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The 0 million renovation of the former Trump Marina and Hotel in Atlantic City has added new luster to the city’s waterfront—the luster of gold.
   
“The crowds are good, and the people here are enjoying all the improvements we’ve made,” says Jeff Cantwell, senior vice president of development for Landry’s, the Houston-based hospitality company that bought the Marina in 2011, and in less than a year transformed it into the new Golden Nugget.
   
As one of Trump’s lesser Atlantic City properties, the Marina suffered years of benign neglect. After Trump Entertainment declared bankruptcy, Landry’s acquired the complex for just $38 million (at the top of the market, the price tag was considerably higher, at $234 million).
   
Landry’s team of in-house designers and architects went to work on the dilapidated property along with David Solner, principal with Cuningham Group Architecture of Minneapolis. The design template was already in place: the new Golden Nugget would recall the flagship location in Las Vegas and a second property in Laughlin, Nevada.
   
“It was really just taking an old and outdated property, bringing it into the 21st century and making it more engaging,” says Cantwell. “People used to liken this building to a hospital.”
   
The exterior’s masonry tiles and spandrel glass were covered with eye-catching gold-tone stucco, and a spectacular animated LED sign now covers the side of the building that faces the highway. Inside, ’70-era décor like brass and mirrors was ripped out and replaced with mirror-polish stainless steel appointments, decorative lighting and back-lit acrylic finishes to add light and energy to the space.
   
The most surprising change may have been in the atrium, which once was dominated by outdated mauve marble. “Instead of ripping it out, we applied a 3M peel-and-stick vinyl finish” in sophisticated black and brown that both fools and pleases the eye. “It’s an illusion,” says Cantwell, “but nobody can tell. But anything guests can touch—stone tops and counters, light fixtures—is a big expense, and you get the best quality possible. All the gaming chairs were reupholstered, because all that can be seen and touched.”
   
Landry’s CEO Tillman Fertitta looked for economical solutions wherever he could find them. “There’s a value-engineering mentality at Landry’s,” says Cantwell. That approach was reflected in the room redesigns, which cost $25,000 per key, as opposed to renovations at the nearby Borgata, which cost $50,000 per key.
   
“But we touched every single finish in the rooms and gutted the bathrooms,” says Cantwell, adding contemporary vanities, light fixtures and glass shower doors.
   
The ambiance in the hotel rooms says ‘home’ rather than ‘hotel,’” he adds. “There’s a nice sofa area, not chairs with a table in the middle, because people don’t stay in to dine very often.”
   
The porte-cochere has been transformed from grim to glowing with a bank of shimmering gold overhead lights. And one of the Nugget’s chief attractions—that beautiful marina—has been thoroughly refreshed with new awnings, carpet, paint, finishes and wall coverings. “We needed to put some capital dollars there,” Cantwell says.
   
One welcoming venue, and a vast improvement over its fusty predecessor, is Vic & Anthony’s steakhouse. Designers achieved “an Art Deco, masculine, Rat Pack-y flair” with fine wood and marble finishes. A clunky millwork wine cellar has been replaced with one of skeletal steel for a modern twist.
   
Ongoing ease of maintenance—one way to save money over the life of a renovation—was top of mind during the 10-month overhaul. “We don’t build for the operator and turn it over—we are the operator,” says Cantwell. “When you look down low, you’ll see real wood and stainless steel. Up high it’s vinyl and veneer.”
   
The once-threadbare casino and hotel, “a second- or third-tier property” in Cantwell’s view, is now “first class. It’s a nice building, and the physical plant was in good condition. It was a good canvas. It just needed to be finished.”

In 2005, the Palace Casino Resort in Biloxi, Mississippi, was due for a renovation. On August 29, Hurricane Katrina hastened the plan and also handled some of the demolition.
   
Katrina roared up the Gulf Coast with winds of 120 mph and a storm surge that at times reached 30 feet. The casino’s hotel tower survived, but a 250-foot dockside barge was set adrift and ended up more than a mile inland. A second casino barge nearly capsized, and the walls of the land-based parking garage buckled. When the storm was over, sections of the nearby Biloxi-Ocean Springs Bridge jutted out of the water like a partially submerged, shuffled deck of cards.
   
State law at the time mandated that all gaming take place on water. As a result, all of Biloxi’s 12 casinos were damaged or destroyed, and a $1.3 billion industry sputtered to a halt.
   
Soon after the storm, Mississippi Governor Haley Barbour signed a law that would enable the casinos to rebuild on land, and officials at the Palace wasted no time picking up the pieces. Operations were transferred “from the back yard to the front yard,” says General Manager Keith Crosby. “We were temporarily operating in the hotel lobby, and put the buffet in the hotel ballroom.”
   
Just four months later, on December 30, the Palace was first Gulf Coast gaming hall to reopen after Katrina. A large-scale renovation and expansion of the property would not begin for another five years. And that time, an economic storm dictated the terms.  
   
The Great Recession, Crosby wryly observes, “has a great ability to focus your attention on the bottom line.”

Form and Function

By 2010, three years into the historic downturn, the Palace was trying to “adjust our growth to reflect the position the market was in then,” while proceeding with a much-needed renovation. “People were very careful of what they were spending and what they got for it. We needed to look hard at the longevity of our investment.”
   
Not surprisingly, at the top of the list for the property was durability and weather resistance. Crosby also wanted any additions to meld seamlessly with the existing structure.
   
“I’d seen enough properties in this area—the old Grand Casino is a perfect example—where it looked like one shoebox was set next to another shoebox,” he says. “There was not a lot of architectural continuity, and you can see the phases. This had to integrate.”
   
He also wanted a property that was “practical, functional, serviceable.”
   
“Designers have a tendency to live in a form-first world,” Crosby says. “I wanted them to know I would be on the side of functionality, 100 percent of the time.”
   
His collaboration with Cuningham Group Architecture of Minneapolis was lively and occasionally tempestuous.
   
“We were like warring factions,” says Crosby with a laugh. “I got hung up on function first and I repeated it again and again to the architects.”
   
“Yes, Keith was functionally oriented,” agrees architect Tom Hoskens. “Did that make it interesting? You bet. It was that good yin and yang, that push and pull, that got us to where we need to be.”

Design Composition

The $50 million renovation encompassed 110,000 square feet and added 64,000 square feet of new facilities, including a 40,000-square-foot gaming floor. The bones of the tower remained, but the designers did away with the quasi-Moroccan theme in favor of a handsome, streamlined Art Deco look.
   
“I learned a lesson from Steve Wynn in Atlantic City,” says Crosby. “The building is white and gold; it looks clean and modern. Like a new car, our goal was to keep it looking as good as the day we bought it. And we brought the same concept inside.”
   
Hoskens took his cues from the lines of the existing tower as well as the casino’s maritime backdrop. “We incorporated nautical elements—white, pristine boats and curved sails—and took the rhythms and shapes and forms of the tower and put them in the façade, inside and out.” Hoskens likens good design to a great orchestral piece, in which varying moods and movements serve to develop a prevailing theme.
   
“There are variations on the rhythms,” he says, “but it is all part of the same symphony.”

Everything Old is New Again

At the new Palace, the excitement begins with the “entry experience,” which Hoskens says must be established even before a guest sets foot on the property.
   
“We say spend your money on your arrival sequence,” Hoskens says. “Excitement does sell, and if you get them excited as they drive up in the car and ascend into the space, that is money well-spent.”
   
Once people are inside, the sights and sounds of the gaming floor generate more excitement, along with “interesting pathways through the experience, from amenity to amenity and from amenity to destination,” says Hoskens.
   
The goal at the Palace was to surprise and intrigue guests at every turn by presenting those amenities in an unfolding sequence. Three restaurants and a lounge are set in what Crosby describes as a “storefront” configuration around the casino floor, so gaming is no longer the ultimate destination, but one step in a longer journey.
   
The former lobby, with its red and ivory color
palette, circular skylight and incongruous swaying palms, has been replaced by a two-story atrium dominated by a back wall with twinkling lights behind layers of brass bars. One striking architectural element—a large scrolled letter “P” towering above the lobby desk—“creates a new paradigm of what the Palace Casino is—a modern, unique and alive resort,” says Hoskens.
   
The lobby carpets include tones of royal blue, caramel and brown in a swirled pattern. “You can see our desire to keep the natural warm tones and play off it with deeper colors,” Hoskens says. “There is the play of the carpet pattern from large scale to small scale and back, and that happens throughout the casino as well.”
   
The upper levels are accessible from the lobby by both a grand staircase and an escalator, and a computerized readerboard informs guests about entertainment and other leisure options. The atrium also houses the concierge area, VIP check-in, a gift shop, spa and fitness center, business center and motor coach lounge.
   
When it came to a new cage-cashier and guest-services area, Crosby says he conserved money by dispensing with unnecessary signage.
   
“The décor in that area is the employees themselves,” he says. “We spent the money on uniforms to make them look and feel good. Our guests would see them and say, ‘I see humans over there. They must be there to help take care of me.’”

A Whole New Game

The casino floor, with 26 table games and 1,100 slots, is characterized by vivid colors and layered ceiling lights. The lights “create a texture that adds warmth and excitement to the space,” Hoskens says. The fixtures are actually engineered to move slightly overheard, as if in a mild breeze. The kinetic effect is “pleasantly surprising” for guests, and the “warm, reddish-orange and lemony colors add a real warmth and friendliness,” says Hoskens.
   
The pre-Katrina sports bar had theater-style seating facing a bank of giant flat-screens TVs. The new Contact Sports Bar “is a hybrid of sports bar and performance area,” says Hoskens, “with a really interactive bar that goes into the casino area itself and serves as an invitation to take a break, come in, take a look.” Built-in links among venues guide patrons to take advantage of all the Palace offers; changes in décor from one space to another—as in the ultramodern Stacked Grill—give patrons “a mental break” that refreshes them and reinvigorates them for the rest of their journey.

A Whole New World

Crosby says the new Palace is “a complete departure from what we were before;” he proudly points out that the casino property is “100 percent smoke-free.” (There is a $1 million smoker’s lounge.)
   
“That set the tone, because it will have no impact on the building,” he says. “Culturally we said we’re not going to impact our associates by allowing smoking, and at the same time it will save our building.”
   
Both form and function are served in the new Palace, Crosby adds. “My definition of a good deal is when both parties go away mad. If neither of us gets everything we want, we probably both got what we need.”

Like most other industries in the world, the casino design business has been deeply impacted by the rapid advances in technology. What were once dense drawings with pen and ink have now become large computer files, showing every detail and nuance of a design. Owners can now “see” their completed project in 3D before ground is even broken.
   
Julie Brinkerhoff-Jacobs returns to this year’s Casino Design magazine with her annual discussion with leaders in the field. This year, the topic is how technology has changed the way architects, designers and builders do their jobs, and what it means to the owners, the customers and the experience.

Technology is impacting every part of our lives. What has been the biggest impact technology has had on casino design and construction over the past five years?

Dike Bacon: From a design standpoint, that would have to be BIM. A key component of our document delivery process is our expertise using building information modeling (BIM), and specifically Revit technology. We’ve been using BIM for quite some time now. The system coordinates and produces design and construction drawings, renderings and models using Revit Architecture 2012, an integrated BIM program that automatically synchronizes all building information modeling and project documents in real time (on an IBM/Microsoft Windows-compatible platform).
   
BIM is a huge contributor to the accuracy and efficiency of our work, and its ability to fully reconcile program data with design documentation is unparalleled. 

Michael Calderon: For architects, building information modeling has forever changed design and construction. Although increasing the time it takes to turn design into construction documents because of the steep learning curve, it has decreased construction time and dollars because of the fact that through the design process and model-building, many potential unforeseen problems have already been worked out before the construction phase begins. Creating 3D visualization models using SketchUp and incorporating 3D models created with Autodesk Revit helps our clients to better understand and visualize design intent.

Richard Emery: Technology’s impact on the world in the last five years has been significant, especially in casino design and construction. By far, the use of BIM opens up exciting new ways of working in the casino market for all team members. Here are some examples of how BIM changes everything:   

• Designing in 3D—not relying on 2D Plans. Building a virtual project in 3D before breaking ground.
• 4D—scheduling/time enabled by the BIM models.
• 5D—cost control—quantities are taken directly from the BIM models, and cost factors are linked with a database to the BIM models.
• Communicating the design with all stakeholders with new digital tools. Video conferencing and Smart Boards save time and money for meetings, and allow all participants to see the 3D virtual building in a live context, and add comments with graphic tools in a virtual group setting.

J.F. Finn: For Gensler, BIM has allowed our clients to assess their priorities: speed to market, cost control, flexibility, procurement, etc. BIM has allowed us to have a powerful tool with multiple channels for project delivery.   

In particular, we have seen a significant growth in design-assist or variations of design-build. BIM has provided a common platform for the designer to work with the engineers and fabricators in developing details and evaluating conflict/clash detection, as well as reducing schedule by taking design development drawings straight into shop drawings.

Brad Friedmutter: For the past several years we have been utilizing 3D modeling and building information modeling as our standard practice in architectural design. This is a tremendously important advance from hand drafting and 2D CAD software. Now, all of our projects are created in a 3D format from conceptual design through construction.
   
During the initial design phases, the exterior and interior design are fully modeled and rendered to provide the owner with a photorealistic image of all the major project components. Additionally, the model is used to develop a video animation and “fly through” to fully convey the design intent. This 3D development has been revolutionary in creating designs that allow owners to review and evaluate a multitude of options quickly, efficiently, and with confidence and understanding of future impacts, thereby reducing what historically was often a lengthy owner’s approval process.

Ken Kulas: Technology today has placed many demands upon the interior designer not only for improved usability of a space but aesthetically as well. In high-profile public spaces, the desire to create some animation and energy is typically a directive. Specifically, audio and visual sensory entertainment. A larger-than-life feature of video display can not only be that source of energy, but can also be used to help in navigation to understand a facility, provide promotional content, or be an interactive icon by itself.
   
In casino design, the opportunity to provide a guest with multiple entertainment options is of great importance. While playing cards at table game, the multitasking gambler may also wish to watch a race or other sporting event. The availability of video display can provide that connection as well as add to the ambiance for other guests.

Jack Mohn: Our guests are expecting more information and more interactivity every day. As we move forward, everything from way-finding to restaurant menu boards to the gaming devices themselves are becoming more interactive. Something as simple as a way-finding map of the property has become a touch-screen video panel that provides information at levels never before seen. In addition to these fixed informational systems, there is a new demand to be even more connected with applications for smart phones and personal devices that bring this information directly to the guest.

Tom O’Connor: Technology has impacted almost every aspect of casino design—everything from sketch-rendering software to Revit documentation, lighting products to sustainable finish materials, even smart phones. In our profession and as it relates to design, documentation and construction, the biggest technological impact today has been the ability to model the buildings in 3D—to be able to coordinate across all disciplines of design thus minimizing the contractor’s request for information (RFI) process during the construction phase of the project.

Nick Priest: From our perspective, the biggest impact has been the way in which design and construction projects are managed and facilitated. The continuous evolution of project management technologies and web-based information-sharing capabilities has allowed us to manage projects internally with greater efficiency and to collaborate throughout the design and construction process in a more seamless manner.

Dick Rizzo: The biggest impact technology has had on casino design and construction is the ability to coordinate and resolve conflicts in a virtual environment. Using CAD software, the design and construction team can sit in an office and literally walk through the entire project, viewing it at every major phase of construction in 3D. Before construction ever starts, we have already resolved and actually improved design plans for the mechanical, electrical, plumbing and structural portions of a facility. Streamlining major systems in the pre-construction phase eliminates unanticipated problems in the field, which in turn accelerates the project schedule. Technology not only exponentially increases project efficiency; it promotes innovation and fosters creativity. Planning in a collaborative atmosphere, especially on complex integrated systems, generates new ideas that ultimately improve processes and quality, and lower cost.

Is technology impacting the cost of construction in either a positive or negative way?

Emery: In a very positive way. Lean building techniques using BIM are helping eliminate waste on the jobsite by pre-determining quantities of materials from the virtual/BIM models. Cost estimates and construction schedules are produced from the BIM models from conceptual stages all the way through construction, keeping the project on budget and on schedule. Large cost and time savings can be realized. These new abilities are made possible by our use of the newest and best technologies available on the market. We are continually striving to stay ahead of the curve when it comes to using high-tech and cutting-edge tools for the betterment of a project.

Finn: Historically, I think it’s often a wash. Technology allows savings in many areas, while costs go up in others. What we have continued to see is that the technology itself, combined with the constant need to accelerate learning of new product lines, infrastructure and training within the construction professions themselves, makes the cost go up. In other aspects of construction—fabrication, for example—costs can go down. The key is to leverage best practices for the highest value back to your client.

Kulas: If you compare to even a high-cost performance video monitor to a traditional framed piece of artwork, a designer can actually cut costs when applied to an accessories portion of an interiors budget. Easily priced at $10,000 for a 72-inch piece of custom framed art, a monitor of that size could be very cost-effective in its place. Depending upon the décor, technology can be a designer’s biggest ally.

Mohn: These new systems are requiring more data at higher speeds. The basic infrastructure of the facility must be capable of handling these increased demands. As the basic player systems transition from traditional wired networks into high-speed ethernet systems, the requirements increase substantially. These new technologies not only change the networks, but also require increases in the spaces to support them. 

O’Connor: On the construction management side, the cost of construction is impacted by the minimized RFI process and thus fewer change order requests have helped control cost overrun on the project.
   
On the design side, our clients are embracing the latest media technologies to promote their identities and brands. For the most part, we’ve found construction budgets are being increased to allow for these sought-after media. The impact of media technology in casino design translates directly into increased revenue.

Priest: The ability for the entire project team to work within one 3D model simultaneously during the design process helps to ensure close coordination between consultants and fewer gaps in scope. This process also allows for project costs and budgets to be established and monitored with great accuracy.

Rizzo: Technology is a definite positive. It saves time and money by resolving major conflicts in preconstruction. It also simplifies how information is documented, distributed and stored. Perhaps most importantly, technology vastly improves communication. Gone are the days when project managers had to take a picture, go back to the office, write notes, and so on. Today’s project managers are armed with iPads and tablets. When a manager spots an issue in the field or has a question, he pulls out his electronic device, snaps a picture, types his comment, and sends it to a subcontractor, consultant or architect. This leads to real-time decisions, improved efficiencies and better documentation. 
 
How has new technology—server-based gaming, player loyalty clubs, ticket-in-ticket-out, bonusing, etc.—impacted how a casino is designed?

Emery: Server-based gaming has the potential to completely redesign the casino floor as we know it. How you play the game and where you play it will start to transform as the technology advances. As the server room takes control of the gaming, then, the design of the slot machine and its location can dramatically change.   

Ticket-in-ticket-out, self-redemption kiosks, cashier cages, count rooms and surveillance rooms have all been part of a transformation that has occurred over the last 10 years. Technology has allowed designers to make many of the casino support areas smaller in size, while the need for data rooms and servers has increased. 

Finn: Technology is changing the way we communicate and interact so fundamentally, that the whole definition of space is being redefined. People don’t have to go to an office to do their work; we can buy and sell from the comfort of our living room. This creates a much more acute need to connect and be a part of human activity. A well-planned, dynamic gaming environment can capture that “energy pulse” of gaming. The casino environments now must be able to not create and hold the excitement. Amenities such as F&B, shows, music and spontaneous events together with dynamic media can support, feed, interact and integrate with the gaming environment.
   
There is a real revolution going on in the current design of casinos. The key for guests and for owners is around flexibility and choice. Technology has provided so many different ways of delivering the gaming experience, the competitive differentiators have become more about the gaming environment, the amenities, and how they are integrated into the overall resort experience.

Friedmutter: The operator’s ability to provide convenient customer service “touch points” at satellite self-serve locations (kiosks) throughout a property has greatly increased the demand for multiple location kiosks throughout a property, and, at the same time, reduced the demand on the traditional cage operations. As a result, the required space for the cage has decreased. On the other hand, the additional locations for self-serve kiosks have resulted in a more complex and widely distributed infrastructure to support these features throughout the casino floor.

O’Connor: Casino resorts are designed with customer service in mind. New technology has strong customer service impact, in that it offers patrons what they want, when they want it—which is immediately.
   
• Server-based gaming allows casino operators to gauge patron interest and immediately update their gaming offerings to meet patron demand.
   
• Ticket-in-ticket-out and redemption kiosks promote an instant gratification to patrons for cashing out and collecting their winnings by way of self-service. This also affects design by requiring smaller cages, with fewer cashier windows and associated queuing areas to accommodate long lines at the redemption booths.
   
• Player loyalty clubs and player reward cards allow patrons to immediately redeem club admissions, special services and comp rewards, by real-time tracking of casino play and resort purchases. In the past are the days where players wait for offers by “snail-mail,” rewarding them for their play on a former visit.
Priest: These technologies have had quite an impact on the way in which we design signage for server-based gaming environments. Rather than producing signage that is themed to align with a specific game, our creative and production teams are creating signage to in-house, network-based LCDs that is much more architectural and in line with the surrounding interior design aesthetic. Control and programming of the kinetic lighting and content that we incorporate into the signage features is closely coordinated with the gaming manufacturers to enable flexibility and proper synchronization with whatever game is in use, along the surrounding games to enable reaction and support to events such as jackpot payouts.
 
Has “green” technology played a role in improving the design and construction process? Do you encourage your clients to employ green technology in their projects?

Bacon: Our HBGreen initiative works by establishing a platform or framework to engage and inform our clients about sustainability and introduce key concepts that can help their facilities perform better and more efficiently. It’s a core strategy of our design philosophy and our corporate operations. Encouraging energy-efficient practices is not something we just “add on” to a project to make everyone feel good. Put simply, the appropriate sustainable practices and initiatives are integrated where feasible into every project, as well as our own daily operations.

Emery: “Green design” is no longer a new concept. Clients ask for it, manufacturers are creating it, and we are implementing it into our designs. When green technology does not cost more it is easy to convince clients to use it, but, when the initial costs or the payback periods are excessive, it is difficult to justify on a project. We will not see 100 percent participation of the use of green technology by architects, engineers, contractors and owners until the building codes make it mandatory.

Friedmutter: Owners are eager to incorporate green technology and sustainability into project design where feasible and appropriate. Improvements and methodology within specialty disciplines vary widely, however. Smoking continues to be the biggest hurdle in true green design, but a number of opportunities and certification processes are available, and we are sharing these opportunities with our clients.

Kulas: Several clients have initiated a project without the directive to be specifically “green.” Once the design development begins, the frequency of the “green” reference by the architect and interior designer begins to open a door to the possibility of easily meeting some of the standards. Quickly, the client learns the verbiage and responds positively with some of the options that may be presented. During presentations, a designer can suggest a specific material that has green characteristics. That often helps “sell” the design to the client.

Mohn: As an owner, we have a company-wide green initiative. All existing properties as well as new projects work to address these issues. We are continually evaluating the best ways to incorporate green methods and technologies in our new facilities as well as how to retrofit the older properties with these new ideas. It is becoming more common to see sustainability requirements in several of the new gaming jurisdictions as part of the licensing requirements.

Rizzo: Although construction will always be labor-intensive, technology has improved almost every aspect of the industry, including going green. Certainly, as a corporation, Tutor Perini advocates green technology as do most clients. The drawback to going all green is cost. If a client can afford green technology or realizes ROI in a timely manner, they either go full bore or make smaller, strategic investments to reduce energy costs and improve the environmental impact of their property.  

How will advancing technology improve the design and construction of casino resorts in the future? What will a casino resort look like 20 years from now?

Bacon: With some measure of an internet gaming experience looming on the horizon, it’s very hard to make predictions about the long-term future of the bricks-and-mortar portion of the industry. We like to believe this kind of technology will ultimately be leveraged from a marketing and promotion standpoint to get a whole new breed of gaming customer through the physical door. The challenge for the design industry, of course, will be to respond and meet the expectations of this digital-age demographic once they enter the facility.
   
The real-time use of the “mobile wallet” could transform the transactional process for all purchases throughout the facility from check-in to comp redemptions to guest room customization. As an example, the hotel lobby of today may not look anything like the hotel lobby of the future. In this kind of environment, operations will immediately know what the customer is looking for at any given time and be able to deliver it. Real-time transactional data will become the most valuable asset on the property. 

Calderon: Firms that are well-versed in BIM and have gone through the steep learning curve as this new technology continues to advance will be able to provide significant improvement on detail, design and discipline coordination.

Emery: New digital design tools and BIM technologies such as Autodesk Revit enable architects and designers to create very exciting and dramatic forms which were impossible in the past with traditional tools. These designs can be output to digital fabrication tools which allow highly accurate construction in a controlled, high-tech shop environment. Components are then delivered to the site and installed as pre-fabricated units, saving time and money.

Finn: The gaming business is becoming more ubiquitous, with almost every state and country legalizing it; it’s less about a place you have to go but where you want to go.
   
The casino of the future will continue to evolve to become more and more immersive and experiential. The integrated resort, mega-resort and mixed-use development models will continue to be drivers for innovation and for dynamic environments. The technologies we are seeing are blurring the lines between different uses and activities. The casino of the future may not be recognized as a “casino” but as a high-energy, dynamic and varied entertainment center.

Kulas: The advancing opportunities of how technology can support the environment specifically to the aesthetics must be balanced with any possible negative connotations. In an instance of public area venues, too much “self-serve” or automated functions can reduce the perception of customer service. It can, however, be an advantage allowing guests to have more “one-on-one” service now that some of the employees’ functions have been supplemented by that automated technology.

O’Connor: In terms of what a casino resort will look like 20 years from now, this will directly be linked to how a casino resort will be experienced—either as a “physical” place or possibly as a “virtual” re-creation. Visiting a resort could be the latest “app” beamed to your as-yet unimagined device (possibly even an implant). The casino resort of the future could very well be either a three-dimensional destination or a holographic mind meld. A lot can happen in 20 years.

Rizzo: Casinos in the future may look much different than today. They might start taking on the appearance of electronic arcades with more interactive machines, potential of holographic environments and fewer traditional slot machines.
   
Technology can create sweeping changes or can have a more subtle effect. For example, the elimination of actual coin on the public floor when playing table games saves money in the design and construction of facilities. Al
though it is a minimal impact, the floors in public areas no longer need to support heavy loads of coin moving across them. As a result, lighter structures are the norm today. While not all technology is trendy like an iPad or 3D software, the savings and efficiency add up.
   
We can’t predict the future, but in general, the overall use of casinos will remain the same, only we anticipate more electronics infused into the public experience. From a contractor’s perspective, we embrace technology to improve communication, streamline processes, lower costs, and improve the environment.

If you could choose one technological advancement/creation that has significantly improved the way you do business every day, what would it be and why?

Bacon: The biggest technological advancement for us is still the immediacy of the mobile internet. From the transfer of huge quantities of data, to conducting remote meetings, communication, and presentations, to the infinite opportunities for research and development, the mobile internet still dramatically affects almost everything we do. 

Calderon: I believe one of the most invaluable technology tools today is the internet. We use it for research and testing new software by download and installing trial versions of potential new tools. It is also a very helpful research tool for new products. It allows for immediate access to our clients and consultants via video conferencing. It also expedites the sharing of data through a multitude of file-sharing tools such as project portals, FTP and online storage and transfer solutions.

Emery: “The Cloud”—which enables mobile computing and communication—has by far been the biggest breakthrough in technology and has vastly improved and changed forever the way we do business, as it enables mobile users, home and remote office users, clients, jobsites workers, owners/clients, and all other stakeholders to gain instant and up-to-date access to information about the project.

Kulas: If there is to be one significant positive element that can be contributed to the accelerated design and production in the 24/7 design world, it is the lack of time available to have all the information, in the physical paper form, created for presentation, manipulation and storage. Working faster, cleaner, and increasingly more efficient, our role is forever a wonderful challenge.

O’Connor: If we had to single out the one technology advancement/creation that has significantly improved the way that we do business every day, it would have to be digital visualization software. Packages such as Sketch-up Pro and Autodesk’s Revit have enabled designers to quickly model in 3D and clients to quickly comprehend the elements of a project at remarkable speed and with quite dramatic results.

Priest: Personally, the technologies that have improved the way in which I work every day are Wi-Fi and air cards, web-based meetings and screen sharing. These real-time/anywhere technologies enable me to remain in close contact with my colleagues, wherever we may be.

Rizzo: As design becomes more intricate and projects grow in scope and size, calmly solving challenges and creating new solutions in a 3D environment is a phenomenal benefit for everyone on a project. Eliminating conflicts before construction starts positively impacts every major component of a project.

PARTICIPANTS

Dike Bacon is a principal and director of planning and development at Hnedak Bobo Group, Inc., a planning, architecture, and interior design firm. In this role, Bacon is focused on influencing and aligning the firm’s expertise, disciplines and national presence with client vision. His professional practice experience spans 32 years and supports his leadership balancing dynamic programmatic development objectives with market-focused economics. His project experience includes major gaming/hospitality/entertainment resorts throughout the U.S., and his client list includes some of the most recognized and successful commercial gaming companies and Indian gaming tribes in the industry. Bacon is a very active sponsor and associate member of the National Indian Gaming Association, and serves on the Global Gaming Expo Conference Advisory Board and the Global Gaming Business G2E Casino Design Awards Advisory Board.

Julie Brinkerhoff-Jacobs, moderator, is president and CFO of Lifescapes International, Inc. A senior principal with Lifescapes and a team member for over 30 years, Brinkerhoff-Jacobs focuses on guiding the company’s growth through strategic planning, marketing and sales. She is a frequent speaker at industry events and has authored numerous articles on real estate and demographic trends. A graduate of Cal State University Sonoma, Brinkerhoff-Jacobs is actively involved in organizations such as G2E, the Urban Land Institute (member of the Entertainment Development Council) and International Council of Shopping Centers, and sits on the advisory board for Global Gaming Business magazine, among other boards. She also is the co-founder of HomeAid America, established in 1989 to provide shelter for homeless families, returning veterans, women and their children.

Michael Calderon has been the information technology and CAD manager, and a principal for Lifescapes International for the past 18 years. Calderon was originally hired as a consultant to train the office in the use of computers and CAD. His ongoing overview of new systems and the training of both design and administrative staff are essential to the firm’s continuing growth.

Richard Emery, AIA, earned his architecture degree from Kansas University. He joined Thalden Boyd Emery Architects in 1982 and leads design and production for all projects in the office. His design talent has inspired the firm in its design of award-winning projects throughout the years. In the past 26 years, Emery has designed hotels and casinos in gaming markets throughout North America and overseas. Aside from his vast knowledge in casino and resort design, Emery has been at the cutting edge of CAD technology and building information modeling (BIM). With his extensive experience in fast-track and phasing, Emery has designed projects collectively worth over several billion dollars.

J.F. Finn is the managing director of Gensler’s Las Vegas office. He recently was Gensler’s lead principal on MGM Resorts International’s CityCenter, an $8.4 billion Las Vegas urban metropolis and the largest privately funded project in the U.S. For over 30 years, Finn has been instrumental in the success of a wide range of planning and architectural projects, from the full range of hospitality projects to large-scale community master plans to transit facilities, civic buildings and mixed-use developments. His unique experience brings a balanced, creative and conscientious philosophy to the design and planning process. Since joining Gensler in 1988, he has focused on large-scale, multidisciplinary projects and land-use planning, combining long-range vision with a bottom-line approach to the public and private sectors’ planning goals and objectives.

Brad Friedmutter, AIA, is founder and CEO of Friedmutter Group. Friedmutter is a registered architect in Nevada and 43 additional states, holds an unrestricted Nevada gaming license, and has worked exclusively in the hospitality industry for more than 35 years. Friedmutter worked as vice president of design and construction for Steve Wynn and Mirage Resorts, Inc., and as vice president of design and construction for Bally’s Inc. Friedmutter Group was incorporated in 1992 and provides full service from offices in Las Vegas; Newport Beach, California; and Macau. Friedmutter is frequently honored for his contributions to the industry. Recent honors and awards include induction to the 2009 Hospitality Design Platinum Circle, honoring career achievement in the hospitality industry; the 2008 Hospitality Industry Network Lifetime Achievement Award; and the prestigious 2007 Sarno Lifetime Achievement Award for Casino Design.

Ken Kulas is principal and co-owner of Cleo Design in Las Vegas. Cleo Design is one of the leading interior design firms in hospitality and gaming, working with industry giants such as MGM Resorts, Wynn Las Vegas, Seminole Hard Rock and many more. Kulas has been a member of the Las Vegas design community for more than 25 years and has been involved in virtually all facets of interior design.

Jack Mohn is vice president of design and construction for Ameristar Casinos. He is responsible for overseeing all aspects of project design and construction for the company’s eight properties, including the new Ameristar Lake Charles. Under his guidance, the company has recently completed renovations at two of its properties. Mohn joined Ameristar in November 2006 as vice president of design and oversaw the design of the Ameristar Casino Resort Spa Black Hawk’s 33-story luxury hotel and day spa, and the 2008 expansion of Ameristar Casino Resort Spa St. Charles. Mohn also oversaw the rebranding of Ameristar Casino Hotel East Chicago and the expansion and luxury hotel renovation of Ameristar Casino Hotel Vicksburg. Prior to joining Ameristar, Mohn was the principal of EwingCole’s West Coast Sports and Entertainment practice. He holds a bachelor of science degree in architecture from the University of Southern California. 

Thomas O’Connor has spent more than 30 years acquiring experience in the design and realization of a variety of architectural and master planning projects ranging from hospitality, gaming, entertainment, destination resorts and retail town centers to high-end residential work. As one of the founding partners of SOSH Architects, O’Connor has seen the company grow to a national powerhouse achieving projects for the country’s best-known hospitality, gaming and entertainment clients. With offices both in Atlantic City and New York City, O’Connor and his partners are working on projects coast to coast as well as the Caribbean, the U.K., Europe and the Middle East. O’Connor received his bachelor offine arts and bachelor of architecture from the University of Notre Dame with graduate-level continuing education from the Harvard University Graduate School of Design.

Nick Priest is director of special projects for YESCO, the gaming industry’s leading sign provider. Priest directs YESCO’s special projects team, focusing on collaborating on the design and seamless integration of dynamic signage, media displays and unique features into projects of all sizes.

Dick Rizzo is vice chairman of Tutor Perini Building Corp (formerly Perini Building Company). Rizzo joined the corporation in 1977 as a project engineer and quickly rose through the ranks. Past positions include project manager and president of Perini Building Company. Currently, Rizzo is responsible for new business development and company growth. Other notable accomplishments include receiving the Las Vegas Chamber of Commerce Humanitarian of the Year Award as well as numerous awards from philanthropic and diversity organizations.

So one would argue that technology has changed the nature of the slot machines that cover casino floors. However, despite all the changes in the way slots look and are played, the basic design of a casino has changed little over the decades.
   
Until very recently, that is. The advent of multi-game and multi-denomination slot machines has lowered the number of physical machines needed to satisfy play requirements—the newest casinos and re-designed floors have wider aisles and a more comfortable environment for slot players than the factory-floor setups typical of casinos designed more than a decade ago.
   
Electronic table games are another development creating new types of spaces in casinos. The new Revel in Atlantic City has a “digital pit” comprised completely of multi-player electronic table games; other casinos are making way for the electronic table games as well, devoting less space to the live versions.
   
Even with these changes, the basic design of the casino floor remains relatively unchanged. However, the casino industry’s premiere architects agree that as technology marches on, the new generation of players and operators may require that the look of a casino be different.
   
“The casino floor 10 or 20 years from now will certainly look different than it does now,” says Brad Schulz, vice president of Bergman Walls and Associates. Schulz, who has been designing casinos and resorts for 30 years, says the nature of slot play will probably dictate a significant change in casino design in the coming decades.
   
“If we were to jump ahead 20 years, I think you’re going to see a definite change in the casino floor layout, especially when it comes to slot machines,” Schulz says. “You’re probably not going to see the endless banks, rows and rows of machines, that we see today. A definite generational change that’s happening is that the younger people today are much more accustomed to their hand-held devices. They are much more accustomed to mobile technology than the older generation.”
   
The new Hard Rock casino in Tulsa, Oklahoma, contains what may be a harbinger of how casino design could change with technology—a mezzanine section with e-games surrounding a “media bar,” a casual seating area with graphic and interactive displays, all centered around social media.
    
Spaces designed like this may become commonplace in the coming decades, predicts Schulz. “As (today’s young players) get older and start gaming more, they’re going to want the immediacy and intimacy of doing it on their own device,” he says. “The technology is already there, but certainly, 10 or 20 years from now it will be something we take for granted.”
   
Schulz says one way this type of gaming will affect design is with more intimate gaming areas. “The casino of the future is going to have more of a lounge feel,” he says. “It’s going to have people being able to play their games on their hand-held devices in much more intimate settings. They will literally be able to gamble anywhere on the property. You’ll still have slot machines, but the atmosphere of rows and rows of slot machines is going to go away.”
   
Longtime casino architect Paul Steelman, founder of Steelman Partners and 2010 recipient of the Sarno Award for lifetime achievement, points to Wynn properties like Encore in Las Vegas and Wynn Macau, and former Wynn properties like the Mirage, to demonstrate how these intimate spaces are likely to be accomplished—“structures within structures.”
   
Casinos will be “designed smaller” in the future, he says, or, “if big is required, it will be designed to look small and personal.”
    

The Social Aspect

While there may be more subdivisions of casino space in the future, none of the gaming will be done in isolation, notes architect Brad Friedmutter, another Sarno Award recipient who has long been known for casino projects.
   
Friedmutter says social interaction is important to the younger generation of gamblers, even if hand-held devices are in play. “The nature of people is the same as always,” he says. “Formerly, if someone hit a jackpot on a slot machine, there were bells and whistles. It was loud, and you would hear the coins coming down. What that did was attract attention. Here’s a winner—and everyone sees and hears that, and comes running over to see who won. Everybody likes to see a winner.
   
“Tomorrow, or 10 years from now on hand-held devices, people are going to tweet that a jackpot was hit, or the casino will send the message, including where it was hit. The delivery of the message is going to be different, but the (social) nature of people is always there.
   
“People want to be around the winners, and where the good luck is, and where the action is. The energy. It’s the (message) delivery system that technology is going to advance, but there are still segments of people who want to be together.”
   
Albie Colotto, director of design for the Friedmutter Group, adds that the social aspect is perhaps more important to the younger generation of gamblers than to today’s majority of players weaned on huge slot floors where everyone minded their own business. The X and Y generations and beyond, who spend a lot of time in nightclubs, need a “see-and-be-seen” atmosphere, Colotto says.
   
“The X and Y generations are the same gamer, going to nightclubs and similar kinds of entertainment venues,” says Colotto. “You’ll still find those kinds of entertainment venues to be very open. Even in clubs, when they try to close them off too much, you don’t get that social interaction people still want when they’re doing entertaining kinds of things—of which gaming is definitely a strong part.”
   
Friedmutter cites the newest electronic hybrid table games—systems linking one live wheel or table to hundreds of individual, slot-like wagering terminals—as examples of what combines the solitary and social aspects of the casino experience that are important to younger players. “What they’ve done through technology is to g
ive what counts as two or three games the ability to have perhaps 150 people playing,” he says.
    
Adds Colotto, “What we’re starting to see even on the slot machines is that the younger generation, even when they’re gaming at home, like the social aspect. The younger generation wants to be on games together. In China, you’ll see one dealer but 200 people playing at a time. That will change design, in that more people will be playing a game at one time.”
    
Friedmutter sees the social aspect of gaming extending to future hand-held play as well. “People say that communicating on hand-held devices means less face-to-face interaction, and yet, on the game side, people play against each other around the world,” he says. “They might not see each other face-to-face, but they’re used to playing against each other. So there is, on the one hand, isolation, yet at the same time there is interaction.”
    
He says this will translate into a casino design that allows social interaction along with game play. “The whole notion of coming to a casino, in addition to the gaming aspect, was always the social aspect,” says Friedmutter. “Coming to the casino, hanging out at the bar, having dinner, going to a show—a whole nighttime experience.”
   
He says future design will reflect this basic fact, but Friedmutter is not ready to say the current casino model is going away. “I don’t have a crystal ball, and as they say, everything old is new again. I don’t think there’s a straight line of technological progress. It’s an evolutionary process. Things are going to develop in technology and in the social interaction of people that might be hard to trend.”
   
Schulz also is hesitant to predict the demise of the current casino model, but says a change is definitely in store. “There are so many things that happen in a casino today, with the more traditional lights and sounds that have always been there,” he says. “You’re going to have to keep those for a number of years. However, the more comfortable people become with their hand-held devices, the more the game itself may be changing.
   
“Until the older generation is gone, there will be those who feel more comfortable sitting in front of a slot machine. But certainly, 20 years from now, the majority of players are going to want to play on their individual hand-held devices, or devices issued to them by the casinos, instead of these floor-mounted machines.”
   
He stresses that the table game element of casinos, unlike the slots, is likely to remain relatively the same as it is now. “Most people who play table games like the atmosphere that surrounds the tables themselves,” Schulz says. “A craps table is fun because of the atmosphere—the excitement of the game, the crowd. I think you’re going to see table tames around for a long time. But slot machines are headed for much more intimate lounge areas; it won’t even necessarily feel like you’re in the casino itself.”
   
Like Friedmutter, Schulz stresses that his predictions assume an evolutionary process that may or may not happen within the next few years. However, he notes that a basic principle of casino floor design is adaptability.
   
“As architects, what we try to do is create spaces that will lend themselves to flexibility,” Schulz says. “We minimize the amount of things that are intrusive into the space—columns, structural braces—which, as things progress, would make it difficult to renovate a space. We try to leave the gaming area as open as possible, to allow for as much flexibility as possible—in the physical layout, in how the electronics work.”
   
That includes going wireless, which Schulz sees as a probable trend. “As we see wireless progressing, 20 years down the road, even the hard connections may be going. The technology will be there to make everything wireless if the gaming companies choose to do that. How that changes in the next 20 years is anybody’s guess. It could fundamentally change how we look at casinos altogether. That’s the part nobody knows for sure—how far this could go.”
   
Steelman stresses that that regardless of whether or not casinos go wireless, or how many lounge-style areas may evolve in the modern casino, or whether or not the rows and rows of slot machines will remain a staple of the casino floor, the focus of the casino space will remain the same—gambling. “There may be lots of new ideas and attractions, but casinos will always be focused on gambling,” Steelman says. “Throughout the history of casino design, when unusual entertainment attractions were placed on a casino floor, they did not work. I can cite 10 examples of Disney-like attractions that have come and gone on casino floors.”
   
As far as the gambling, Friedmutter adds that casino floors will adapt to a mixture of the old and the new. Referring to Aristocrat’s new slot based on the 1978 Superman movie, he says, “Interestingly, here is modern technology, and here they are talking about Superman! I think there will always be this mix of the old and the new in the future. People try things, and some of them stick. And as they mature, people naturally evolve with it.”

Nobody thinks of million as a small amount, chump change, “peanuts,” or just walking-around money. But when it comes to renovating casino properties, million is often considered a small amount.
   
Yet, a small amount may be all that a property can manage in the current economy, and if that’s the case, where should the money be spent? Where will it make the biggest impact?
   
We asked that question of a number of leading design and engineering firms that have done a significant amount of work in the casino industry. Their answers have a general consensus, but some of the responses may surprise you.

The Gaming Floor

Several of our respondents pointed to the gaming floor as a good place to make a big impact with a small budget. Tom Hoskens is a principal of Cuningham Group Architecture, which designed the $44.5 million renovation of the Palace Casino Resort in Biloxi. Hoskens points out, “Even on a small budget, one opportunity for change that does not necessarily involve a large investment of capital is changing the layout of the gaming floor, and the path by which guests experience the gaming environment.
   
“A different layout will change focal points and add pathways and corridors, thereby encouraging guests to explore and criss-cross the floor to reach certain amenities. While carpet and ceiling treatments need to change to work with the new flow, the impact is substantial, and for less money than what it would take to add floor space.”
   
Dike Bacon of the Hnedak Bobo Group puts it rather succinctly when he states, “Make your revenue-generators visible.” Hnedak Bobo Group recently applied this principle to the Sycuan Casino, near San Diego, California, in a $27 million renovation.
   
Brian Fagerstrom of WorthGroup Architects cites the example of his firm’s addition and renovation of the Hard Rock Hotel & Casino Tulsa, Oklahoma, as part of the Cherokee Nation. Changes on the gaming floor included the games themselves.
   
“Another important trend in the U.S. is the dynamic transformation occurring on the gaming floor with the influx of interactive gaming as the future of i-gaming is on the horizon,” Fagerstrom says. “This is interesting from the design perspective as there is a need for maximum flexibility and adaptability with changing amenities and new technologies. Perhaps most appealing in these trends is that their implementation can be accomplished in many properties for relatively reasonable capital investment.”
   
A note of caution is in order at this point. Many properties have been renovated over the years—sometimes because a concept fails and is replaced with another, and sometimes because an ownership change brings about a new change in focus or direction. This sort of change over time can result in a disjointed environment.
   
Bacon describes the Sycuan Casino as “suffering from repetitive addition syndrome that resulted in the casino feeling very piecemeal and closed off from one area to the next.”
   
Ken Kulas of Cleo Design adds, “Over time, many casinos will modify in reaction to specific guest services, changes in technology, or personal taste of the current operator. A property can lose the original focus and build upon designs that are slightly skewed from a brand direction and end up with a disjointed comprehensive interior that can confuse a guest.”
   
According to Kulas, a solution that Cleo Design has used in several properties—including the Las Vegas Hilton, the Golden Nugget Casino Las Vegas, and the Stratosphere Casino in Las Vegas—utilizes the concept that “surface changes rather than construction can make a huge impact to a renovation, yet are much more friendly to an owner’s budget. Décor—being the most recognizable difference when renovating a casino—can be as easy to understand as its brand.”

Make Every Part Contribute

Many renovations are initiated when an amenity, for whatever reason, doesn’t attract customers. A certain ethnic food, for example, may not find many fans in one part of the country.
   
Mike Stewart of YWS International gives us an overview: “Typically opportunities exist in unused, non-revenue- generating space or space that can be adapted for another use once its primary use is closed, such as a race and sports book. After analyzing the competition, the facility infrastructure and the customer needs, we can typically develop new concepts, including new F&B venues, potential brand partnerships, or retail/entertainment amenities, which can become new revenue opportunities for the owner.
   
“One project we recently completed was the buffet remodel at the Hard Rock Hotel & Casino in Tulsa, Oklahoma. Not only did this project completely change the look and feel of the buffet but it also incorporated unused space to increase seating capacity by approximately 20 percent.”
   
SOSH Architects had a similar experience with the Trump Taj Mahal in Atlantic City. According to Tom O’Connor, “SOSH started with a successful $25 million interior renovation which translated into an extensive $11 million Boardwalk improvement renovation. SOSH was able to introduce a number of retail and F&B venues with access directly off the Boardwalk to ‘activate and celebrate the public access.’”
   
Another danger with amenities is the underperforming one—one that may do well at certain times but is relatively dead at other times. David Nejelski of Thalden Boyd Emery points out, “During off-peak times, center bars create a ‘dead zone,’ an area that does not contribute to a guest’s experience or the property’s revenue. An isolated venue as well can be empty for a majority of hours in a day—or even days.”
   
Nejelski cites, as an example of successful renovation, the Commerce Casino in Commerce, California, where a new River Bar made an impact even during off hours: “The alignment of the bar with the new ceiling element is all that is needed to create a space. It has the added advantage of never feeling empty, as people are always walking past. Bei
ng completely open, many of those people stop to get a drink. After opening, beverage revenues property-wide increased by nearly 20 percent.”

A Strategic Balance of the Amenity Mix

Amenities—bars, restaurants, spas, pools, retail and entertainment venues—are an important part of the appeal of going to a casino. Guests will go to a casino more readily if there is more to do than just visit the gaming floor, and more attention is being focused on having the right mix of amenities in the right location than ever before.
   
“We are seeing considerable strategic thought go into the selection of amenity mix at properties that are finely tuned to customer appeal,” Fagerstrom explains. “Abundant attention over the past year has infused the amenity mix with highly popular retail brand names—whether a famous chef, the hottest reality show, or most popular country singer.”
   
Hoskens of Cuningham Group echoes this view when he explains how changes in the amenity mix helped rejuvenate Palace Casino.
    
“The dramatic renovation and changing the mix of amenities allowed Palace to evolve to a more upscale market,” Hoskens says. “In doing so, it appeals to those seeking a destination and entertainment experience, not just a place to gamble. Palace capitalized on the trend of giving guests more reasons to stay longer, spend more and return again.”
   
Illuminating Concepts is a lighting and media design firm that has done a great deal of work in casinos. Michael Shulman of Illuminating Concepts explains his firm’s philosophy towards the gaming environment:
    
“There are many ‘features’ that we design and collaborate on for all of our projects,” explains Shulman. “We remain consistent that the entertainment strategy is not to create or deliver one feature but instead many elements, features and experiences to create a ‘must feel’ environment. We do utilize lighting and media to heighten the visitor expectation and try to instill a sense of personal belonging and interest into the space.”
   
Another element in creating the right mix of amenities is to go after the non-gaming guest. The Sycuan Casino saw a potential market in non-gaming customers and asked Hnedak Bobo Group to help exploit the opportunity.
    
“Many of our clients are focusing on non-gaming customers as an untapped potential revenue-generator,” Bacon says. “The Sycuan Tribe is a primary sponsor of area professional sports teams, the MLB Padres and NFL Chargers, so their new 6,500-square-foot, blue-and-gold-themed food and beverage venue was a natural fit as a sports bar that targets a younger demographic. It’s quickly become one of the hottest bars in San Diego County.”
   
The non-gaming customer is also drawn by nightclubs, specifically designed to attract younger customers.
   
“We are celebrating a new demographic, the Generation M, the Net Generation, those who have spent their entire lives with the World Wide Web,” Michael Mangini of SOSH Architects explains. “We are designing nightclubs that enliven and energize through the use of communications and media technologies—an immersive club experience. Casino properties are looking to capitalize on the extremely prosperous business of a nightclub while singularly identifying and branding their property as the ‘place to be.’”

Improving the Experience

Few gaming equipment, gaming floors, and a great amenity mix can still fall short if your guest has an unpleasant experience in the visit. With smoking being banned in more and more locations, people do not have the experience typical only a few years ago, of coming home reeking of cigarette smoke.
   
Most casinos still permit smoking, and most guests tolerate it—but the less smoke they experience the more they enjoy their stay. Greg Peterson is a mechanical engineer with AE Associates, a mechanical, plumbing and electrical engineering firm that has worked on several casino renovations.
   
“By far, the biggest reason we come across to improve a casino’s MEP (mechanical, electrical and plumbing) system is that it does not adequately remove cigarette smoke,” says Peterson.
    
Bacon makes a similar observation: “Give customers what they want. Many of Sycuan’s customer’s requested a non-smoking casino environment. Leveraging this kind of feedback, Sycuan built a 400-slot, 10-table boutique casino within a casino dedicated solely to the non-smoking gaming customer. Often, an attainable increase in returns can be found by raising the perceived level of quality of the facility by just enhancing the gaming experience itself.”
   
Peterson points out that one of the best times to upgrade the mechanical systems is when an overall renovation is taking place. Of a current project on the boards Peterson explains, “During conceptual design, ownership quickly realized the renovation was not addressing all of their customers’ needs, as the No. 1 guest complaint is cigarette smoke. As part of the renovation project, we are improving the HVAC system’s ability to remove cigarette smoke. When the renovation project is done, not only will the casino have a new, fresh look, but the air will be a lot fresher too.”
   
Of course, the environment in a casino is more than just the quality of the air. One simple addition to the gaming environment that provides energy and excitement has been used successfully by Cleo Design.
   
“A current trend for the gaming area to add energy and excitement for relative low cost is the use of the video monitor,” Kulas says. “Placed in highly visible public areas, a variety of content including promotions, directional information, sports and music entertainment can add that layer to help animate and update a vibe.”
   
Turns out that you can do a lot of things with “only” $50 million! Alter the gaming floor, improve the amenity mix, make better use of available space and venues, and clear the air are only a few items that a property can do to improve its
appearance and attract more guests. But don’t neglect other areas, such as the guest room experience, and the valuable use of pools—all day long and into the evening.
   
There are many options open to a property, and some will make more sense based upon local conditions than will others—but there are also a number of solid design professionals to help you reach your goals.