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The Highest Level

Since 1994, the mission of Bergman Walls & Associates Ltd. has been to provide each client the highest level of individualized service, regardless of project type or size. BWA specializes in entertainment architecture, including resorts, hotels, casinos, conference facilities, restaurants, nightclubs and performance venues.

The firm also has extensive experience in mixed-use and high-rise residential projects. Services include architecture, planning, interior design, theming and three-dimensional visualization.

BWA offices, located in Las Vegas and Ho Chi Minh City, are staffed by a group of highly experienced and diverse professionals in an atmosphere of innovation and creativity. Every project is headed by a partner-in-charge who commits personal attention to the project from conception through client move-in.

After serving as in-house architect for Steve Wynn working on the Mirage and Treasure Island, BWA’s founder, Joel Bergman, created iconic projects that define their genre, including the Paris Casino Resort, the Augustus, Octavius and Palace Towers at Caesars Palace, Trump International Hotel & Tower and the Signature at MGM Grand. A new generation of leadership including Joel’s sons, Leonard and George, has produced important projects across the industry. BWA currently is working on the Golden Nugget in Lake Charles and the new hotel tower for the Hard Rock Casino in Biloxi.

Entertainment venues include the LAX and PURE nightclubs, Casa Fuente and Rhumbar. Restaurants include Payard Patisserie & Bistro, Guy Savoy, the Capital Grille and the Social House at City Center.

BWA is proud to have a history of success working with Native American clients on projects including Mystic Lake Casino Hotel and Little Six Casino for the Shakopee Mdewakanton Sioux Community, Casino Snoqualmie for the Snoqualmie Indian Tribe, Salishan-Mohegan Casino for the Mohegan and Cowlitz Indian Tribes and Barona Valley Ranch Resort for the Barona Band of Mission Indians.

The company provides opportunities to Native American-owned firms and individuals who complement and strengthen the team.

International projects include work in Vietnam, Greece, Australia and Ghana, West Africa, as well as conceptual studies in the Philippines, Japan, Romania and Peru.

BWA believes that sustainability is fundamental to all design.  The company is a member of the United States Green Building Council, has extensive experience with LEED certification and is actively increasing the number of LEED-accredited professionals within the firm. 

BWA’s goal is simple: that their projects are remembered for their distinctive architecture, excellent guest experience, operational efficiency and financial success.

For more information, visit www.bwaltd.com.

Multi-Industry Experience

American Project Management was established in 2003 specifically to assist U.S. clients in a variety of project management, scheduling, project controls, earned value management, claims analysis and consulting services. APM is a certified Women-Owned Business Enterprise and Minority-Owned Business Enterprise.

The firm was built on the team’s extensive experience throughout many industries. APM has expertise in both commercial and government business sectors. Industry accomplishments include high technology, information technology, information security, aerospace, avionics, correctional facilities, hotels, casinos, entertainment, public and private schools, and state and local government administration facilities.  

The result for APM’s clients is an unprecedented wealth of effective knowledge and experience that can lead to unlimited benefits.

With 30-plus years of experience, APM has grown from its founding offices in Las Vegas, Nevada with projects in Arizona, California, Colorado, Louisiana, Michigan, Nevada, New Jersey, New York, Oklahoma, Tennessee, Texas and Virginia, with the ability to serve clients anywhere in the nation. 

APM’s growing team brings decades of experience in architectural, construction, commercial, correctional, entertainment, gaming, global financial, health, heavy highway/bridge, high-rise residential, high technology, hospitality, information security, information technology, international business, investor relations, marketing, petro-chemical and public works. The firm focuses on serving the multiple needs of clients in a variety of sectors.

For more information, visit www.apmlasvegas.com.

Sarno’s Sins

I may be biased—after all, I wrote his biography—but for my money Jay Sarno is the pivotal figure who explains why casinos look how they do today.

There have been plenty of casino builders over the years, and the word “visionary” is often thrown around loosely. But Sarno was a visionary by any measure. Here’s why.

Jay Sarno didn’t go into designing and building casinos to please a client or because market research told him it was a niche ready to be exploited. First and foremost, he did it because he was a gambler who thought that Las Vegas was missing the point. When Sarno first came to Vegas, as part of an Atlanta junket sponsored by the Flamingo in February 1963, he was appalled at the terrible plainness of everything that Las Vegas offered. The action at the craps table, sure, couldn’t be beat, but everything else was drab. The dealers dressed like clerks; the cocktail waitresses wore too much; the hotels looked even cheaper than they were.

Jay had a different vision of what Las Vegas should be. It was influenced by Miami’s Fontainebleau (where he met and wooed his future wife over the course of a week in 1957), but more profoundly by Jay’s understanding of what men (and, in those pre-liberation times, the focus was unapologetically on men) like him wanted in a casino.

Above all, that meant a place where the guest was the center of attention and could escape from reality, if only for a few days. When designing his first casino, Caesars Palace, Sarno used tricks he’d learned building motels in Atlanta, Dallas and Palo Alto.  Using screen block as a façade was relatively cheap, and when backlit with lights at night, looked impressive. Statues and fountains classed the place up, putting customers in a frame of mind conducive to gambling large sums.

But most important was Sarno’s dictate that everything at Caesars Palace, from the matchbooks to the stationery to the employee uniforms, reference the Caesars Palace theme. Sarno and his designer, Jo Harris, did this with whimsy and tongue firmly in cheek; they didn’t intend to insult their patrons’ intelligence by trying to convince them that they were in Rome. Instead, the point was to build a casino that a Roman emperor would have felt comfortable in, and then substitute the individual customer for that Roman emperor.

From today’s perspective, the original Caesars Palace seems quaint. It’s small (less than 700 rooms) and, to our sensibilities, unsophisticated. But Sarno’s big idea—to wrap the experience around the customer—has profoundly affected the design of every good casino built since then. To use today’s vernacular, we’d call the Sarno approach customer-centric. At the end of the day, that’s who he was building for: the average customer, who he imagined as a man not so different from himself, with not so different desires. Give someone attention, give them comfort, give them beauty—just spoil them a little—and, Sarno understood, they’d come back.

Sarno’s other casino doesn’t have quite the cachet of the original. He built Circus Circus only two years after Caesars Palace (internal squabbles put an end to the original Caesars partnership) and initially catered to high rollers. Handicapped by its lack of a hotel (and, federal agents alleged, massive skimming), Circus Circus underperformed. But Sarno was ahead of the curve. In addition to the high rollers, he reached out to slot players, believing that this was a burgeoning part of the business that everyone else was missing out on. When it opened, Circus Circus had more slots than any other Las Vegas casino. Again, he was ahead of his time; by the early 1980s, even Strip casinos had transformed into slot barns with a core of table games.

The most important reason to know more about Sarno, though, isn’t what he did. It’s how he did it. Whether it was marathon gambling sessions with best friend Evel Knievel, being accused of offering the biggest bribe in IRS history (he hired Oscar Goodman to defend him), or enjoying the many pleasures that Las Vegas had to offer a man with few inhibitions, Sarno wasn’t capable of doing anything small. He was a colorful character; and it is colorful characters who built the casino industry we know today.

While it’s not advisable to duplicate Sarno’s excesses (or his choice of business partners), we can learn a great deal from his career. He still shows us that it’s not enough to know how to run a casino; you need to have a feel for why people are there in the first place to build one that will work. When owners and managers and designers get away from that basic truth, they begin to go wrong. Sarno put the customer smack dab in the middle of his space, and designed the casino around him. And for that, he should be a name that everyone one in the casino business remembers.

Boutique Brands

Gaming’s dilemma propels a lucrative era for the design world.

As casino operators crowd shrinking markets—Oklahoma alone sports about 100 properties—the need for separation intensifies. Special qualities become harder to demonstrate amid the constantly rising customer-demand bar.

Most casinos already display superb service, loyalty clubs and creative deal-structuring. Many add revenue-producing amenities like theaters and parking lots, or loss leaders like golf courses and spas, to keep customers on site. They seek a further edge by providing dinners, shows, rewards and discounts with the swipe of a card.

What is the next leg of in this customer-service race? And how does one stay on budget while looking cutting-edge?

Gaming looks to the hotel industry. Brand and boutique hotel concepts, the casino version of B&B, are much more than bed and breakfast.

In this emerging realm, casinos can be upscale yet subtle, personalized yet prosperous. More properties pin their separation hopes on hotel and convention space. They tap a resource once geared toward wealthy business travelers.

This philosophy originated in the 1980s. A classic boutique hotel meant themes and services in a stylish, intimate manner. As technology emerged, guest rooms became fitted with Wi-Fi internet, honesty bars, on-site dining facilities, bars and restaurants. This concept became popular in major cities, and targeted road warriors. Hence, the rise of Starwood and W Hotels.

It also attracted gaming interests, which brought a branding element into play. Branding denotes name recognition, as in Hard Rock. A certain service standard and amenities list surrounds a well-known property.

Branding and boutique. Both avenues are available to casinos, but dollars must be spent wisely.

This is where designers make a difference. They have large staffs and a presence in multimillion-dollar buildings, but can also stretch the expansion-project dollar. They can maximize space, select appropriate colors, utilize local artifacts and blend the right dash of history into a modern look. Their clients can swagger, even on a “shoestring” budget.

And that’s never been more important.

Find What’s Special

Tom Hoskens, principal and director of strategic design for Cuningham Group in Minneapolis, Minnesota, likes the roles boutique and branding play in the hotel-casino business.

“They are going together more and more,” Hoskens indicates. “The boutique hotel set out the parameters. It’s all about the service amenities, about making it unique. The boutique hotel takes the branded experience as a promise that you are going to have a certain type of experience time and again. It can be a great bar, terrific restaurant or a special spot for people to congregate.

“Gaming has taken that and said that no matter what size property you have, you can have that special experience, and it can be wonderful, especially if you can take advantage of your location.”

Cuningham’s influence on the Harrah’s Cherokee property in North Carolina bears out Hoskens’ point. His company won awards for its massive and tasteful $650 million renovation, which won a host of HOSPY Awards. They include the best buffet and best theatrical experience for 2012 and best lobby and suites for 2011.

While a property’s overall beauty is impressive, Hoskens believes it works by sparking human emotion. In his eye, every building tells a story, and one’s imagination can be unleashed within that context.

“Harrah’s has that great Smokey Mountains influence,” he says. “It has the rock and the stone. It has the wood. It has the twigs, the dappled light, all in the space of the lobby itself, and the rooms carry through.

“You have this brand promise for Harrah’s that says ‘I am in a special place.’ The hotel casino skyway is across a creek where people are fishing for trout. It is a special branded experience and that can only happen in this one place in this one time.”

Cuningham applies the concept of exclusivity differently with Bossier City, Louisiana’s Margaritaville. The property opened in July with a heavy design emphasis, naturally, on Jimmy Buffett, the performer for whom it is named.

“It’s a little bit about the cheeseburger, but mostly about the paradise,” Hoskens jokes, linking Buffett’s famed “Cheese-burger in Paradise” tune to the property’s branded message. The hotel projects a flamboyant party air onto its gaming premises.

 “From the hotel lobby, you are going through a bit of forest,” Hoskens says. “You are traveling through a green area and as you are going through this special place with plants, flowers and trees, what do you see in the distance but a Tiki bar? And that is just before you get to the room. This is a specialty experience, a boutique experience, and you know that this guy is coming back.”

Hoskens says smaller operators can obtain bang for their buck with precise planning about multi-use of space and a streamlined effort between construction and design. In mid October, Cuningham won a contract for the Valley River casino to be built about an hour away from Harrah’s Cherokee. Its budget is smaller than Margaritaville, but Hoskens believes it will maximize the dollars. Hoskens says his group and the construction company work closely together. This figures to produce a coordinated spending approach, with design ideas being implemented in the most cost-effective fashion.

“This will be 300 rooms, and is going to have a specialty boutique look and feel to it,” Hoskens says. “This ought to be interesting. We are just starting the project now. The Valley River actually exists in this area and is going to figure prominently in the design.”

Smaller properties need to hustle in unique ways. Hoskens says “they have to do something special in the room. All of them try to do that. Most of them play games with the bathroom and toilet room and the shower areas in an attempt to make a big impact. The second thing is, ‘How do you plug in your devices?’ What is your bed and sitting area like? How well do they work together? This is the low-hanging fruit, as it were.”

Cuningham has prospered with the rise of Indian gaming in the last quarter century.

Designing the Fun

Memphis-based Hnedak Bobo Group has a grip on large and small projects.

The company thinks big, but can fit those ideas into a smaller budget, if asked. Hnedak Bobo designed the Apache Casino Hotel, which opened in 2012, with that in mind. The Lawton, Oklahoma, property has been called “the most fun hotel from Oklahoma City to Dallas,” and is also one of the most luxurious lodging options in the southwest Oklahoma gaming market. And for a reasonable start-up cost.

 “This $24 million hotel is a great example of a design that has enhanced and solidified the unique character of the Ft. Sill Apaches’ gaming brand,” says Dike Bacon, principal at HBG. “The hotel’s bold, bright colors and contemporary design aesthetic add to the high-energy gaming experience at the casino, and is giving its customers something to talk about through unique offerings that elevate the tribe’s brand.”

“Our guests often tell us how surprised they are by the quality and appealing design of our new hotel,” says Jeff Haozous, chairman of the Ft. Sill Apache Tribe of Oklahoma. “The attention to detail separates our property from any hotel in our region and provides an experience that, until now, was not available here. The hotel design complements and supports our overall gaming business.”

It’s hard to miss the new five-story, 132-key, 74,541-square-foot hotel, which is positioned to capture attention from patrons arriving from the west.

“The building’s vibrant contemporary exterior colors visually tie in with the existing casino and enhance the cohesiveness of the entire property,” says Nathan Peak, senior associate and lead designer at HBG.

At night, a vivid play of color and light act as a dazzling beacon for patrons.

“The hotel is designed to look and feel different at night,” Peak asserts. “Linear LED light coves were placed around the hotel roof edge, and the columns at the porte cochere were articulated with custom metal enclosures with LED pin lights that illuminate the columns from within. At night, there is no mistaking the instant drama that is created by this light display.”

A 25,171-square-foot promenade connector link provides creative casino and hotel separation, and serves a greater purpose than a mere passageway to and from the casino. The connector structure was created as the nucleus of the property, even functioning as the main entry lobby for hotel guests from a new two-lane porte cochere.

“Our guests feel like they are in a bigger city when they first enter the hotel lobby,” Haozous says.

HBG Interior Designer Jennifer Smith, along with Peak and Interior Architect Aron Ramage, worked closely with Haozous to achieve this effect.

“Our client really wanted to maximize playful, contemporary design, using vibrant patterns and fresh, clean lines,” says Smith.

Designers animated the connector walkway with colorful, modern feature walls and activated the location with key amenities. They include the main hotel check-in desk, business center and retail shop, a cozy lobby lounge with fireplace, and the new 360 restaurant featuring 126-seat dining, a 24-seat bar and a 22-seat private dining room. Topping it off is a 2,500-square-foot ballroom that partitions into smaller meeting rooms with a banquet-sized kitchen and an escalator to the mezzanine-level casino floor.

The five-story hotel offers a mix of standard rooms and suites. It totals 84 kings, 44 double queens and four suites, some with special features such as wet bars, large glass showers, and first-floor patios that lead to the swimming pool.

“All guestrooms and suites offer custom carpet and casework, with nice-sized bathrooms. We pulled high quality through all aspects of the public spaces and into the guestrooms,” Smith indicates.

“By working closely with the Ft. Sill Apache Tribe, we have created the ideal hotel design for a casino that is continuously noted for its charismatic customer service and friendliness,” says Janet Smith-Haltom, principal and project manager for HBG. “And as the Ft. Sill Apache Casino Hotel property grows, the design will accommodate graceful future expansion for additional amenities.”

Building on Relationships

Ken Kulas and Ann Fleming opened Las Vegas-based Cleo Design in 2000 and carved a steady niche in the design world.

Cleo has parlayed strong relations with tribal casinos into a long-running business plan. They constantly upgrade and expand the Seminole Hard Rock casinos in Tampa and Hollywood, Florida. The company has been part of the design and planning process since the properties opened.

What does the branded hotel mean in this era?

“The boutique concept gives you that step up in personal attention,” Kulas says. “You feel you will get more individual catering, a relationship with the concierge, etc. While a brand lets you know that you can have option A, B or C, the boutique idea attempts to do things on a much more personal level.”

Tribal and non-tribal properties are consistent with this approach. While they differ in one respect—Kulas says owners and operators are more influential in casino design than tribal officials—both entities need to know their product and audience.

 “With the tribal projects, we find that many of the expansion projects they do are able to customize the different ideas to provide the guest a broader experience,” Kulas indicates. “This can be expressed in tower remodeling, and it can be reflected in the rooms with amenities like a return to themed experiences, which are becoming more popular. We had moved away from them, but they are coming back with rooms like the honeymoon suite or bachelor pad.

 “Their approach is that you want to provide as many options as possible,” Kulas says. “Around Hard Rock Hollywood, for example, they have a lot of retired people in their area, so in that case the casino caters to one group during the daytime, primarily by way of specialty gaming events along with slots, bingos, raffles and giveaways. And then in the evening it takes on almost a club atmosphere with entertainment and special events. There are a few different things that come out at night. The lighting changes and the music gradually changes.”

The Hollywood property showcases a pool area, spa and great restaurants. Tower and hotel remodeling and gaming-floor expansion has been a continual process here.

In Tampa, the Seminoles have added a restaurant, pool bar and expanded gaming floor.

Cleo has also worked extensively with the Choctaw Nation in Durant, Oklahoma. Its most-recent 18-month project set to conclude late in 2014 spans a number of areas. The tribe is thinking both locally and regionally. Durant is only about an hour from Dallas, which expects to obtain gaming in the near future. So, it gears up.

“There is a lot of competition nearby and with Dallas,” Kulas asserts. “They want to stay ahead of the curve. They are trying to service the Dallas crowd, so they will keep coming. Their recent project is a convention and exhibit hall along with a new tower. Within that tower, the majority of the facility is set to cater to a convention type of person. Also mixed into this tower is a new spa facility. They have guest rooms specifically designed and oriented toward a spa customer. The finishes and amenities have a resort spa-type look.”

Kulas predicts an arsenal of four different products for the Choctaw operators. They will have both a Vegas and a local theme in a casino and hotel. Cleo is working on the exhibit hall and convention area for one casino, and the bowling alley and movie theater for the more locally based facility. Future plans included changes to the Choctaw Inn, which is tied in to the locals concept.

Whether for locals or tourists, branding to create boutique experiences is the element that has not only brought success to these projects, but is a key to success for designers working on projects with footprints that are dwarfed by the mega-resorts. In this case, smaller is better.

Building an Industry

When Richard “Dick” Rizzo was chosen as the recipient of the 2013 Sarno Lifetime Achievement Award for Casino Design, it marked the first time that someone from the construction end of the design process had been honored since the award originated in 2003.

Rizzo, the vice chairman of Tutor Perini Corp., says it’s an honor that reflects well on the construction trades.

“Having been brought up in this business, I always recognize that the contractor was not on an equal professional level with the others that we work with,” he explains. “It always bothered me that that wasn’t happening. I didn’t feel we were getting the respect that we deserved for what we add to the team. We worked very hard to build that level of professionalism up, to be respected on a par with an architect or an engineer, because we’re all engineers. We all get the same training; it’s just that we’re in a different part of the business.

“The fact that the design industry has recognized us as being at their level, makes me feel good.”

Convincing Start

Rizzo’s beginning in gaming dates back to the mid 1970s, when then-Perini Construction did a few public projects in Las Vegas.

“We had done some work at McCarran Airport and successfully bid for the Thomas & Mack arena and Cashman Field,” he explains. “I realized that there were lots of other opportunities in Las Vegas if we could just put it together.”

Rizzo proposed to the Perini board that the company bid for some of the upcoming casino projects in Vegas.

“They were very reticent to aggressively pursue it,” he says, “for a lot of reasons, but most prominently because the image of Las Vegas gaming, at that point in its history, was not as clean as it should have been for a public company like Perini to get involved.”

But Rizzo persisted and got the approval of the board to work on a project for another public company, Ramada, which had recently purchased the Tropicana, and was planning large-scale renovations.

“I called my friend Dick Snell, who headed up the company at that time, and asked if we could get involved,” says Rizzo. “He agreed, and a small kitchen remodel turned into a major $50 million-$60 million project.”

Another significant element of the Tropicana project was that it was a “design-build” effort, meaning design and construction occurred at virtually the same time.

“This was the first time anything like this had been done in Las Vegas, and it was immediately noticed,” says Rizzo. “The first full design-build project we did from the start was the Luxor, and Circus Circus (later Mandalay) Corporation immediately became one of our best clients.”

Perini’s success with these projects led to many others, including Paris Las Vegas, Green Valley Ranch and Wynn Resorts’ Encore.

Caesars Palace has also been good to Perini. The company was first awarded a project to renovate one of the casino towers 15 years ago.

“We never left,” he laughs. “We started in one corner, and went through the entire building; remodeled it all, the entire outside, added two towers, added the Colosseum theater, then built an addition to the Forum Shops. That really put us on the map as being a real player on the Strip.”

But it was CityCenter and Cosmopolitan that has truly made an impact on Tutor Perini. The adjacent projects were owned by different companies, but Tutor Perini built each of them simultaneously.

“These were the best and biggest kinds of things we had ever done, and both got huge recognition by everyone that comes to Las Vegas as being another iconic piece of the town,” he says.

These projects led to the contract to build New York’s Hudson Yards, which will be the largest construction project in the history of the U.S.

“CityCenter and Cosmopolitan gave us the credentials that we didn’t have before in doing very large projects,” he explains. “Between the two, it was more than a $10 billion investment.

“We would have never been qualified to do Hudson Yards, and never been invited to even go there, if it weren’t for our experiences in Las Vegas.”

Gaming as a category has often sustained Perini during difficult economic periods.

“In the last 10 years, up through ’08 at least when we had the slowdown, gaming represented probably close to 50 percent or 60 percent of the total revenue of the corporation. We’re now probably a third,” Rizzo says.

Tribal Tributes

The success of Perini in Las Vegas led to projects in gaming jurisdictions across the country. The company has been active in Atlantic City, Detroit, Biloxi, Tunica and many other regional markets. But the place where Rizzo is most pleased to participate is in Indian Country.

“The first big tribal project we did was Soaring Eagle in Michigan,” he says. “And at that point, very few people understood what it took to do work on native projects. There were unique challenges that had to be addressed.

“Because they’re sovereign,” he says, “you need to make sure you understand what rights you have, and which rights you should have, when dealing on sovereign land, no matter who it is. And we take pride in the fact that we figured that out. We developed what is now standard in the industry, a limited waiver on sovereign immunity for any significant construction, which most tribes are willing to sign.”

Other challenges include the need to get most of the tribal factions to agree on a design, budget and timetable, says Rizzo.

“As a result of that, the process becomes very burdensome,” he says. “It sometimes can drag out for endless months, for no real reason other than they just can’t reach a consensus. So understanding that, and being patient with them, and respecting that, is probably the most important part of understanding how to do business with them. And the other thing that we learned, overall, is that it’s all about trust. They don’t trust many people, and they have good reason not to, because they’ve been abused over the years, and as a result of that, we, as the outsiders coming in, are immediately a suspect.

“So the ability for us to prove that we could be trusted was the key in our growth in that industry.”

Because of that trust, Perini gets a majority of the business in states with multiple tribes, like California, where Rizzo says Perini gets 80 percent of the tribal construction business.

Big Wheels

In the process of becoming the major builder on the Las Vegas Strip and in all of gaming, Rizzo has had the opportunity to work with the major players in the industry. He says typically the involvement of the presidents and chairmen of the casino companies is more hands-on than in other industries.

“Any of the big, big guys—Caesars or MGM or Steve Wynn—they’re very into the process, personally, right from the very top. Steve Wynn is a classic example of that. Sheldon Adelson is another one. And we’ve done work for every one of them. And every one of them is uniquely successful because the attention to detail starts at the very top. We have to allow them the flexibility that they need, because many times they get into these projects and they really don’t know what they want. As you build it, they develop it, and they change their mind many times—all the time!”

Like with tribes, however, Rizzo says understanding and patience are all part of the game.

“Work with them and in concert with them, in that kind of a fast-track, change-your-mind, almost build-and-design atmosphere has made us uniquely qualified to do that, because most of our clients work that way. And other contractors that have tried to get into the market have a very difficult time understanding that part of it. Those are the kinds of owners that end up being the leaders in gaming. They are very creative individuals; they’re very trend-setting, and they’re also very competitive with each other. So they’re always trying to create the next big thing.”

Rizzo says, however, that Wynn is the standout example of a great owner and a great collaborator.

“He created Las Vegas,” he insists. “Everything that you see in Las Vegas today, somehow, Steve Wynn has touched in his history. He has created the trend toward fine dining, the trend toward stunning entertainment, the trend toward nightclubs. Everything that you see now that’s really matured in Las Vegas has really been touched by and ignited by Steve Wynn. He is the leader.”

Technology and People

When asked if there have been big changes in the construction industry since he started, Rizzo says there have not.

“The biggest change is in the technology we use to share the plans and changes as construction goes forward,” he says. “Everything that we design now is on BIM (building information modeling). If you and your subs are not integrated and they don’t have the ability to utilize BIM, they can’t play with you. So you educate your subcontractors. ‘These are the tools of the trade,’ you tell them, ‘and you need to understand what you need to do to help us with those tools, and utilizing those tools yourself to make the process work.’”

But building is still building, according to Rizzo.

“I just don’t think there’s anything else that we’re doing today that we didn’t do 20 years ago.”

One of the things that hasn’t changed over the years is the need for skilled workers.

“We believe in the quality of our workers,” he says. “We’re a union contractor, because we believe that they can produce the quality of worker and the training that’s necessary to do the kinds of things we’re being asked to do.”

Because the workload is so large and the schedule so tight, there isn’t much preparation of workers occurring.

“Training is lacking throughout our industry, and the union has really played a significant role in making sure that we are getting well-trained and well-educated plumbers, electricians, carpenters and so forth, because the kinds of things we’re being asked to do now are much more sophisticated,” he says.

Giving Back and Learning

Tutor Perini has a corporate philosophy of community involvement and charitable giving, Rizzo says. He has received numerous awards from charities and civic organizations for his participation in causes.

“This is built into our culture,” he says, “and if you look at our mission statement, it says part of our responsibilities as leaders is to give back to the communities in which we live and prosper. So I took that seriously.”

Rizzo says it’s not only the leaders that live by this philosophy.

“In any company, you set the trend from the top, and it’s amazing how many people follow,” he says. “And our company is very committed, from the very bottom to the top, in terms of giving back whenever they are given the opportunity to do so.”

Learning from other companies is also central to Tutor Perini’s culture, says Rizzo.

“I have to give credit to MGM at CityCenter for their efforts in inclusion and diversity, because they got us really focused on that,” he says. “As a result of that program and what we learned from that, we received national recognition for the accomplishments that we had achieved there. We have now incorporated that kind of philosophy in almost every project that we do. And I have to say MGM really got us focused on that.”

Another initiative MGM Resorts insisted upon at CityCenter was achieving an LEED (Leadership in Energy & Environmental Design) Gold certificate for the project.

“Our corporation is ranked No. 2 in the country in terms of green right now,” he says. “And that was the biggest LEED Gold program in the history of the United States. So we took advantage of that as well, and learned a lot from that process. That has allowed us to look at a lot of other opportunities that have that same requirement, and be uniquely qualified for that work because it is a unique process you go through in getting LEED certification. And if you don’t understand the paperwork involved and the way it needs to happen, it can be very burdensome and costly.”

Rizzo has passed the day-to-day activities at Perini to Craig Shaw. The two have been working together from the start, but Rizzo believes Shaw’s talents have benefited the company.

“It has now made my life much more tolerable,” he says, “in terms of understanding what I can do to continue to add value here, without having the day-to-day burden or running the company.”

Sweating the Small Stuff

H ow many times have you visited a theme park like Disneyland or Universal City? Do you remember what the place was like the first time you went? And how it has changed over time? Over the years attractions have been added and some have been closed, but the essence of the park has remained. Disneyland is still Disneyland.

It’s important for the theme parks to maintain that essence of what they are. Parents, who first arrived as children themselves, now bring their own children and find the experience is still thrilling, still exciting—although much of the park has changed since they were there as children.

That same sort of experience also holds to gaming properties. People come to a particular property, have a good time, and return many more times. They like the rooms, the restaurants, the entertainment, the gaming experience, and were treated well by the staff—in short, they had a good time and would like to have it again. But there is also a lesson to be learned from the theme parks, and that is leaving everything untouched, unchanged, unimproved, will soon have your guests bored and looking to go elsewhere.

There are additional challenges to a gaming property beyond just becoming stale. Brett Ewing of the Cuningham Group points out that gaming properties face challenges from new competition, from capital improvements in other existing properties, in addition to the pressure to refresh one’s own facilities.

That leaves the property managers with a difficult riddle to solve—how do we keep the property fresh and new while still retaining the look and feel that so many people already like and want to continue enjoying? How do you do what the theme parks have so successfully done, continually reinventing themselves while holding on to the essence of what made them successful in the first place?

Paul Steelman, CEO of Steelman Partners, notes, “Throughout history, significant entertainment buildings have been redesigned to enhance the experience—not change it.”

Take what your property has and what people enjoy, and enhance that. It’s also an opportunity to work out a few problem areas as well. Scott P. Celella, principal at JCJ Architecture, points out, “When undertaking renovation/improvement projects at existing facilities, it’s important to position change as an opportunity to address issues, bring a greater level of service, and enhance the existing experience.”

To illustrate his point, Steelman points to a number of famous hospitality venues around the world. “These design techniques have been developed in many of the beloved European hotels like the Plaza Athene in Paris, the Connaught in London or the Plaza in New York,” he says. “These have recently completed major renovations, and they are more beautiful and functional than ever before, yet they feel the same.”

And the results? “Our results are dramatic,” says Steelman. “Before-and-after pictures really show how much so even a simple renovation can be. Keeping track of the financial results, many of the casinos we have renovated have experienced a casino win increase of 35 percent. After all, people want to spend more time in a space they love.”

Seeing the Larger Picture

It’s often useful to begin by taking an overall look at the property and defining what its essence is. What is the property known for? Has it defined its own brand? Does it have an overriding theme, as many properties do?

Answering these questions helps define where the changes should occur and in what direction they should go. Hnedak Bobo Group started with this approach with its work at the WinStar World Casino and Resort.

“The Chickasaw Nation has terrific foresight about where they want to take their brand,” states Rob Jurbergs, principal and designer at HBG. “WinStar World is already a very profitable casino, and their property is ultimately successful because the nation is driven to reach out to new clientele by expanding the amenity offerings and quality, while also accommodating the needs of their tried-and-true patrons.”

The fact that WinStar World was a themed property also helped define the direction of the updates, so that the new would blend in well with the existing. “The travel-themed motif at the casino is very closely tied into the WinStar World Casino and Resort brand, so we naturally embraced and enhanced the concept,” says Jurbergs.

Most properties grow over time, starting with a casino, dining venues and a hotel. Future development will depend upon the customer base and their interests, and could include showrooms, convention spaces, bowling alleys, movie theaters, etc.

Seeing the larger picture means planning ahead, as Ewing of the Cuningham Group relates: “One of the properties we’re currently working with is Little River Casino Resort in Manistee, Michigan for the Little River Band of Ottawa Indians. Their resort opened in 1999 and since then has undergone multiple expansions to get to its current size, which includes a 292-room luxury hotel and 1,600-seat event center. They have a desire to continue to grow and change, and have a new general manager in place who understands the need to plan property-wide. They are looking at where the future opportunities are and how they can balance growth with funds as they become available. And they want to know what their guests want so there is buy-in to the process and decision-making.”

Similar but Different

Sometimes an expansion is so large and extensive that it can be considered a separate property in its own right. Think of Wynn Las Vegas and Wynn Encore, or the Venetian Las Vegas and the Palazzo. Crown Limited faced that same question for its Crown Towers Perth, in Western Australia.

“Crown Limited wanted to expand its existing hospitality offering in Perth to keep up with market demand and maintain its position as a leading resorts operator in Australia,” says Brandon Y.K. Maldonado of YWS Architects. “In order to capture the emerging luxury market, but not wanting to alienate their existing market, they decided to maintain their existing hospitality offerings and add a five-star hotel, VIP gaming and world-class retail, dining and meeting space. The addition was seamlessly integrated with the existing hotel towers and created a property ideally designed to capture a broad range of market segments.”

There are times when a number of changes can add a new theme to an existing property. Consider the Resorts Casino Hotel in Atlantic City. In 2011, Resorts Casino converted the property to a Roaring Twenties theme. The rebranding capitalized on the success of the HBO series Boardwalk Empire. The resort adopted this rebranding celebrating the Prohibition period of the 1920s and 1930s by accentuating the resort’s Art Deco design as well as presenting 1920s-era uniforms for employees and music from this time period.

More recently, Resorts Casino Hotel hired SOSH Architects and interiors firm McBride Design to recharge the Atlantic City property with a series of Jimmy Buffett-themed attractions. This complex project contains three main parts: Margaritaville Casino and 5 O’Clock Somewhere Bar; Margaritaville Café, retail store, and coffee shop; and Landshark Bar & Grill Pier.

Paying close attention to the particulars of Resorts’ oceanfront site and the peculiarities of its existing Art Deco architecture, SOSH and McBride set out to bring a new level of energy and activity to Resorts and the adjacent Boardwalk. The completed design blends the dignity of the historic building with the light-hearted island lifestyle, refashioning Resorts into a dynamic entertainment destination.

“We were sensitive to design and create a synergy between the historic relevance and proud history that Resorts has established while at the same time infusing the fun factor of the Margaritaville brand to the property, bringing in a new demographic to the to the property,” says Michael Mangini, director of interior design at SOSH Architects. “I can’t image any other celebrity (Buffett) who transcends generations by uniting people through his music, culture and food. By introducing gaming to the equation, this is an elevated party experience.”

Enhancing the Experience

In years past, people would go out for an evening and come home smelling of cigarette smoke. No one thought much of it then, but today most jurisdictions have laws that limit where people can smoke. Casino properties are one of the few holdouts where smoking inside a building is still permitted, at least in some areas. Guests, however, have become used to non-smoking environments and find the old smoke-filled rooms unacceptable. Clearing the indoor air, then, has become one of the best ways to enhance a guest’s enjoyment of a property.

Greg Peterson of AE Associates, an MEP firm, relates the impact that new HVAC equipment made in the Fantasy Springs Resort Casino in Indio, California. “The dated casino floor was in serious need of an interior face lift,” he says. “New gaming machines, new carpeting, new wall covering and improvements to the existing ceiling, including a complete lighting retrofit project, were performed. The existing casino had an even bigger problem—it was extremely smoky, and the indoor air quality (IAQ) was the biggest guest complaint. The aging mechanical system could not adequately remove cigarette smoke from the casino floor. Additionally, the HVAC system could not properly cool portions of the casino.”

As JCJ Architecture’s Scott Celella notes, a renovation is an excellent opportunity to address various issues at a property to enhance the guest experience.

Peterson continues, “As ownership had a limited capital budget, an indoor air quality improvement was performed for approximately one third of the casino floor. The aging rooftop units serving this area of the casino were in need of replacement; however, there was no additional structural capacity to accommodate heavier units. A like-for-like unit replacement would not achieve the IAQ goals for the property, and ownership did not want to incur the cost or the guest disruption associated with increasing the structural capacity of the roof.

“AE proposed a solution to utilize new, custom air-handling units that were the same size and weight of the existing units, but would drastically improve the IAQ within this portion of the casino. The project was a huge success. The area of the casino where the IAQ improvement project was performed went from the worst IAQ on the casino floor to the best.”

Indoor air quality is very important to the guest experience, but so is lighting and sound. Recently, Illuminating Concepts had an opportunity to work on a renovation of the L’Auberge Casino Resort in Lake Charles, Louisiana. Working with Montgomery Roth Architecture and Interior Design and naval architect Lay Pitman, IC worked to help create an environment that maintained the ideal portions of the existing resort, streamlined the updates to blend, and filled in and refreshed where the property was lacking through use of new spaces, materials, light and sound.

In the casino floor gaming pits and cage areas, IC added lighting at table games for better visual acuity and to add dimension and accent the gaming pits. They were also able to bolster the existing audio systems and infill the dead zones to allow better transition between speakers and create supporting audio experience that blends into the environment. 

Throughout the gaming area, they were able to accent through the use of materials and lighting such as backlit alabaster, highlighted drapery, and architecturally integrated lighting to allow an easier way finding and navigating the property.

Illuminating Concepts’ Michael Shulman, executive director, design and business strategy, explains, “Through the use of lighting, audio and video, we are creating spaces that are important to gaming clientele, and help make the experience holistic at a casino resort. As an example, add a poker room with accent lighting on the tables, soft general lighting to accent the architecture, audio that can act as background sound, or as a paging system for tournaments; add TVs for players to keep track of games, poker tournaments, etc.”

Change is Gonna Come

Walt Disney was a genius, and the theme parks he and others created are still a marvel, many years later. We enjoy them not only for the rides and shows, but because the logistics have been worked out so well. We enjoy going back time after time, not only to revisit the attractions we enjoyed last time, but to also check out all the new attractions, which we confidently expect will match the level of enjoyment of all the existing attractions.

There is no reason a gaming property can’t do the same thing—create an enjoyable environment of attractions such as gaming, shows, dining venues, and retail—and keep it fresh year after year while holding to a consistent level of quality throughout.

 

Doing More With Less

A few changes to this year’s Casino Design magazine got me to thinking about how much investment projects are attracting today.
 
First, the changes: We’ve moved the printing of Casino Design to later in the year, which allows us to focus on the G2E Casino Design Awards, a program that we began 12 years ago in conjunction with a conference on casino design we were running at the time. When we sold the conference to Reed Exhibitions, G2E took over the awards program. So a move to the November-December time frame allows us to recognize the winners, particularly the Sarno Award for Lifetime Achievement, the ultimate honor for anyone involved in this field.

What got me to thinking about investment were the winners of this year’s competition compared to those in previous years. The winners of the previous two awards for the large properties were the Cosmopolitan and Revel. The total investment on each was around $4.5 billion and $2 billion, respectively. This year, the winner was Margaritaville Bossier City, with a total investment of just over $200 million. And the Native American winner was Twin Arrows (our cover story), which also came in around $200 million.
 
Yes, that’s a big difference, but what was not so different was the appeal of those properties in their markets.

Certainly, the three markets are completely different. The Cosmopolitan opened in the midst of the recession when visitation, as well as gaming revenue, was significantly down in Las Vegas. Compounding its problem was a focus on non-gaming amenities, to the point where gaming was virtually ignored. The same was true for Revel in Atlantic City, but competition from surrounding jurisdictions made the situation even worse. In Bossier City, Margaritaville was the first new property to open in more than a dozen years, but also in a market that had been hard hit by competition from Oklahoma Indian casinos poaching its principal Dallas market. Twin Arrows opened in a somewhat remote location east of Flagstaff, Arizona, but competition is many miles away, giving the tribe access to locals and travelers along I-40 alike.
 
The difference in all these properties was that Margaritaville was conceived and planned after the economic downturn, and the property was designed for the realities of the market. 
 
That wasn’t true in either Atlantic City or Las Vegas. Cosmopolitan and Revel pushed forward even when it became evident that business conditions would be markedly different when they opened than when they were conceived. As a result, both properties have lost barrel loads of money since opening, even if their design was deemed to be superior.

The lesson we learn from this is that some very substantial research must be done before building to determine the size of the market, the surrounding competition, and the projected revenue flow. And while both Cosmopolitan and Revel were designed to capture the non-gaming market, the assumption that they’d get their fair share of gaming revenue was plain wrong—particularly when you have no plan in place to aggressively win that share of gaming revenue, a factor present in each case.

Margaritaville, on the other hand, looked at a market that was being served by properties that hadn’t been updated in years—or in some cases even properly maintained. Revenues were flat or declining, with little reason for new customers to consider the Shreveport/Bossier City market. Margaritaville has changed that. And its location adjacent to the outlet mall, the Louisiana Boardwalk, gives Margaritaville a non-gaming appeal as well.
 
With Twin Arrows, financing by the tribe, not by Wall Street, made the decision to configure the property realistically an easy one. But in each case, Margaritaville and Twin Arrows developed top-flight facilities that are as impressive as Cosmopolitan and Revel were in their markets, and probably more profitable.

Now we do have some billion-dollar-plus properties on the horizon. Baha Mar in the Bahamas will open late next year, with a price tag north of that figure. But we’ll also have SLS Las Vegas, the Sam Nazarian property that will expend much less than $500 million.

So maybe the jury is still out. But the bottom line has to be that owners must conduct a complete feasibility study that looks at the market from every angle, makes all the assumptions in a wide range of results, and considers all economic conditions at the time of the casino’s opening. This may mean building in phases, which is not always the best way to do things, but in this case, the most responsible.

Famous Luxury

Caesars Palace in Las Vegas has been known as a luxury spot on the Strip for decades, but one addition that opened this year has redefined the term for the resort. Nobu Hospitality, the venture formed by actor Robert De Niro, Meir Teper and famous fusion chef Nobuyuki “Nobu” Matsuhisa to spread Nobu restaurants around the world, opened its first hotel in January.

The Nobu Hotel and Restaurant is a 181-room luxury boutique property featuring three styles of chic contemporary suites ranging from 1,000 square feet to 4,350 square feet in size.

To infuse a level of luxury one step up from the well-known extravagance of Caesars Palace and to do justice to the world’s first hotel to carry the world-renowned Nobu brand, Matsuhisa and De Niro tapped award-winning New York-based designer David Rockwell, principal of Rockwell Group. Rockwell had designed the first Nobu Restaurant, opened in New York in 1994. (De Niro had been instrumental in bringing Matsuhisa to New York, having been familiar with the chef’s first U.S. restaurant in Beverly Hills.)

The challenge to Rockwell was to create a design worthy of Nobu’s famous Japanese/Asian/South American fusion cuisine, which has been called by many the “best food in the world.”

The designs embrace comfortable simplicity with natural materials and textures counter-balanced with outsized elements to reveal a touch of Vegas flair. The rooms and suites, designed with input from Matsuhisa and De Niro, include custom art by up-and-coming Japanese artists that feature a mix of traditional prints and expressionist designs. The main focal point of each room is a feature wall that displays a custom “shodo”-style calligraphy.

The bathrooms have teak fittings, stone tile and sleek modern fixtures. The over-sized walk-in shower is made with traditional black Umi tiles and offers multiple showerheads and a teak bathing stool, a fixture of traditional Japanese bathhouses.

Overall, the interiors of the hotel showcase natural materials fused with Japanese elegance. The real showcase spaces in the property are the suites—the Hakone, the Sake and the Nobu Penthouse suite, which was named one of the top suites in the world by Elite Traveller.

The 10 Hakone suites draw inspiration from the Fuji-Hakone-Izu National Park just outside of Tokyo, famous for its hot springs and views of nearby Mount Fuji. The six Sake suites are inspired by traditional sake drums, and feature a spacious living room with billiard table, a separate entertainment/media room, high-definition television screens, an open entryway and centralized bar and pantry for relaxing or entertaining.

The two Nobu Penthouse suites are bi-level spaces with two-story vaulted ceilings, with five bedrooms. Maxing out at 4,350 square feet, the Nobu Penthouse can configure up to five bedrooms, and feature  double-height, teak panel screens that contour a curved staircase, a second-story terrace that overlooks the entire suite, a 90-inch flat-panel television screen that adorns an impressive two-story-high wall, a large living room with leather sofas, dining table with seating for six, billiard table, desk and large master bedroom suite.

The suites present what Rockwell calls the perfect balance of fun and luxury, while integrating what is known as the “Nobu lifestyle.” To create the balance, Rockwell fused distinctive design elements with Eastern and Western influences into a visual and textural masterpiece.

OWNER: Nobu Hospitality (Principals, Chef Nobuyuki “Nobu” Matsuhisa, Robert De Niro and Meir Teper); Caesars Entertainment
Architect/Designer: David Rockwell, Rockwell Group
Total Investment: $30 million

Online Comes to Life

Online poker has in turn revived and harmed bricks-and-mortar casino poker rooms. The game has received more interest from online poker, but it allows players to play anywhere, so in some ways, it’s a wash.

The operators of London’s chic Hippodrome casino came up with a way to combine the best of both worlds. In partnership with PokerStars, Hippodrome has introduced the PokerStars LIVE “gallery,” which is used as the casino’s poker room as well as a site for live PokerStars tournaments.

Developed by MKV Design, the team imaginatively interpreted this interactive, online poker room into an exciting physical presence. MKV was tasked with developing a room that would embody the PokerStars online presence so it would be recognizable to website players. MKV took this idea a step further by creating a refined, pared-back ambience with a modern, tech-savvy style.

The poker gallery is situated on a mezzanine overlooking the Hippodrome’s ground-floor gaming areas four stories below. Located in the heart of London’s entertainment scene, just by Leicester Square, the casino is housed within an iconic, historic building created by renowned theater architect Frank Matcham. It was essential that MKV’s design was sympathetic to the historical aspects of the original 1900 structure, including the stepped, open-gallery spaces, which remind visitors of the site’s legendary provenance. It was here that Tchaikovsky’s Swan Lake made its U.K. debut, Julie Andrews launched her professional solo career, and Harry Houdini performed some of his final magic acts, among other notable milestones.

Color and light psychology were also important considerations in the interior design. A muted palette of dark grays enables players to focus better on the tables, their hands and the action taking place. Gaming tables were custom-upholstered with silver-toned baize, and carpeting reminiscent of flannel tweed helps create a more sophisticated feel. Along the back wall, a grid composed of angled “fins” formed from sturdy, charcoal painted metal is backlit by a wall-to-wall, internally illuminated box fitted with LEDs. The glowing, ethereal light, which emanates from the wall, helps create a subtle allusion to the idea of the digital network of PokerStars’ virtual world. Shifts in color from yellow to red to blue have been programmed to cycle over the course of an hour, but can also be precisely timed by the operations team to create a variety of moods. Soft illumination from the ceiling soffit overhead is synchronized to adjust with that of the accent wall.

Another specification of the brief was that the use of the words “PokerStars” would be closely regulated. Therefore, MKV chose to weave associations with the brand into the design to reinforce the brand identity. Existing chairs have been re-upholstered with black leather subtly highlighted by the PokerStars emblem stitched into their backs with silver thread. This tone-on-tone effect, versus high-contrast embroidery, helps set the refined, urbane atmosphere envisioned by MKV.

PokerStars LIVE has proved such a success that MKV’s concept is being rolled out to other new sites, including the poker room just launched at the Casino Gran Madrid. Dominic Barber, associate at MKV Design, explains, “Creating the blueprint for the PokerStars LIVE concept has been a 21st century twist on interior design. The idea of a tangible space mirroring a virtual world, rather than a website being modeled upon a physical destination’s brand identity, poses new opportunities for today’s designers. There are increasingly blurred lines between real-life and virtual environments, which opens up all sorts of creative possibilities and offers designers a wealth of inspiration.”

OWNER: The Hippodrome Casino Ltd. and PokerStars
Architect and Interior Designer: MKV Design

New Age Nightclub

If any one facility can be said to redefine the nightclub scene in Las Vegas over the past few years, it’s Hakkasan at MGM Grand. Taking the place of one of the original Las Vegas nightclubs, Studio 54, Hakkasan has had an immediate impact on the nightclub market because of its style, amenities and departure from the traditional Vegas nightclub.

With restaurants from Shanghai to Singapore to Dubai, Hakkasan has been making a name for itself in modern cuisine and design since it was founded in 2001 in London. The brand’s new Las Vegas restaurant and nightclub is one of its largest endeavors to date, both in scope—turning a 27,000-square-foot, two-floor space into a five-level, 80,000-square-foot venue—and because the location is its first nightclub.

Hakkasan and Angel Management had a unique vision for the brand’s inaugural nightclub. The design philosophy focused on creating multiple experiences and involved steering away from the traditional Vegas glitz and sparkle and gave the space a more subdued, organic look that differed from other nightclubs in Vegas.

Designers worked with Hakkasan to select genuine building materials, such as real leather instead of vinyl seating, and natural stone, slate and granite for the walls, water features and floors. Other authentic craftsman materials were sourced from Asia, including the red lacquer, hand-carved Chinoiserie panels that mark the entry to Hakkasan’s Ling Ling Club and Lounge.

Located on Level 3, the 2,300-square-foot Ling Ling Lounge includes a low, intimate ceiling, full-height stone-jetted wall panels that divide the space, a DJ booth and its own golden lit bar.

To get to the main nightclub, guests pass through a small, alley-like entrance reminiscent of Hakkasan’s London roots. Upon entering the massive club, guests are surrounded by tiered banquet seating, which provides great visibility to the dance floor and DJ from anywhere in the club. Finally, a fifth-floor mezzanine hovers above the main club and gives guests a birds-eye view of the fourth-level main club and pavilion.

A curved, spider-web ceiling of LEDs installed in the nightclub houses computer-controlled panels, which can be lit to create a variety of stunning patterns and effects, including a whole room of color.

The result is an innovative entertainment space that can be transformed at the flick of a switch.

If you look at traditional Las Vegas clubs, they’ll be really hot for three to nine months, but after a year, they have to revamp so that they have a fresh, new and exciting look. Hakkasan was designed with enough depth to be a sustainable fixture on the Strip.

Owner: Hakkasan Limited
Nightclub Representative:  Angel Management Group
Architect: YWS Design and Architecture
Interior Design: 212 Design, conceptual design, nightlub; Gilles & Bossier, restaurant
Builder: McCarthy Building Companies, LLC
Total Investment: $115 million

Filipino Breeze

If ever a casino design project reflected its surroundings, it’s the 1 million-square-foot Solaire Resort in Manila Bay. Opened last March, the casino resort carries the environment of its seaside location from the outside to the inside, according to Paul Steelman, principal of Steelman Partners, design architect for the project.

“Solaire is a French word meaning ‘the breeze from the air,’ which clearly demonstrates the inspiration behind Solaire Resort and Casino,” Steelman says. Starting with the exterior design, the idea behind Solaire was to reflect “Manila Bay’s famed spectacular sunset and the breeze that it brings every day.”

Steelman says the firm sought to create a timeless design for the beachfront building. “The podium exterior was designed with a crisp horizontality that provides shaded terraces and protected views,” he explains. “This is contrasted by the undulating articulation and verticality of the hotel tower. These visual and experiential contrasts are rendered most apparent along the porte-cochere as visitors are drawn across the entryway and under the mass of the tower.”

Inside, tropical and colonial inspirations create a look that is familiar to the Filipino, Steelman says. “From its mother-of-pearl inlaid posts, hardwood beams, trademark lattice lintels, blown-glass and steel dividers, and the botanical-printed carpets that echo Spanish flamenco shawls, the main area offers a glimpse of the country’s finest.”

The lobby is graced with authentic, hand-cut crystal chandeliers and towering foliage décor. High-gloss abstract art by Matthew James adds to the effect in the reception area.

Solaire has approximately 500 luxuriously appointed rooms, suites and bayside villas that offer sophistication in a comfortable setting. The Resort Villas range from 600 square meters to 1,000 square meters each, with a majestic view of the Manila Bay sunset. Each villa also includes its own pool, Jacuzzi, and putting green.

The overall concept of the casino at Solaire Resort and Casino was delivered by the use of three finishes. The walls are a light cream color. Natural tan marble was used on the portals and floor. Highly dark wood lacquer veneer panels with accent metal trim bring reflection, depth and contrast to the space.The lavish casino took a stratified design approach where each market segment has its own entry/lobby, casino, restaurants and support space. The market segments are mass “local” gaming, “GEN Y” gaming, mass VIP gaming and VIP gaming. Both lobbies are accentuated by numerous contemporary art pieces by Filipino artists.

The Dragon Bar is the centerpiece of the lobby. There, an impressive dragon sculpture looks over the bar. It is made up of 1,500 individual crystal components, giving the place a regal appearance. The ceiling is painted with a gold finish, softening the look of the space.

OWNER: Bloomberry Resorts
DESIGN ARCHITECT: Steelman Partners; local architect NS Incorporated Architecture; lighting design, Shop 12
INTERIOR DESIGN: DSAA
CONSTRUCTION CONTRACTOR: D.M. Consunji Inc.
PROJECT MANAGER: SIP International
TOTAL INVESTMENT: $1.2 billion (estimated)

Tribal Home Base

When it came to the major design decisions for the third casino of southwest Michigan’s Pokagon Band of the Potawatomi Nation, the model already existed—the tribe’s first two Four Winds casinos, in Hartford and New Buffalo, Michigan.

Those casino properties, designed by Memphis-based architectural firm Hnedak Bobo Group, called on the history and culture of the Pokagon band, which remained in the southern Great Lakes region when the bulk of the Potawatomi migrated westward in the 1830s.

“We conducted a cultural investigation with the Pokagon client to learn the elements that tribal citizens wanted to incorporate into their gaming properties,” says Nathan Peak, lead designer and senior associate at Hnedak Bobo Group. “At the entrance is an ‘eternal flame’ hearth room for guest lounging, featuring a 360-degree circular fire pit covered by a copper hood, holding further symbolism of the tribe’s cultural heritage. The tribe was the first to use copper metal in tool and jewelry making.”

Birch wood is another important material element to the Pokagon Band, leading designers to utilize the faux birch logs to custom-create a unique pit canopy for the central table gaming area. Floor patterns were designed to represent tribal basket-weaving.

Peak notes that the white birch wood above a table gaming area and stones used in the construction were from the area, which has long been home to many of the tribe’s 4,600 citizens. Featured artwork is also significant to tribal citizens and the area.

“Given the integration of cultural motifs into the design, specialty fabricators and artisans were brought in to create the distinctive metalwork and artwork, and tribal artwork in the hearth room was provided by various Pokagon tribal members,” Peak says. “To ensure cultural authentication, the Pokagon Tribal Board developed the Pokagon Art Council to review all other specialty artwork created for the Four Winds Hartford Casino.”

The result was a re-creation of the Pokagon motif used in Hartford and New Buffalo, but on a smaller scale. The Four Winds Dowagiac Casino, which opened April 30, is a 27,000-square-foot casino with 305 slots and four table games. (By comparison, Four Winds New Buffalo has a 135,000-square-foot casino; Hartford, 52,000 square feet.)

“The design by Hnedak Bobo Group was intended to give the Four Winds Dowagiac a look and feel similar to its larger sister casinos,” says Tom Topash, a tribal council member. “We had input on the design details, such as images of otters and water lilies. The designers really listened to us. It’s all there.”

The location of the newest Four Winds, though, gives added significance to the cultural heritage incorporated into the design. For the Pokagon Band, Dowagiac is home. The band’s government offices are in Dowagiac, as well as many of its citizens.

“People have asked, why build here?” says Tribal Chairman Matt Wesaw. “Why here? It’s home. We didn’t move here. This is home.”

OWNER: Pokagon Band of the Potawatomi Nation
ARCHITECT: Hnedak Bobo Group
INTERIOR DESIGN: Hnedak Bobo Group  
CONSTRUCTION CONTRACTORS: Christman Company and Kraus-Anderson Construction Company
ENGINEERING: Classic Engineering, structural engineer; PE Services, mechanical engineer; Wrightman Engineers, civil engineer

A Walk in the Mountains

Harrah’s Cherokee Casino Hotel, set among the natural splendors of North Carolina’s Great Smoky Mountains, has been a mainstay of entertainment in the Southeastern U.S. since 1997. Now, following a dramatic five-year renovation, the resort may truly be called world-class.

Caesars Entertainment and the Eastern Band of Cherokee Indians lavished $650 million on the multi-phase upgrade, which added more than 8,300 square feet of retail space, a 10,000-square-foot VIP lounge,  a 3,001-seat event center, the 18,000-square-foot Mandara Spa, and the new 21-story Creek Tower hotel. The expansion doubled the casino floor to an impressive 360,000 square feet, with 4,000 slots and 100 table games.

Working with Cuningham Group Architecture, designers created an aesthetic that celebrates the grandeur of the resort’s environment along with the rich history of the seven clans of the Eastern Band. The mighty rotunda entrance includes soaring tree-like elements that come to life with light and sound for a remarkable sensory experience. Eight 60-foot tall trees are set with more than 30,000 colored, digitally programmed LED lights that flicker in vivid, ever-changing patterns. Dual 68-foot interior waterfalls cascade from ceiling to floor. An immense floating spiral staircase seems to defy gravity. And a giant wrap-around video screen tells the story of the Cherokee in a dazzling sound-and-light show.

On the gaming floor, designers crafted a quartet of distinct nature-themed zones to usher guests through the casino. Together they are meant to suggest a walk from the foothills into the mountains and upward, with ever-changing geographic features, bright foliage and shifting light.

The “Earth Water” section, with finishes that evoke stratified layers of earth, features 460 new electronic games plus a full bar, lounge and 560-seat Chefs Stage Buffet. “River Valley” winds into a more sophisticated gaming area with the VIP Lounge, high-limit area and the Le Fu Men Asian gaming area. The retail concourse in this zone is highlighted by threads of glass lights that recall mountain dew on a spider web.

“Woodland Moon” has a “cabin-in-the-woods” feel, says the architect, with rustic finishes and elements that suggest dappled light filtering through a canopy of trees. And “Mountain Breeze” is distinguished by strong vertical elements and heavy materials, as well as design features that call to mind swaying trees, campfires and a mountaintop. The event center is located at the pinnacle, befitting its destination status.

The natural theme, by turns subtle and spectacular, continues at the new 21-story Creek Tower, an upscale 420,000-square-foot hotel. The lobby incorporates architectural elements such as native river cane, stonework and rich woodwork. Ceiling elements and columns are “symbolic of tree trunks,” says the architect. “A cozy fire lounge is nestled in the heart of the lobby, while the Lobby Café features a sculptural fixture reminiscent of a bonfire with ‘flame and smoke’ billowing up” to the second level check-in. New restaurants include Ruth’s Chris Steakhouse and the Brio Tuscan Grill.

The new Harrah’s Cherokee debuted to the public in March 2013. The Great Smokies resort, a popular regional destination, is now ready to welcome the world.

Owner: Eastern Band of Cherokee Indians
Operators: Tribal Casino Gaming Enterprise/Caesars Entertainment Corp.
Architecture and Interior Design:  Cuningham Group Architecture, Inc.  
General Contractors (Casino Expansion, Hotel): Turner Construction Co., Yates/Rentenbach

Island Life

Resorts Casino Hotel hired SOSH Architects and interiors firm McBride Design to recharge the Atlantic City property with a series of Jimmy Buffett-themed attractions. This complex project contains three main parts: Margaritaville Casino and 5 O’Clock Somewhere Bar; Margaritaville Café, retail store, and coffee shop; and Landshark Bar & Grill Pier. Paying close attention to the particulars of Resorts’ oceanfront site and its existing Art Deco architecture, SOSH and McBride set out to bring a new level of energy and activity to the Boardwalk property. The completed design blends the dignity of the historic building with the lighthearted island lifestyle, refashioning Resorts into a dynamic entertainment destination.

Margaritaville Casino, featuring 160 slot machines, brings the relaxed atmosphere of the tropics to Resorts’ gaming floor. SOSH and McBride employed a menagerie of festive colors, island-inspired patterns (such as stylized wave and palm elements), and select Boardwalk views to create this open yet intimate space.

The 5 O’Clock Somewhere Bar, featuring a wave-colored glass-tile bar and a wooden cabana canopy, contributes to the beach-like atmosphere. Margaritaville-themed table games surround the bar, while “flair bartenders” entertain guests with their cocktail-mixing performances and signature drink creations.

The Caribbean experience continues with the Margaritaville Café, themed retail store, and coffee shop (the first in the Margaritaville portfolio). The Café features a double-height space that showcases an island-themed oasis, complete with a seaplane, palm trees, a Stiltsville home, and a buoy-shaped stage for live musical performances.

The Margaritaville theme extends to Resorts’ Boardwalk façade. To complement the ground-level masonry arches, original to the 1920s building, SOSH introduced arched glazed openings to the second story. The arched components provide elegant counterparts to the fantastical shark fin/wave frieze and island hut motif that adorn the Boardwalk elevation. Indeed, a variety of seemingly contradictory materials and textures—limestone, neon, brick, thatch—create an exciting and cohesive design that ties together old and new, solid and porous, heavy and light, Art Deco and island. The resulting façade serves as both a backdrop for and a participant in the Boardwalk’s lively performance.

The Landshark Bar & Grill capitalizes on its amazing beach location. The design features retractable walls to create views of the ocean and Boardwalk. Awnings on the outside deck shield open-air diners from the summer sun and emit heat in cooler months. Linear wooden planks appear throughout the Bar & Grill, comprising a large portion of the interior floor, wall and ceiling surfaces as well as the outdoor deck. These wooden elements draw the Boardwalk itself into the restaurant and bar, creating continuity between interior and exterior. Guests experience the activity of the Boardwalk, beach and pier as one continuous celebration.

Owner: Resorts Casino Hotel
Architects of Record: SOSH Architects
Interior Designer: McBride Design
General Contractor: Massett Construction
Total Investment: $35 million

Rolling on the River

Sited just below the historic Roth Hill in Natchez, Mississippi, Magnolia Bluffs Casino was built over the Mississippi River to comply with the state’s gaming regulations. The project is supported on nearly 50 steel piles, giving patrons the feeling that they are floating on the river and providing a real connection to the site often overlooked in typical casino designs.

Using rustic materials and local vernacular, EV&A Architects collaborated with the Natchez Historical Society to replicate an early 20th century cedar mill that was located here nearly a century ago. A municipal pedestrian river walk winds itself around the building’s riverside perimeter, providing access to the casino’s “back-porch” amenities, complete with a fire pit and breathtaking views of the Mississippi and majestic sunsets.

The project’s interior further reinforces the treasured history of this site by displaying historical art pieces of the mills that once were an integral part of the river’s landscape.

The 40,000-square-foot facility features an open gaming floor with 600 slot machines and a complete complement of table games. A centrally located sports bar, a 180-seat themed buffet and a 75-seat fine dining specialty restaurant complete the project’s offerings.

Owner: Premier Gaming Group
Architect and Interior Designer: EV&A Architects, Inc.
Contractor: RA Edgin Construction
Program Manager: John Fox, FOXCOR
Cost: $25 million

Mississippi Lights

Pinnacle Entertainment’s L’Auberge Casino & Hotel in Baton Rouge, Louisiana carries a design that reflects its surroundings. Located on the Mississippi River waterfront, the 205-room hotel and 74,000-square-foot casino presents a contemporary interpretation of a Louisiana fishing lodge.

Lighting was essential to the creation of this atmosphere. For this job, Pinnacle chose Michigan-based Illuminating Concepts (IC), an architectural and themed lighting designer known for the creation of what it calls “immersion experiences” through lighting.

For L’Auberge, IC created a sustainable and creative lighting design as well as state-of-the-art audio and video solutions, beginning with a  grandiose promenade which is indirectly illuminated to give “a real-life connection to the outdoor environment,” according to one of the firm’s designers.

The exterior architectural elements of the building are highlighted individually to create a layered lighting effect instead of the traditional flat flood lighting typically used for casinos. For the interior, innovative solutions for lighting and audio/video integration enhance both the comfort and aesthetic appeal of the visitor experience on the gaming floor.

IC’s focus was on providing quality lighting and AV solutions that supported the environment without distraction. Foremost on Pinnacle’s auditory wish list was a clean, intelligible audio playback system on the casino floor.

This direction was distilled into a set of design criteria: high uniformity of both frequency and volume coverage, excellent vocal reproduction, and enough system headroom to provide sufficient volume above the high level of ambient noise. IC then developed virtual room models and speaker layouts, which when combined with audiometric speaker data and acoustic modeling software confirmed speaker placement and amplification requirements.

One major design element of the casino floor was a coffered ceiling that followed the long table game pit through the center of the gaming floor. Groupings of large decorative lighting pendants suspended beneath the copper-clad ceiling provided a distinctive visual identity to the space. Indirect illumination of the copper finish provided warmth and visual brightness while preventing direct glare on the adjacent video displays.

The provision of a dropped ceiling structure mitigated the typical integration issues related to table game lighting and maintained the clean ceiling lines.

The circular layout of the high-limit gaming lounge posed several interesting challenges for AV and lighting. Limited space on the concave perimeter walls and the owner’s aversion to pedestal-mounted displays led IC to propose an integrated media chandelier, which would serve as both a decorative focal point and an elegant mounting location for four ultra-thin 46-inch LCD displays. Working closely with the architect, interior designer, structural engineer and custom chandelier fabricator, IC developed a unique solution that seamlessly married a large-scale beaded chandelier, integrated LED lighting, media player storage, and custom display mounts, providing the perfect visual centerpiece for the elegant VIP gaming room.

OWNER: Pinnacle Entertainment
ARCHITECT: Manning Architects
DESIGN ARCHITECT: Marnell Companies
LIGHTING DESIGN: Illuminating Concepts
TOTAL INVESTMENT: $368 million

Paris of the East

In early 2012, Galaxy Macau added a new members-only salon geared to high rollers and other elite clients. A hybrid of showroom and bar/lounge spanning more than 17,200 square feet, China Rouge, designed by Alan Chan of Hong Kong, blends the artistic sensibilities of Old Shanghai, 19th century Paris and “the fabulous women of the decadent era,” according to Galaxy Entertainment. With his design partner Ryu Kosaka, creative director of Aoyama Nomura Design of Tokyo, Chan took a full year to create the space, from first drafts to completion. For his work on China Rouge, Chan won a bronze award at the 2013 International Design Awards in the Interior Design Concept category.

The space, influenced by motifs from Chinese literature, recalls Shanghai’s golden age, a time when dance halls, tango teahouses and underground cocktail bars flourished. As the cultural center of Asia, the city was known as the “Paris of the East.” China Rouge also is inspired by Le Chat Noir, which opened in Paris in 1881 and attracted artists such as Toulouse-Lautrec as well as the leading philosophers and aristocrats of La Belle Epoque.

Galaxy defines the hybrid space as a “forbidden chamber for the elite” including a warren of exotic and intimate spaces imbued with deep shades of red, gold, purple and black. The showroom’s main floor has both private tables and personal boxes on a mezzanine floor. Entertainment ranges from cabaret singers to saucy revues to unplugged performances and celebrity DJs. China Rouge also serves as a gallery of contemporary art with commissioned works from Buhua, Chen Men, Deng Xinli, Li Jian and Zheng Lu, all of whom pay homage to women, past and present.

Chan, who is as well-known for his product designs as for his interior design, conceptualized and created many artifacts for China Rouge, including a glass carving mural called “The Plum in the Golden Vase,” a mosaic mural known as “Chinese Beauties” and other works in jade, bronze and stained glass that celebrate Asian spirit and feminine power.

Chan is one of Asia’s most celebrated designers and brand consultants. Over the past 40 years, his studio has amassed more than 600 local and international awards and his portfolio includes influential brands such as Coca Cola China, Fendi, the Four Seasons hotel, Hugo Boss, Lacoste, Salvatore Ferragamo and Seiko. Working on China Rouge, he says, “I decided to take the Art Deco style of 1930s Shanghai as the main theme.

“Not only because of my personal preference, but also because the artistic style of that era is vivid—making strong visual statements, with beautiful details and colors. That period in China had a profound impact on designs that followed across Asia.”

On its opening, Francis Lui, vice chairman of Galaxy Entertainment Group, said China Rouge “combines elements of the Chinese, European and modern in a way that has never been done before” and said the club would offer “one of the finest nightlife experiences in the world.”

Image Director: Alan Chan of Alan Chan Design Company (ACDC), Hong Kong
Design Partner: Ryu Kosaka of Aoyama Nomura Design, Tokyo
Capacity: Seating capacity approximately 196, standing capacity approximately 400
Floor Area: 17,222 square feet

Hooray for Hollywood

When it opened in February 2012, the Hollywood Casino at Kansas Speedway became the first Las Vegas-style gaming hall in the Sunflower State. And while it offers all the amenities of a first-class Vegas resort—from a 95,000-square-foot gaming floor to top-flight restaurants and bars—in style, in attitude and in name itself, the Hollywood is more reminiscent of another great American destination: Tinseltown.

The $400 million investment, a joint venture of Penn National Gaming and International Speedway Corp. for the Kansas Lottery, is located on 100 acres in Kansas City and overlooks the second turn of the popular Kansas Speedway, home of the NASCAR Sprint Cup Series.

Despite the clear influence of the Motor Age, inside the casino looks and feels like Hollywood, from its gilded Art Deco-style porte cochere to interior architecture featuring bold geometric shapes, lavish ornamentation, regal columns and dramatic lighting. Visual references to Hollywood’s Golden Age recur throughout the property from subtle cues in the ceiling treatments to a more emphatic statement in a scrolled design element above the casino floor, which resembles an unfurled filmstrip. The look is developed with more Art Deco details and video displays that intersperse promotional content with classic film clips.

The Hollywood theme continues in the food and beverage outlets with the aptly named Marquee Café, Epic Buffet, Final Cut Steakhouse, and Hollywood and Grind Coffee and Pastry Shop.

The colorful casino has 2,000 slot machines and more than 50 table games. The project, which was delivered under budget and six weeks ahead of schedule, also includes a 1,250-car parking garage, and is master-planned for expansion. A hotel with convention space could be added, along with an entertainment district featuring additional restaurants and bars.

ARCHITECT: Yaeger Architecture Inc. with Marnell Architecture
INTERIOR DESIGN: Genesis Associates, Inc.
CONTRACTOR: Turner Construction Company
TOTAL INVESTMENT: $400 million

Isle Atmosphere

Every building project brings excitement, but the question is, what kind?

There are times when the excitement occurs naturally—finding the large parcel of land, opening the financial spigots and creating magic. On other occasions, there are obstacles. Yet even challenges can be exciting, like building a floating casino near the New Madrid Fault. That was the case for Isle Casino Cape Girardeau, a project involving Kuhlmann Design Group, Inc. of St. Louis. It called for several unique design challenges, and the final product proved to be a spectacle when the casino opened in October 2012.

The project location just north of the historic downtown district and adjacent to Cape Girardeau’s concrete levee wall needed to be within 1,000 feet of the Mississippi River. Over 50 parcels of land making up over eight square blocks were consolidated. Main Street was upgraded and rerouted to accommodate the development. The building structure needed to comply with Missouri regulations calling for a floating casino floor. The location near the fault required a design of the super structure, basin and barge. Despite these significant design challenges, KdG designed a dramatic and seamless casino that blurs the transitions between the barge and land-based pavilion.

 The colorful and modern casino offers patrons 948 gaming positions, a 700-seat event center, buffet, fine dining restaurant, sports bar, express café and lounge overlooking the Mississippi River.

Throughout the planning process, discussion revolved around operational flexibility. By placing the fine dining, sports bar, express café and second-floor lounge along the south end of the casino floor, for example, operators could consolidate kitchens for increased efficiency and flexibility. However, state law required control points at points of entry for the gaming floor. The design solution was a feature stair tower and two monumental sliding doors.

The doors on the tower can be configured four ways, allowing the operator choice of venue accessibility directly from the casino floor or lobby. Within this tower, a seismic steel support was left exposed as a dynamic design element.

Owner/Operator: Isle Of Capri Casinos, Inc.
Project Architect: Kuhlmann Design Group, Inc.
Interior Design: Kuhlmann Design Group, Inc.
Total Investment: $70 million

Flagship of Fun

Longtime casino executive Paul Alanis, the operator and owner of the Margaritaville Resort Casino in Bossier City, says Margaritaville is the most powerful casino brand around.

“It has a fun and relaxed atmosphere that makes it the perfect theme for any casino,” he told Global Gaming Business just days before the casino opened last June.

And fun is what was lacking in the Shreveport/Bossier City market for many years. The region’s seven casinos have seen flat or declining revenues for at least half a dozen years as competition from Oklahoma cut into the region’s principal Dallas market.

Margaritaville has brought that fun to the banks of the Red River. The relaxed Gulf Coast spirit influenced the project’s design along with the “Parrothead” culture that has grown up around entertainment legend Jimmy Buffett and his music.

Located on the north end of the Louisiana Boardwalk—newly branded as The Outlets at Louisiana Boardwalk—the 391,000-square-foot resort went from planning in May 2011 to opening its doors to the public in June 2013. The $205 million resort deftly integrates live entertainment, volcano shows, restaurants, bars, a 395-room hotel and a 46,330-square-foot casino floor, making this resort a must-see and stay destination.

Cuningham Group’s principal in charge of the project, Thomas Hoskens, notes, “The Margaritaville brand’s strong following and incredibly rich design standards led to the incorporation of many trademark elements such as a Volcano Bar, fishing and shrimp boats, a Blue Goose airplane hanging from the rafters, palm trees and island torches.”

Challenged by Louisiana gaming regulations that require a casino to be a floating vessel, required by the Coast Guard to be fully seaworthy, the Cuningham Group and its contractors went one step further by designing the first cast-in-place concrete barge with a steel superstructure. In the past, casino barges had their roof structures resting on the land, not on the barge as this one does. The basin that floats the barge is supported by 387 auger-cast concrete pilings that penetrate through the soft riverbank sediments down to a solid rock layer of the earth.

The resort’s sense of arrival includes a wooden island pagoda greeting guests. Beckoning just inside the doors from the porte cochere is a 30-foot-high atrium filled with island flowers and lofty palms. The casino features 1,238 slot and video machines and 54 table games amid a sophisticated island atmosphere of palm trees, tropical breezes and aqua-colored spaces. The casino resort is flush with entertainment offerings including a 1,000-seat performance hall, four dining venues including a two-story Margaritaville Restaurant, and seven specially designed, wood-topped bars with more than 100 one-of-a-kind pictures of Jimmy Buffett sealed within them.

The project is poised to attract locals as well as visitors from as far away as Texas and Oklahoma as they come to experience the country’s newest Margaritaville and bond with Parrothead fans. The brand’s influence is also bound to be a boon to the area’s other casinos and The Outlets. This project is the second Margaritaville-themed casino designed by Cuningham Group—the first opened in Biloxi, Mississippi in May 2012.

Owner: Bossier Casino Venture, LLC
Architect (exterior): Cuningham Group Architecture
Interior Designer: The McBride Company, Suzanne Kisbye, Allison Alanis
Contractor: Roy Anderson Corp.
Total Investment: $200 million