transparent emotion cognitive experience dynamic fulfillment transfer of identity vpt process (figure 39)

are designed to address each of these issues, the individual will resolve their concerns and return to their emotional investment in the product. It is important to understand that the mode of delivery must paint a picture for the person of exactly how this item will operate in, and improve, their life.

There can be no exaggeration. If done correctly, the individual will “love” the product. When this is taken to the extreme, the individual will become an almost cult-like follower. Examples of this are ‘Mac techies’, and Dyson vacuum fans. These people will rave about these products, tell their friends about them, and argue with anyone who disagrees. This is a gradient and the experience is different for different people. For example, some people know Dyson’s whole story, which patents he went to court over, and all the elements of the vacuum. Others have to test it for themselves before they are convinced.

4. Dynamic Fulfillment: The Cognitive

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Experience has pushed the individual’s perception of the amount the product will improve their life to the point that they make a purchase. Dynamic Fulfillment now takes effect if the product fulfills the user in the way anticipated. Not only must the product meet all preconceived expectations, it must surpass them. This process propels the buyer’s vested interest in the product and they begin to identify with it to the extent that it becomes part of their identity (i.e., they are the a ‘Mac head’). They are so immersed in the product that it becomes a part of who they are; they identify with the qualities of the product and what it means to own it.

5. Transfer of Identity: The Transfer of Identity is the final crucial step in the process. If this step is not fulfilled then the design, landscape, or product was not effective in creating a Viral Process. Transfer of Identity

“ Excite us. Engage us. Amuse us.

Inspire us. Bring us the wonderful, exceptional and special - It's not too much to ask. The people visiting Las Vegas want it and the Void delivers it ”

occurs when a person is so convinced of the greatness of a product that they become the de facto spokesperson. They tell people how the product works, the history behind it, why it’s great, and send their friends the video, the ad, or to the store where they bought it. But for one individual to tell another is ver y significant. A true Transfer of Identity happens when this second person also becomes dynamically fulfilled and passes it on to a third person. The product, this new identifier of personality, values, and thoughts, has been transferred from the original person to a second person, and that person is attempting to convince

another. This is the completion of the Viral Process.

If a designer makes it his/her number one goal to create viral products, then his/her number one goal will be to fulfill and exceed people’s expectations. This process only works if people truly believe that the product has done more for them than they expected. Therefore this process is only successful when the designer is honest about what the individual can expect from the product. Most infomercials paint the picture, create the cognitive experience, but do not deliver Dynamic Fulfillment.

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inputs The concept of flux is naturally complicated because it is based on constant change. This makes the expression of the concept in built form challenging. Built forms are typically hard, immovable structures that do not flux or change. In order to express the flux of Las Vegas it was determined that the site would need to react in unconventional ways, creating experiences that would be participated in by the users.

The first task was to determine the inputs. The site could not just change and fluctuate without some controlling elements that determined why the site was changing, and how it was going to change. The inputs are the structuring elements. The three controlling elements are people, time, and place (figures 40, 43, 44).

around the site. Emotions such as anger, excitement and complacency are used in conjunction with the other inputs to create a scene that appropriately anticipates user experience and emotional reaction.

Mass: Mass deals with how and where people are congregating on the site, and if they are in large masses or dispersed throughout. In order for the site to be influential and Dynamically Fulfilling (see Viral Process Theory), the site must react to the movement and coagulation of pedestrians on the site (figure 41). This measure is used to deter mine if individuals are gathering for a certain event or just stopped at the crosswalks.

People: The focus of the entire project is to make an experiential park that would leave visitors excited and wanting more.

Therefore people are the most important input. The site reacts differently depending on the number of people, their emotional state, level of excitement, how they are massed together, etc.

Emotion: The emotional input relies on the state of the people on and people (figure 40)

mass (figure 41)

!

movement (figure 42)

Movement: This input is a measure of the rate of speed at which pedestrians are entering and exiting the site (figure 42).

It is also a measure of how individuals are moving through the site, where they go, how long they stay, and where they move afterward.

Quantity: The total number of pedestrians on the site may be one of the most important factors in determining the experience. If there are only two people on the site it will react differently than if there are two hundred. This measure is focused on the specific number of people on the site. The measurements will help determine whether there should be a large show, or a quiet and personal experience. This measurement could be used to determine the number of impressions and conversion ratios for advertisers purchasing time on the site. In this way the site becomes even more

45

attractive as an advertising medium because the data is quantitative and trackable.

Time:

The time input has many variations and degrees of fluctuation. Time is not only a measure of the time of day, but also the seasons and events (such as New Year’s Eve).

Time of day: Depending on the exact minute of the day or night, the site will have very distinct reactions. For example: if it is three minutes from sunset or sunrise the site could begin to take motion and react accordingly, e.g. the hues of the lights may build to compliment the colors of the sunset. This is also important because it allows the site to highlight an event that may otherwise go unnoticed by visitors.

Time of year: With 365 days a year and four seasons (winter, spring, summer and autumn), the essence of the world is altered everyday. With the changing seasons come certain colors and cultural expectations that define how the site reacts. Time of year gives the site a holistic approach that culminates in various events like New Year’s or the Fourth of July. These transitions over time are subtle and will not be noticed by the casual observer, but they are important in creating an experience and fitting the site to the time of year.

Events: These inputs may be closely tied to time of year and include events like New Year’s or the Fourth of July but they may also include events like a prize fight, or the opening of a new Las Vegas show. These other events create revenue for the park. For example: if the Venetian hotel wanted to celebrate the Phantom of the Opera's third year anniversary they would “purchase” the site. The site would then become a platform for implementing this event. The site may play Phantom music and the lighting would be designed to invoke the feeling of the show itself. Over time the site may begin to emulate certain pinnacle scenes from the Broadway musical. time (figure 43)

place (figure 44)

Place: Place is a measure of the physical conditions of the site. This may be weather but it may also include shade cast by buildings, and other inputs of the area such as street noise.

The weather inputs are very important to the site because weather greatly effects actions. The temperature, cloud cover, air speed, and precipitation all affect people and induce emotions. If the temperature is well over 110 degrees then the site will not "try" to create a place to sit in the sun (figure 45).

This action would be futile and people would not use the space. However in sunny 75-degree weather, the site would encourage seating. Weather is easy to measure and map as well. Other trackable elements such as cast shadows would be pre-programmed into the system based on azimuth and surrounding buildings. All of these elements together could react to Las Vegas’ ever changing sense of place.

las vegas sun (figure 45)

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In order for the site to react to the various inputs, the information must be collected and processed.

The data collection system is used to process the various inputs, then calculate and start a “story� (see figure 46). servers (figure 46)

data collection The Server: The brain of the site, the server receives data from the inputs and processes that information.

Some of the input data is permanently programmed into the system, i.e. azimuth/shadow data, “time� transitions, etc.

The rest of the data would be collected by on-site devices. server (figure 47)

Video:

Cameras are used to track pedestrian movement, massing, and overall quantity. video (figure 48)

Pressure Sensors: These sensors are located in ideal areas for performances. When a street performer is standing on one of the sensors the site is aware of the input, and when other sensors indicate that it is a performer the site reacts. These other inputs may be in the form of a mass of people gathering around the performer. pressure sensors (figure 49)

Weather Equipment: These sensors are used to monitor the site’s current weather conditions. The server also receives weather forecast data from outside sources that can be factored into the stories.

weather (figure 50)

audio (figure 51)

Audio Pickups:

Placed throughout the site, the audio pickups monitor crowd volume and emotional levels through sound.

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Data Collection Placement: The data collection devices are placed on the site based on the information gathered during the analysis (figure 52). The locations for the various devices is based on gathering points, existing infrastructure, and camouflage opportunities.

data collector placement (figure 52)

SYNTHES

SIS Definition: The the combination combination of simple ideas into a complex whole.

(figure 53) 35)

stories The stories are the final piece of the design. The stories are the expression of the site’s understanding of the various inputs, and the full realization of the program set forth in the beginning of the design process. The stories are the experiences that are created for the pedestrians and in which the pedestrians participate.

renewed

connected

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Place to converge and enjoy: This story can function on many levels depending on the inputs.

If there are only a few people on the site then the site will react in a very intimate way and may attempt to lead these people together. The site may even create the perfect atmosphere for attraction to start. This would be the story of a chance meeting. It may be that the site simply creates a comfor table environment with cooling mist, soft music, and a comfortable atmosphere to sit in and relax.

diverse

converge and enjoy (figure 54)

If there is a large group, the site may create larger areas that are ideal for comfor table conver sation and relaxation. This story would be one of discovery and finding new friends.

This set of stories would be the base mode of operation, the default story, whenever the other stories were not running or taking precedence (see figure 54).

unforeseen

powerful

Revenue: This story will be activated

product without the user being completely bombarded with the product, its features, and benefits. At some point during the story (depending on its individual choreography) the product will be revealed and a call to action may or may not be presented.

As stated previously an example of this would be the Phantom of the Opera’s third year a n n i v e r s a r y. B y t h e e n d o f t h e performance those on the site would know about and be excited to go see the Phantom of the Opera.

and controlled by the number of people on the site as well as the other specified inputs depending on the advertiser and the message. As the story unfolds the users will be pulled into the advertisement and become a part of it (figure 55). “Advertisements” does not necessarily mean billboards, videos, or commercials. While this type of blatant advertising is possible, it is the goal of the design to use more subtle forms of advertising. The ads envisioned for the site are a form of guerrilla marketing. They will create emotion and interest in the

interactive

revenue (figure 55)

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submersed

progressive

Entertainment and Performance: One story that

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the site will create is a place of entertainment and performance. This story will unfold to provide a true stage for the Las Vegas street "performer� (figure 56). It was observed in the site inventory and analysis that the site is often used by performers, people like Elvis, Yoda, Silver Statue men, Storm Troupers, etc.

The site now provides a specific space for these individuals to attract larger crowds and increase their draw and marketability.

If, for example, a performer is standing on a sensor

engaged

entertainment and performance (figure 56)

pad and a group of people form around him, then the site will begin to react. Perhaps the lights will dim throughout the site but increase in intensity directly over this individual.

The speakers may reduce in volume as well in order to allow the performer to be heard.

It is also possible for multiple stories to be happening at once. If a performer is on the center portion of the site with a small crowd around him, the western end of the site may still be ideal for adver tising, or converging and enjoying.

Theatrics: “Theatrics� are the physical elements such as lighting and sound that are used to elicit an emotional response from the viewers. In essence theatrics will be used in ever y stor y because theatrics are what make the stories apparent and real (figure 57).

captivating

imaginative

experienced

theatrics (figure 57)

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ss ma

var iati on

story simulation

site condition

place

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er ath we

The diagram outlines story simulations. Shown are inputs their connections to each other, and the resulting story outputs (figure 58).

day

quantity em oti on

t en v e

year

story diagram (figure 58)

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Converge and Enjoy: This diagram outlines a specific series of events that leads to the story of converge and enjoy (see figure 59).

50+ people are stationary in seats or standing. quantity

ss ma

Most of the people are relaxed and having fun.

em oti on

People grouped on the east end of the site.

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site condition

Site deepens with red hues as people move on to the site. Soft music begins to play and the mist stage begins to activate which directs people to the seating nodes.

Shade cast on large element and mist stage. Wind begins to cut through the site from the north.

t en v e

Phantom of the Opera opening day. converge and enjoy (figure 59)

“Across the country and throughout the world, people are rediscovering the excitement of the city as a place to live and a place to escape to.

The city is where the people are, where the action is and where all that's thrilling and new comes together - whoever you are. Las Vegas now has its own urban core and the Void is in the center of it.�

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layout ped landing sculpted seating projection planes

mist stage

recessed seating

Plan plan (figure 60)

0

10

20

30

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The layout of the site was of particular concern due to the large volume of pedestrians that pass through the corridor. It was important that the site not impede the flow of pedestrians while still providing seating and other park amenities.

The main flow of pedestrian traffic occurs through the western end of the site, along Las Vegas Boulevard. The northbound pedestrian traffic enters the site from the south, pauses at the first crosswalk, and then crosses onto the center island portion of the site. After stopping at another crosswalk the pedestrians leave the site to the north. Pedestrian traffic heading in the opposite direction experiences the sequence in reverse. This is important to note because the center “island� portion of the site becomes a very busy space. The center of the site acts as a holding space and prevents people from moving quickly through the site. Therefore ingress and egress issues through this portion of the site were important and most of this area was left open, flat, and unobstructed. A barrier planter was erected on the western end of the site to provide pedestrians with physical protection from vehicles traveling along Las Vegas Boulevard.

The eastern portion of the site was devoted to park amenities and most of the program elements. A large element with seating nodes was placed in the center of the site. These nodes allow people to rest and watch other pedestrians pass through the site. Further east on the site the ground plane was recessed 14 inches. This recessed area has more seating and a shift in atmosphere through the use of four trees that provide a nice canopy of shade. This space is surrounded by raised planters to separate it from Harmon Avenue and the Harley Davidson Cafe.

Steps were placed at the east end of the site to take the pedestrian back to grade heading east on Harmon Avenue. On the southern end of the site is a pathway that does not change grade for handicap access.

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Concrete: Throughout the site, brushed concrete makes up the ground plane with large six by six score joints. Concrete was chosen because it is durable and capable of creating many surface experiences (figure 62). On the north edge of the site is an area named the “mist stage.� This area has mist nozzles that are lit from below by LED lights (figure 63). These nozzles are spaced 12 feet apart and lie at the intersections of the score joints. plant materials (figure 61)

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Plant Materials: The raised planters are planted with vegetation in large masses to give an even but interesting texture to the site as well as a fairly even plane for light and images to be projected on. The four Palo Verde trees (Cercidium floridum) were chosen because of their desert qualities, smooth hued bark and multi-trunked form.

These trees are very drought tolerant which makes them excellent for Las Vegas’ arid climate. Texas Mountain Laurel (Sophora secundiflora) was used along the southern edge of the site to screen the side of the Harley Davidson Cafe. Deer grass (Muhlenbergia rigens) was used in masses as background plants. This plant is used for its movement in the wind, sound, texture, depth and natural hue. Blue fescue (Festuca glauca) was used in the foreground because of its architectural qualities and its deep blue hue.

Octopus agave (Agave vilmoriniana) was used for its silhouette and smooth leaves. These plants have a striking appearance and structured appeal.

concrete properties (figure 62)

Elements: The focal element on the site

led mist nozzle (figure 63)

Atmosphere: The site has various forms of lighting from LEDs to projectors. There are also outdoor speakers in the planters that create sound and music on the site.

is the large white concrete structure (figure 64). This structure was purposefully designed to be obvious and noticeable. In researching famous pocket parks it was determined that it was important to have elements of the park that were unique and unmistakable. The large surface area of the structure creates planes that can be used for many purposes including projections, advertising, lighting, etc.

The white concrete is also carried through all of the benches on the site. Seating nodes act as essential areas for congregation, placing the viewers in ideal locations to observe the happenings on the site. These qualities enhance the stories that are played out and heighten the essence of the site.

projection planes

seating nodes

focal element (figure 64)

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the void. las vegas boulevard and harmon avenue (figure 65)

conclusion Designed by Stewart Christensen and Christopher Levy, The Void, will become the newest pedestrian focal point on the Las Vegas strip. The Void was designed in response to its environment, Las Vegas, an innovative and diverse cityscape. The Void offers a place that not only fits into the fabric of the strip, but magnifies its harmony and vibrance. Another main intent of the designers was to create a space that harnesses individual experiences, unheard of in traditional landscapes. The ultimate solution, The Void, incorporates a concept of fluxing inputs, which mimic the characteristic of Las Vegas.

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The designers’ intent for using a variety of inputs (time, people and place) was to gather enough information for the site to react. The reaction would take place in the form of four selected stories, place to converge and enjoy, revenue, entertainment and performance, and theatrics. Once the site had gathered enough data from the inputs a story would be selected and acted out. This is done by the use of technology such as lighting, sound, and projection emitted throughout the site.

Further articulation of the arrangement of the site and its stories was done through the designers’ formation of the Viral Process Theory (VPT). The intent of the VPT was to create a step by step for mula that will result in user

satisfaction being so high that they will transfer this satisfaction to friends, family, and colleagues who may have never heard of The Void. Once the site has selected a story to act out it is programed to use VPT in the unfolding of that story. An example of how this process works is, at sunset on a Sunday, the site tracks a small group of people forming on the fringes of the site. The site beings to illuminate the interiors of the site using deep blues and purples where seating is located, in order to entice the pedestrians to move their conversation and gathering to a more pleasant portion of the site. Once the site senses the group’s movement it begins to set the scene by projecting images onto the site and dimming surrounding lights. The designers’ intent is that this type of individual consideration will create experiences that are far more impressionable than any other experienced landscape in the world (see figure 66). The designers also intent that The Void will mesh cohesively into the identity of Las Vegas, helping the quality of urbanization the city is experiencing.

The Void is more than a project it is a new way of experiencing landscapes. The processes and methods applied to The Void are new to the profession of landscape architecture. It is the ultimate hope of the designers to improve not only the quality of Las Vegas, but the quality of life through user experience.

concept flux inputs stories + vpt output (transfer of identity) Complete Process (figure 66)

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work cited

The Void Spring 2010

Associates, Kimley-Horn. City Center HTE 05-46158 10/12/07. Tech.

Clark County. Print.

"Big Traffic Mass Media速: Study Shows Las Vegas Strip Pedestrian Traffic Volumes Are Significant and May Be Undervalued | Facebook." Facebook.

Big Traffic Mass Media, 17 July 2009.

Web. 21 Jan. 2010. <http://www.facebook.com/note.php?

note_id=232826950607>.

"Climate for Las Vegas, Nevada." RSSWeather.com. HAM Weather. Web.

21 Jan. 2010. <http://www.rssweather.com/climate/Nevada/Las

%20Vegas/>.

"National Weather Service - NWS Las Vegas." NOAA's National Weather

Service. National Weather Service. Web. 21 Jan. 2010. <http://

www.weather.gov/climate/local_data.php?wfo=vef>.

image credits 1. Digart2001, 24 Aug. 2009. highline. Database on-line. Flickr. http://www.flickr.com/photos/ digiart2001/3853453905/. Accessed 3 May 2010.

2. Sarahann86, 8 Nov. 2007. Paley Park. Database on-line. Flickr. http://www.flickr.com/photos/ sarahann86/1922542390/. Accessed 3 may 2010.

3. City of Glendale, 22 Jan. 2010. Chess Park. Database on-line. Flickr. http://www.glendaleca.com/ parks/chess_park.asp. Accessed 3 May 2010.

4. Showbizinbc, 23 Feb. 2007. Midnight Alley. Database on-line. Flickr. http://www.flickr.com/photos/ showbizinbc/400302416/. Accessed 10 May 2010.

5. Site Selection Map. Personal illustration by authors. 22 Jan. 2010.

6. Site 1. Personal illustration by authors. 22 Jan. 2010.

7. Site 2. Personal illustration by authors. 22 Jan. 2010.

8. Site 3. Personal illustration by authors. 22 Jan. 2010.

9. Site 4. Personal illustration by authors. 22 Jan. 2010.

10. Site 5. Personal illustration by authors. 22 Jan. 2010.

11. Site 6. Personal illustration by authors. 22 Jan. 2010.

12. The Void. Personal photography by authors. 12 Feb. 2010.

13. Don3rdSE, 22 Mar. 2009. Purple Travelers. Database on-line. Flickr. http://www.flickr.com/photos/ don3rdse/3376760628/. Accessed 10 May 2010.

14. John Pie, 25 Feb. 2010. Neon Reflections. Database on-line. Flickr. http://www.flickr.com/photos/ 45556131@N02/4388393333/. Accessed 10 May 2010.

15. Carl Carl, 27 May. 2008. Blurred Lights. Database on-line. Flickr. http://www.flickr.com/photos/ carlcarl/2527384411/. Accessed 10 May 2010.

16. The Site. Personal illustration by authors. 22 Jan. 2010.

17. Average Temperatures. Personal illustration by authors. 13 May. 2010.

18. Average Precipitation. Personal illustration by authors. 13 May. 2010.

19. Gargaro, 15 Jan. 2009. A Passage to the Light. Database on-line. Flickr. http://www.flickr.com/ photos/garo/3200052354/. Accessed 10 May 2010.

20. Shade On Site. Personal photography by authors. 12 Feb. 2010.

21. Vehicular Traffic. Personal illustration by authors. 22 Jan. 2010.

22. Pedestrian Strip Traffic. Personal illustration by authors. 11 May. 2010.

23. Strip Experiences Map. Personal illustration by authors. 22 Jan. 2010.

24. Residential Units Map. Personal illustration by authors. 22 Jan. 2010.

25. Seating Opportunities Map. Personal illustration by authors. 22 Jan. 2010.

26. MikeJonesPhoto, 14 May. 2008. Vegas. Database on-line. Flickr. http://www.flickr.com/photos/ mikejonesphoto/2491851977/. Accessed 10 May 2010.

27. Site from City Center. Personal photography by authors. 12 Feb. 2010.

28. Site from Pedestrian Bridge. Personal photography by authors. 12 Feb. 2010.

29. Looking Onto Site. Personal photography by authors. 12 Feb. 2010.

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30. City Center From Site. Personal photography by authors. 12 Feb. 2010.

31. Mladenmilinovic. New Years Eve. Database on-line. Yeskafei Daily. http:// www.yeskafei.com/archives/10679/ new_year__s_eve_by_mladenmilinovic_03. Accessed 10 May 2010.

32. Thomasxlin, 4 Apr. 2010. Streaming Lights. Database on-line. Flickr. http:// www.flickr.com/photos/tooomahs/4491754387/. Accessed 10 May 2010.

33. Strip Experiences. Personal artwork by authors. 22 Jan. 2010.

34. Analysis. Personal artwork by authors. 22 Jan. 2010.

35. Oly Demon, 26 Nov. 2009. Pathways. Database on-line. Flickr. http:// www.flickr.com/photos/olydemon/4137084277/. Accessed 10 May 2010.

36. Anthonyfalla, 2 Aug. 2009. Royal Festival Hall London. Database on-line.

Flickr. http://www.flickr.com/photos/anthonyfalla/3780672856/. Accessed 10 May 2010.

37. Blech, 14 Jun. 2007. Rooms. Database on-line. Flickr. http:// www.flickr.com/photos/blech/549554149/in/photostream/. Accessed 10 May 2010.

38. Flux Concept. Personal illustration by authors. 22 Jan. 2010.

39. VPT Process. Personal illustration by authors. 22 Jan. 2010.

40. People Icon. Personal illustration by authors. 16 Apr. 2010.

41. SophieMuc, 11 Dec. 2005. Advent Saturday in the Heart of Munich.

Database on-line. Flickr. http://www.flickr.com/photos/sophie-/72352368/.

Accessed 10 May 2010.

42. Mark L Edwards, 30 November, 2009. Piccadilly Circus in the Rain.

Database on-line. Flickr. http://www.flickr.com/photos/mark-edwards/ 4123124700/. Accessed 10 May 2010.

43. Time Icon. Personal illustration by authors. 16 Apr. 2010.

44. Place Icon. Personal illustration by authors. 16 Apr. 2010.

45. Sgoralnick, 19 Feb. 2009. Neon Boneyard. Database on-line. Flickr. http:// www.flickr.com/photos/sgoralnick/3294476464/. Accessed 10 May 2010.

46. Treyguinn, 29 Sep. 2006. InnerRow2. Database on-line. Flickr. http:// www.flickr.com/photos/treyguinn/255882599/. Accessed 10 May 2010.

47. Server Icon. Personal illustration by authors. 16 Apr. 2010.

48. Video Icon. Personal illustration by authors. 16 Apr. 2010.

49. Pressure Icon. Personal illustration by authors. 16 Apr. 2010.

50. Weather Icon. Personal illustration by authors. 16 Apr. 2010.

51. Audio Icon. Personal illustration by authors. 16 Apr. 2010.

52. Data Collector Map. Personal illustration by authors. 16 Apr. 2010.

53. Cnmark, 9 Jan. 2009. Shanghai - Bund Sightseeing Tunnel. Database on-line. Flickr. http:// www.flickr.com/photos/cnmark/3184256690/in/photostream/. Accessed 10 May 2010.

54. Converge and Enjoy. Personal artwork by authors. 16 Apr. 2010.

55. Revenue. Personal artwork by authors. 16 Apr. 2010.

56. Entertainment and Performance. Personal artwork by authors. 18 Apr. 2010.

57. Theatrics. Personal artwork by authors. 18 Apr. 2010.

58. Story Diagram. Personal illustration by authors. 18 Apr. 2010.

59. Converge Story Diagram. Personal illustration by authors. 18 Apr. 2010.

60. Plan. Personal artwork by authors. 18 Apr. 2010.

61. Plant Materials. Personal artwork by authors. 18 Apr. 2010.

62. Concrete Properties. Personal artwork by authors. 18 Apr. 2010.

63. LED Mist Nozzle. Personal artwork by authors. 18 Apr. 2010.

64. Focal Element. Personal artwork by authors. 18 Apr. 2010.

65. Perspective. Personal artwork by authors. 18 Apr. 2010.

66. Process Diagram. Personal illustration by authors. 18 Apr. 2010.

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appendix a Existing overall site conditions with adjacent roads, utilities, structures, etc.

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appendix b

The Void Spring 2010

Existing site utilities and structures.

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appendix c

The Void Spring 2010

Existing center island utilities and structures.

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appendix d

The Void Spring 2010

Site Photos

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appendix e

The Void Spring 2010

Site Bench Photos

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The Void: The Essence, The Experience, The Pleasure of Las Vegas Chris Levy Stewart Christensen University of Nevada Las Vegas AAL 486 Lee-Anne Milburn Spring 2010

6

the designers

Stewart Christensen:

Christopher Levy:

Stewar t Christensen is an entrepreneur and designer from Las Vegas, Nevada. He graduated with a bachelors degree in Landscape Architecture from the University of Nevada Las Vegas in 2010. While in school he star ted Loxii Wall Graphics with his friend and business partner Chris Levy. Stewart is also a managing member and par tner of Trekadoo Vacation Rentals. He is married with two children and still resides in Las Vegas. Stewart continues to peruse business ventures, design aspirations, and personal artwork.

You can view more of his work on his blog and online portfolio @ www.imstewartchristensen.com

As a entrepreneur and 2010 baccalaureate graduate in landscape architecture. Chris Levy pushed himself to the head of his graduate class at the University of Nevada Las Vegas. Here Chris received the Design Excellence award, ASLA merit and numerous best in shows.

His design style and ability to push himself and his projects led him to a friendship with fellow colleague and business par tner Stewar t Christensen. Their partnership led to many endeavors including the creation of Loxii Wall Graphics.

Chris still lives in Las Vegas with His Fiancé where he continues to pursue business endeavors and design collaborations. To learn more about Chris’s work and interests visit www.chrislevy.info

Contact Information: Stewart@loxii.com 702.672.8462

Contact Information: Chrislevy@loxii.com 702.806.0678

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