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

INTRODUCTION
preamble 4
site selection 8
the void 11

CONTEXTUALIZATION
inventory 16
analysis 16

14

PROCESS
concept 16
inputs 42
data collection 47

34
SYNTHESIS

stories 52
story simulation 56
layout 60
conclusion 66
work cited 68
image credits 68
appendix 71

50
List of Figures

fig. name pg

1. The High Line 7 19. Las Vegas Heat 18 35. Process 36 53. Synthesis 52
2. Paley Park 7 20. Shade On Site 19 36. Light As Space 54. Converge and Enjoy 53
3. Chess Park 7 21. Vehicular Traffic 20 37. Transformation Of 36 55. Revenue 54
4. Urban Void 6 22. Pedestrian Strip Traffic 21 Space 37 56. Entertainment and
5. Site Selection Map 8 23. Strip Experiences Map 22 38. Flux Concept 39 Performance 55
6. Site 1 8 24. Residential Units Map 39. VPT Process 42 57. Theatrics 56
7. Site 2 9 25. Seating Opportunities 22 40. People Icon 42 58. Story Diagram 58
8. Site 3 9 Map 23 41. People Mass 43 59. Converge Story
26. The Strip 42. People Movement Diagram
9. Site 4 9 24 44 60
27. Site from City Center 43. Time Icon 60. Plan
10. Site 5 10 45 62
28. Site from Pedestrian 44. Place Icon 61. Plant Materials
11. Site 6 10 24 45 62
Bridge 45. Sun on Lights 62. Concrete Properties
12. The Void 11 24 46 63
29. Looking Onto Site 46. Servers 63. LED Mist Nozzle
13. Program Essence 12 24 47 63
30. City Center From Site 47. Server Icon 64. Focal Element
14. Program Essence 13 27 47 64
31. Bubbly Lights 48. Video Icon 65. Perspective
15. Contextualization 14 47 67
32. Las Vegas Boulevard/ 49. Pressure Icon 66. Process Diagram
16. The Site 16 28 47
Harmon
17. Average Temperatures 17 29 50. Weather Icon 47
33. Strip Experiences
18. Average Precipitation 17 32 51. Audio Icon 48
34. Analysis
18 34 52. Data Collector Map 50
 The
Flux
Voi
The Essence, The Experience, The Pleasure of Las Vegas
preamble
Many large cities have successful
urban park spaces that provide
seating, entertainment, exercise, and
enjoyment for nearby residence and
visitors. These urban parks enhance
the atmosphere of the city by
providing a break from the
buildings, roads, and other urban
structures. The High Line in New
York is a good example of this
The Void Spring 2010
reuse of urban space (figure 1). In
relatively small spaces pocket parks
are used and provide many of the
same benefits of larger urban parks.
Pocket parks are often designed to
provide seating, shade, and places to
relax or play. There is a large variety
of pocket par ks from those
designed specifically for children
(6th Avenue NW Pocket Park,
Seattle), to the working business
man/woman (Paley Park, figure 3),
and those design for the enjoyment
of everyone (Chess Park, figure 4).
The challenge for the designer of
the future is transforming a void
urban space in meaningful and
useful way and placing it within the
context of the community.
id
Las Vegas’ standing as an international
destination makes it an ideal location to
showcase what is possible with landscape
architecture and void urban space. Las
Vegas’ Strip is also ideal because it does
not have true open space, despite it being
a major pedestrian thoroughfare. A and relax. This is by design: the casinos
pocket park in Las Vegas is something
new: Las Vegas lacks open space, therefore
there is both a need and an opportunity.
In some peoples’ minds, Las Vegas is the
ultimate urban city, but ironically, it lacks
many of the fundamental open spaces that
create the backbone of social spaces in a
large city. Las Vegas is dominated by grand
entrances and casino frontages. Some of
these edge conditions are designed for the
pedestrian scale, though most are not. If a
person walks the Strip, s/he will quickly
realize that there are no places to sit, rest,
strive to drive traffic in their doors so
seating is located inside, not out. Because
of this, Las Vegas has a distinctly different
feel from any other city. However, as Las
Vegas becomes more urban, the need for
a pedestrian-friendly scale becomes more
evident.
05
urban void
(figure 4)
 the high line (figure 1) paley park (figure 2)

In many cities the city government itself takes

responsibility for creating open space and a user-friendly
environment. In Las Vegas all of this work is done for
the city by private industry i.e. the casinos. However this
does not dissolve the city from their responsibility to
improve the urban environment. There comes a point
when the city itself needs to take some responsibility for
the experience of Las Vegas. While the city is very
limited in the amount of space that it has available to
work with, there is still space that can be improved and
enhanced. The current state of the Strip (unfinished
buildings and vacant lots) provides many opportunities
and possible sites for urban land to reclaim the Strip. This
project will create a park on the fringe corner of a
casino, in the neglected border space between
properties and will invite people to rest and give them
time to contemplate their lost money. It will create a
pocket park on Las Vegas Boulevard that rivals some of
the famous pocket parks of other large cities. chess park (figure 3)

Defining the Void:

The proposed park will occur in one of Las Vegas’ many
“voids.” The term void is used to describe neglected,
underdeveloped, and underutilized land. Most of these
spaces are located within dense city cores and newly
developed areas. Naturally they happen between
developments, in street medians, and in areas of
infrastructure. These spaces often become sites of trash
deposits and criminal acts bringing the overall value of
the surrounding area down (see figure 4). 07
 sh

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Site selection focused on sites located on Las Vegas

es

in
Boulevard between Tropicana Avenue to the south and
2
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Spring Mountain Road to the north, which is the
traditional “heart” of the Strip (see figure 5). Property
3 density and tourist activity made this stretch of the
o
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Strip ideal for a visible well-used park. In order to meet

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the project goals the site needed to fit three criteria:

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1. Fit the description of a "Void."
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2. Have direct access to Las Vegas Boulevard’s

pedestrian traffic. This traffic must pass directly in
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front of or through the site.

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3. Be of relatively small scale.

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site selection map (figure 5)

Site 1: The site is a long narrow asphalt alley located

or

on the east side of Las Vegas Boulevard between

lux

Harrah’s Casino and Casino Royal. Windows line the

lv blvd

wall of the hotel portion of Casino Royal on the north

la
I -15

y da

end of the site. Pros: The site’s direct access to Las

ba an
m

Vegas Boulevard, hard surface and large surrounding

walls act as a shelter. Cons: It is too long and narrow
(see figure 6) to be a viable public space; it is located
on a portion of the Strip that is focused on cheap
drinks and a young crowd. Also, hotel windows
look directly into the site, a privacy and
The Void Spring 2010

safety concern for both the park

visitors and the hotel patrons.
site 1 (figure 6)
Site 2: Site two is located in front of
Caesar’s Palace, on the public right-of-way
near Flamingo Road. The site is long,
narrow and located on a sidewalk. Pros:
The site is located in the public right-of-
way, pedestrians are forced to enter the
site, and it is in close proximity to public
transportation. Cons: The site is
extremely long and narrow (similar
to site 1, see figure 7) and the east
side of the site is exposed to
site 2 (figure 7)
traffic on Las Vegas Boulevard.

Site 3: Site three is located on

the east side of Las Vegas Boulevard in front
of Bally’s parking garage. The site is a long
flat concrete slab just off the sidewalk.
Pros: The site is in close proximity to a high
traffic walkway, has an excellent vantage
point to view the Bellagio fountain show,
and the site is a good size (see figure 8).
Cons: The site is exposed
on three sides and is
located entirely on Bally’s
p r o p e r t y, c a u s i n g
potential cooperation site 3 (figure 8)
concerns.

Site 4: Site four is located on the west

side of Las Vegas Boulevard on the south
end of the Bellagio property. Pros: The
site’s proximity to public transportation,
distance to Las Vegas Boulevard, and size.
Cons: The site is somewhat developed, it is
used as a nursery/staging area by the
Bellagio, and it is located entirely
on Bellagio's property causing
potential cooperation concerns
(figure 9).
site 4 (figure 9)

9
 “A place unto itself,
The Void could only
happen in Las Vegas”
Site 5: Site five is located on
concrete islands at the new
inter section of east Har mon
Avenue and Las Vegas Boulevard.
Pros: A portion of the site has
pedestrian through traffic; it is in
close proximity to City Center; it is
undeveloped, entirely on public
right-of-way; and it is a good size
(figure 10). Cons: The site has a
large number of utilities that range
from a power line to electrical
boxes. A turn lane passes directly
through the site.
The Void Spring 2010
site 5 (figure 10)
Site 6: Site six is a long narrow
alley located between CVS and City
Center on the west side of Las
Vegas Boulevard (figure 11). Pros:
The site’s proximity to
Las Vegas Boulevard,
pedestrian traffic, and
City Center. Cons:
The site is too long
and narrow to be a
viable public space.
site 6 (figure 11)
 the void
las vegas boulevard and harmon avenue, the void (figure 12)

The Void: The site selected for the

project is site five (see figure 12), due to
its location and characteristics. Because
site five is located entirely on a newly
constructed right-of-way it reinforces the
city’s responsibility to develop urban open
space. 11
program essence
(figure 13)

Design Guidelines:
1. Trash cans should be readily available
and emptied often.
2. Benches should be easily accessible.
3. Shade should be available and
preferably provided by trees.
4. Drought tolerant vegetation should be
used.
5. The site should be maintained and
cleaned at least once a day.
6. To discourage illegal activity, the park
should be highly visible from many
directions.
7. People should be used as inputs and
controllers of the experience.
8. Inputs should be carefully identified and
conveyed back to the pedestrians. For
example: if a crowd is angry the site
should respond in a manner that either
echoes this emotion (without being
over stimulating to the user) or produce
the opposite response and react in a
calming fashion.
9. The use of multiple technologies should
cohesively indulge the user, thus creating
a site fabric that is unique and
identifiable.
program essence (figure 14)
10. Lights that compliment City Center,
Planet Hollywood, and the Harley
Davidson Cafe should be used. The
site should not be a complete contrast
to the buildings surrounding it.
11. LED lights should be used to uplight
key elements and draw users in.
12. The lights should not be too
overpowering. They can be very vibrant
and “loud” at times, but should mostly
be subdued and subtle.
Program: A world-renowned urban
park will be created using elements of
theatrics to create a transformative space,
with lighting, movement, and action (figure
14). The park should be a place to
converge and enjoy, while facilitating
entertainers and performers. The park
must also create revenue. The park will be
an experiential park, meaning that users
are to interact with, and be a part of the
park. Figure 13 paints a picture of the
theatrics and essence that can be created
through the use of light, reflection,
movement, etc.
13
CONTEXTU
ALIZATION
Definition: To place (a word,
event, etc.) into a particular or
appropriate context for the
purpose of interpretation or
analysis.
(figure 15)
 inventory
The site is located in Las Vegas, Nevada on the corner
of Las Vegas Boulevard and Harmon Avenue (see figure
16). The entire site is a public right-of-way and consists
of sidewalks, utilities, and open concrete. The area is
zoned as CT - Commercial Tourist, which means the
site is located in the “resort corridor.” This location
provides a great opportunity to explore progressive
designs that would not be suitable for a more
conventional location. A vacant lot lies directly north of
the site. This lot is currently owned by Clark County
and is designated as a public right-of-way. However this
site was recently put up for sale and should be
transferring ownership in the near future. The future
use of this northern lot is unknown. The Planet
Hollywood Resort is located one lot to the north and
is very visible from the project site. Directly next to the
site on the south end lies the Harley Davidson Cafe. To
the west of the site is City Center.

Las Vegas Boulevard north

vo i d
th e n
the site (figure 16)
t
st

s
we
ea
ue

ue
en

en
Av

Av
on

on
rm

rm
Ha

Ha
The Void Spring 2010
 Average Low Average High
110

88

66

44

22

0
Jan Feb Mar Apr May Jun Jul Aug Sept Oct Nov Dec
average temperatures in degrees fahrenheit (figure 17)

Avereage Precipitation
0.7

0.525

0.35

0.175

0
Jan Feb Mar Apr May Jun Jul Aug Sept Oct Nov Dec
average precipitation in inches (figure 18)

Climate: The Las Vegas Valley experiences four defined

seasons but they are not typical of other regions in the
nation. The summers are extremely hot with highs well in
the 100s and lows in the 70s (NOAA). These summer
temperatures are made more bearable due to the low
relative humidity, but it is an uncomfortable environment.
Winters in this region are mild and comfortable with mid-
afternoon highs around 55 degrees and clear skies, see
figure 17 (Weather). The city averages 24 days of below
freezing temperatures but this is mild compared to other
17
 las vegas heat (figure 19)

parts of the nation. The spring and fall months are

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

Microclimate: The site’s specific location

provides some opportunities and challenges
related to microclimate. Throughout the day pm shade cast by city center (figure 20)
during winter months the site receives a fair
amount of shade from the Harley Davidson
Cafe, and in the afternoons a large shadow is cast
by City Center that covers the site in shade (see
figure 20). This shade can be quite welcome on
the warmer winter days in Las Vegas, however for
the most part it is too cold in the winter for
shade. During summer months the site is very
exposed, receiving no shade from the Harley
Davidson Cafe, and only late afternoon shade
from City Center. However because of City
Center, the site does receive shade earlier than
The Void Spring 2010

most areas along the east side of the Strip. There

is no vegetation or other elements to provide a
comfortable environment on the site. The site is
located at a fairly low elevation (2186 feet) and
in the center of the city, therefore it experiences
some of the highest temperatures in the valley.
 3,300 TOTAL CARS HOUR / HARMON E.
vehicular traffic (figure 21)
1,698 TOTAL CARS HOUR / LAS VEGAS BLVD N.

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

Pedestrian Traffic: Numbers have been collected for overall pedestrian traffic on
the Strip, however there are no site-specific numbers available. According to research
done by Applied Analysis, the average visitor spends 4.1 hours per trip walking the Strip.
When aggregated, this amounts to 424,000 person hours on the Las Vegas strip every
day of every year, or 155 million person hours annually (Applied). The peak pedestrian
hours on the Strip are between four PM and two AM. During this time pedestrian
person hours follow a curve between 18,000 hours at four PM, to a peak of 40,000
hours at eight PM, and back down to 22,000 hours at two PM, see figure 22 (Applied).

The pedestrians on the site consist mainly of tourists and advertisers (escort service card
flippers). The card flippers are mainly stationary elements that repel and annoy tourists.
They gather in groups of two to six flippers at key points on the site, e.g. crosswalk
entrances, pedestrian pinch points, and exit points.

19
 45,000
40,000
35,000
30,000
25,000
20,000
15,000
10,000
5,000
sunrise
12a - 1a
6a - 7a
12p - 1p
425,000 PEDESTRIANS WALK STRIP PER DAY
293,000 DURING NIGHT
132,000 DURING DAY
The tourists are very diverse, and
range from single college students,
to business men/women, and
families. The tourist demographic
also consists of international
travelers from all over the world.
The demographics and activities
also change depending on the time
of day. Tourists pass through the site
fairly quickly. Currently the site acts
as a large sidewalk; pedestrians only
stop to take photos, or while
waiting to cross the street at the
two crosswalks. Most of the traffic
is north/south traffic however there
is some pedestrian traffic that heads
east through the site down Harmon
The Void Spring 2010
Avenue. Pedestrians cannot cross
Las Vegas Boulevard from the site.
There is a pedestrian overpass
bridge just to the north of the site
that connects to the City Center
6 hr avg 34,000
sunset
6p - 7p
11p - 12a
pedestrian strip traffic (figure 22)
property. Many pedestrians that
pass through the site come from or
head towards the City Center
property via this bridge. The Harley
Davidson Cafe also attracts a fair
amount of pedestrian traffic and
creates a gathering space in front of
the building.
Other Strip Experiences:
It was important as part of the
inventory to locate other on-street
“experiences” or “shows” on the
Strip (figure 23). One block from
the site, on the west side of the
street, are the Bellagio Fountains.
The fountains are a main on-street
attraction and a destination for
many visitors. The other two on-
street shows are the Mirage
volcano and the Treasure Island (TI)
show. The volcano is still a
1.4 mi ti siren show
.9 mi mirage volcano
.3 mi bellagio fountains
strip experiences (figure 23)
destination show, but it has lost some of
its popularity due to competing shows like
the fountains and TI. The TI show is the
pir ate ship show perfor med by
provocatively dressed women. All of
these shows are located within a couple
miles of the site and will be competition
for the attention of pedestrians.
Residential Considerations:
There are a total of 8,500 residential units
within a one-mile radius of the site (see
figure 24). This number of high-rise
residential units within a mile radius is the
highest high-rise density in Las Vegas, with
the corner of Las Vegas Boulevard and
Sahara Avenue being the only other
location with multiple high-rises in close
proximity. Most of these units are fairly
expensive and are used as residential or
vacation homes. Many of the units are
used by tourists who rent them from the
actual property owners.
21
flamingo the void

I-15
bellagio paris 1 mile

monorail
ph
harmon 7 1 madarin oriental
225 units 5 panorama towers
1015 units
3 2
4city center 8
5 2 veer towers
674 units 6 mgm
22 units
1
monte ph westgate
carlo mgm 3 cosmopolitan
2200 units 7 1200 units
ny ny 6
tropicana 4 vdara
1495 units 8 mgm signature
1728 units
residential units within 1 mile (figure 24)
excalibur
lv blvd

Seating Opportunities: In order to

understand the need for an urban park, the
availability of seating opportunities was assessed
in this area. The only free seating is located across
the street on seat walls in front of City Center.
On the east side of Las Vegas Boulevard the only
seating opportunities are restaurant seating that
require users to pay. The Harley Davidson Cafe
has outdoor seating as part of the restaurant, and
the Hawaiian Tropic Zone to the north also has
outdoor restaurant seating. Further north, on the
east side of the Strip, is another small cafe with
limited seating (see figure 25).

seating opportunities (figure 25)

 the strip (figure 26)

Strip Character: The Strip has a very unique

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

The buildings immediately surrounding the site include

the very modern City Center, the renovated Planet
Hollywood, and the Harley Davidson Cafe. The City
Center complex is the most recent project. The buildings
are very minimal and strong in architectural form. The
frontage to the Crystals shopping center within City
Center includes large signage, lights, and compelling
forms. The Planet Hollywood building has been
renovated twice. The building was once The Aladdin and
architectural cues still suggest that theme. The Harley
Davidson Cafe to the south has a very prominent
motorcycle wheel that protrudes from the front of the
building. The wheel is a tourist attraction and many
people take photographs of it. Further south on the Strip
is a set of small strip mall style shops with “Vegas”
paraphernalia. These shops are small and run down.

23
 site from city center (figure 27)
site from pedestrian bridge (figure 28)
The Void Spring 2010
looking onto site (figure 29)
city center from site (figure 30)
Views Into the Site: The site is visible
to vehicular traffic traveling on Las Vegas
Boulevard as well as to the vehicles traveling on
Harmon Avenue. West-bound vehicles on
Harmon Avenue have a direct visual line into
the site before the road turns to meet the new
intersection at Las Vegas Boulevard and
Harmon Avenue. Pedestrians traveling in either
direction on Las Vegas Boulevard have a direct
view of the center island of the site. There is a
pedestrian bridge that travels east to west over
Las Vegas Boulevard that connects City Center
to Planet Hollywood. Pedestrians traveling on
this overpass bridge will have a unique
perspective of the site as will those people on
the second story of the City Center grounds
(see figures 27, 28, and 29). Views that were
not originally considered are the views from the
high-rise towers of MGM Signature, Westgate,
and City Center units. These properties will
have a unique aerial perspective of the site
below.
Views From the Site: The site has
direct views of City Center (figure 30), the
south end of Planet Hollywood, and the Harley
Davidson Cafe. The south end of the Planet
Hollywood property is exposed to the site and
consists of a large monochrome wall. Next to
this property is a large vacant lot filled with
debris and trash. To the east are views of the
MGM Signature towers and the track for the
Monorail.
Materials: The site consists entirely of
concrete and an asphalt roadway. During the
construction of City Center the intersection of
Harmon Avenue and Las Vegas Boulevard was
realigned. The realignment left two very large
and awkward spaces that were paved over
with concrete; these spaces make up “the site.”
There is no vegetation, soil, or amenities on
the site.
Use: The site mainly functions as a sidewalk,
and pedestrians enter and exit the site with
speed and predicability. Due to its size, the site
adapts well to increases in pedestrian traffic on
busy days. However, the eastern-most half of
the site is rarely used and does not have much
traffic. The site is used for busking, impromptu
theater, and related activities by various
performers. These performers stand just
outside the flow of traffic and can draw small
crowds. Pedestrians also stand on the site in
order to take pictures in front of the Harley
Davidson Cafe. During the site observation, it
was noticed that police vehicles are sometimes
parked on the eastern end of the site. People
rarely gather on the site (except for those few
instances mentioned above), and during
summer months, people spend even less time
on the site during the day due to its lack of
shade and the resulting heat. Overall the site
is used as a large sidewalk.
Crime: Because the site is located on the
Strip, there are concerns related to security,
safety, vandalism, litter, etc. Currently the site
has large amounts of litter consisting of escort
service cards, random flyers, and alcoholic
beverage containers.
Parking: There are many parking
opportunities along the Strip and most are
free. Directly behind the Harley Davidson Cafe
is a four-story parking structure that is available
for use, but the Cafe does require that the
user patrons their Cafe. Other parking
opportunities exist at Planet Hollywood, City
Center, and the Bellagio.
Utilities: The site is a median that contains
public infrastructure structures and utilities.
Some of these structures include a large, high
voltage power pole, a large utility vault, and
four stop light/cross walk poles. There is also a
large electrical box and other utility access
areas. See appendices A through C for detailed
utility information and site maps.
 analysis
Location: Las Vegas was chosen for this project because of its
international exposure and the sheer number of people who walk the Strip
every day. Jeremy Aguero of Applied Analysis stated that “there are nearly
18,000 people walking along the Las Vegas Strip on an average hour and
more than 40,000 people walking along the Las Vegas Strip at peak times.
This is like having an arena the size of Los Angeles’ Staples Center nearly full
every hour of every day, and enough people to more than fill the MGM
Grand Garden and the Mandalay Events Center, combined, during normal
peak periods” (Applied). Speaking on the same topic, Marla Letizia,
president of Big Traffic Mobile Billboards Worldwide said, “While it will
come as no surprise that Las Vegas is a prolific marketplace, when you
pencil out what it means to reach 37 million people from around the
world... the value of that relatively small piece of real estate we call ‘the
Strip’ comes into much sharper focus... Most retailers would give their eye
teeth to have 40,000 people in a single hour walk in front of their
storefront -- we do that daily. Perhaps most importantly, our research
indicates that these visitors recall what they see while they are in Las Vegas
and are taking those messages home with them. There are few, if any, places
in the world that provide this unique opportunity” (Applied). Because of
Las Vegas’ unique standing among world destinations there is a real
opportunity to create a park that will be recognized the world over and
become a signature Las Vegas experience. Furthermore, because the site is
“in” Vegas, the park must fit within the context of Vegas. It must be more
than a standard urban park and must speak to the experience people have
come to expect when walking the Strip. Because the site is a public right-
of-way the county has the ability to directly contribute to the Las Vegas
experience and even profit from it. The site is also located along one of the
busiest sections of the Strip corridor: this means massive exposure to
visitors and residents alike. In such a competitive marketplace the site must
strike a cord with people and interact in a way not seen before. The site
The Void Spring 2010

must grab the attention of the pedestrians passing by. It must have appeal
or it will revert back into a void, a very expensive void. This section of the
Strip is built up but there is more space to be developed and buildings (like
the strip malls to the south) that look about ready to be demolished and
replaced. This site is positioned in one of the best locations along one of
the most famous roads in the world.
We dreamed it, designed it, and
lived it. The people from every
corner of the world, complete it.
The Void.
bubbles (figure 31)
 Climate/ Microclimate: Las Vegas has solutions should also be created to address the
roughly eight months of mild weather and four edge of the site that abuts Las Vegas Boulevard
months of harsh hot weather. The layout and (see figure 32). This boundary is necessary to
design of the site should take into keep the large number of pedestrians out of
consideration this fact and address this the flow of traffic, and keep vehicles from
concern in an effective way. The design should entering the pedestrian pathway.
not completely nullify the existing
environmental conditions, but the natural
conditions should play a factor in the final
outcome. Per the program, the site should
have places to “converge and enjoy” that are in
the best possible location relative to comfort
and environmental conditions. Seating areas
should be shaded and comfortable in the
summer and perhaps exposed to the sun and
sheltered from wind in the winter. The
eastern-most end of the site will be the last
area to receive shade, therefore extra
precaution should be taken to provide this
area with shade in the summer. This can be
accomplished through shade structures or
vegetation, though, in order to provide sun
exposure in the winter, deciduous trees may
be the best design solution. The design must
las vegas boulevard and harmon (figure 32)
also take into consideration Las Vegas’ arid
environment, and use a plant palette that Pedestrian Traffic: The number of
recognizes the challenges associated with the pedestrians who travel through the site is quite
weather conditions. significant. These numbers are not unusual for
the Strip, but they are unusual for most urban
Vehicle Traffic: The vehicular traffic next spaces. This traffic creates ingress, egress, and
to and through the site poses some safety flow issues that must be addressed by the
concerns for pedestrians and motorists. In design. The “holding” areas at the cross walks
order to mitigate accidents some special must be large enough to handle large numbers
considerations should be taken. Design of people but also designed in a way as to not
solutions should prevent pedestrian/vehicular look undesigned or forgotten. Pedestrian safety
conflicts. The traffic that cuts directly through is a big concern. The design should address
the site is the greatest threat to pedestrian
The Void Spring 2010

many issues regarding pedestrian safety

safety. The road is a narrow turn lane that is
easy to cross without regard to traffic signals.
Because this road is easy to jaywalk, many
people do so, and this is where most of the
pedestrian/vehicular conflicts occur. Special
including vehicle hazards, other pedestrians,
robbery/theft, and lewd acts, for example, card
flippers, prostitutes, drug paraphernalia, etc. As
stated above, the use of barriers or other
retaining devices will most likely be necessary.

Good lighting and open sight lines must
also be maintained to ensure pedestrian
safety.
Other Strip Experiences: The
Strip has an abundance of shows, lights,
and elements, therefore it is important to
ensure the project does not create an
experiential overload for visitors (figure
33). Relative to the location of the other
on-street shows, the selected site is in a
good location and will not overwhelm
visitors. The large banner LED displays
that cover the facade of the Planet
Hollywood complex are visible from the
site and the light from these displays
bleeds out onto the sur rounding
buildings. These lights are not a major
concern because they add to the overall
experience of the Strip and the park. The
strip experiences (figure 33)
design should not try to compete with
these lights but compliment them instead.
Besides the lights at the Planet
Hollywood, there are no other lighting
elements that directly affect the site to a
significant extent.
Residential Considerations:
The true density of residential units was
not immediately clear when the site was
originally selected. After doing the
inventory it was noticed that the site is
located in one of the densest areas for
high-rise residential towers in the city. This
density creates the opportunity to serve
both visitors and residents of Las Vegas.
As discussed previously, Las Vegas lacks
urban amenities, and the Strip lacks green
open space, making the Strip a less than
ideal place to live. 29
 Seating Opportunities:
The inventory showed that there is
a lack of seating on the Strip. This is
probably due to the casinos’ desire
for visitors to come into their
property to rest (and gamble), but
this lack of seating should not be
ignored. The county has a real
opportunity to improve the entire
experience of the Strip by providing
comfortable locations for people to
rest. In the immediate area of the
site there is seating but it is limited
to restaurants: a comfortable park-
setting will seating and shade would
be a real asset to visitors. Currently
the only readily available seating is
along seat walls and planter beds.
This type of seating is neither
inviting nor comfortable. Seating
provided within the park should be
comfortable, shaded during summer
months, and provide opportunities
for conversation and relaxation.
The seating areas must also be very
well lit in order to prevent crime
and increase the feeling of safety.
Utilities: The utilities and other
structures on the site are real issues
that will have to be addressed in
the design. On the center island
there are multiple structures that
limit space and cause pedestrian
bottlenecks. The large electrical
boxes and power poles are
unattractive and become objects for
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pedestrians to leave their trash on.
Not only will the design have to
mitigate these problems, but it will
have to incorporate the utilities into
the site as well. Overall this site has
many limitations relative to utilities,
however its potential far outweighs
its limitations.
Strip Character: It would be
difficult to respond to the character
of the surrounding buildings in any
meaningful way because each
building is so entirely different.
Therefore it was more important to
the designers to design the park to
fit within the overall context and
character of Las Vegas, than to
respond to the diver se and
contradictor y surrounding
architectural styles. Las Vegas is
known as “Sin City”. There are many
perceptions of what Las Vegas is, but
most of those perceptions revolve
a r o u n d fl a s h , g l i t z , a d u l t
enter tainment, gambling, and
partying. People come to Las Vegas
to have fun and be entertained.
Therefore, the site needs to provide
that same level of attraction and fit
within the context of Las Vegas.
This is where the program elements
become more apparent. The site
must enter tain, perform, and
produce revenue, because that is
what defines Las Vegas. It is
necessary for the site to have lights,
music, and motion because a
standard pocket park with trees and
standard seating does not fit within
the context of Las Vegas.
Views: The views into the site
are important for reasons of safety,
revenue, and pull. Visual corridors
should be maintained through the
site, allowing people to see from
one end of the site to the other. This will
help prevent crime from occurring. It is
also important to avoid blocking views
into the site because this may prevent
people from being attracted to, and
entering into, the site. If visitors can see
from across the street that something
interesting is happening on the site, they
may be more inclined to walk over and
experience it for themselves.
As part of the program, revenue is one
key element of the park. In order to
maximize the park’s revenue potential it is
important for various spaces in the park
to be visible from even great distances.
The pedestrian overpass bridge and the
elevated walkway at City Center both
become possible viewing platforms.
Therefore the site should be designed
with open space for projections or other
forms of advertisement, so that they can
be seen or heard from these two
locations.
Views out of the park are not particularly
pleasing. However it is Las Vegas and
tourists are enamored with views of
elements like the Harley Davidson Cafe’s
motorcycle wheel. This wheel feels as
though it encroaches onto the site, but it
should not be obstructed because tourists
love to take pictures in front of the
strange and bizarre on the Strip. Likewise,
views to the other adjacent buildings
should also not be purposefully screened
or blocked. The juxtaposition of all of
these competing elements (including the
park) is part of the character of Las Vegas.
This being said, the design should not be
compromised to maintain a view of any
one building. The best views are those of
City Center, however City Center does
not have any par ticularly interesting
elements to look at other than the
architecture (there are no “shows” or
“attraction” elements in front of the
property). The views of Planet Hollywood
are considered negative views but this
view will change when the adjacent lot is
developed in the future.
Materials: In order to maintain a
reasonable budget it is important to
predominantly use fair ly common
materials, with more extravagant materials
highlighted in limited situations. Standard
grey brushed concrete will make up the
entire ground plane because it is cheap
and durable, and a safe, slip resistant
material. Concrete can also be a very
reflective surface if some water is present.
This notion of using water in conjunction
with concrete creates opportunities to
use the ground plane as a projection
plane, a place to create additional texture,
and additional depth within the site. Plant
materials will be used to soften the park
elements and edge conditions. These
materials will also improve the feeling of
the park and bring a bit of nature to the
Strip. Lights, water, and moving platforms
may also be used in order to create the
necessary effects desired on the site.
Use: The site will be used as a corridor
for pedestrians, a park with seating, a stage
for performers, and a source of revenue
for the county.
31
 Crime: In order to reduce crime, clear sight lines
should be maintained through the site. The site
should also be well lit at night. Overall pedestrian
and park security will be addressed by the Metro
Police, who are visually prominent on the Strip. The
park is very small and in a highly visible location: if it is
well lit, safety should not be of any greater concern
than elsewhere on the Strip. Vandalism of park
elements and trash will be the source of most of the
maintenance issues and costs. As discussed in the
inventory there is currently a fair amount of trash
and vandalism on the site. It can be assumed that a
park in the same location would have an equal (or
increased) amount of litter and vandalism. It is also
assumed that if trash receptacles were available on
site there would not be as many beverage cups and
trash littering the site. However, the site would most
likely not see a decrease in escor t ser vice
paraphernalia without enforcement efforts by park
security or Metro Police. Care should be taken in
specifying materials that are easy to clean and
maintain.

Parking: Parking for the park will not be provided

on site, because free parking is available at the
adjacent casinos, hotels, and restaurants.

eidetic analysis (figure 34) 33

PR
OCESS

Definition: A particular course

of action intended to achieve a
result.
process (figure 35)
 concept
W h i l e wo r k i n g t h r o u g h t h e Transformation of Space:
inventor y and analysis, three This concept is based on the
concepts began to make themselves control, articulation and movement
evident: light as space; of space with water. Water as the
transformation of space; and the medium to control space is ideal,
flux. All of the concepts encompass because of its fluidity, impassible
central ideas that address the motifs essence, and ability to reflect
of the site including articulation of surfaces and light (see figure 37).
space, dynamic movement and These attributes are very important
simple but inventive medium for the concept because the water
execution. The concept that was would be used in a strategic
chosen for design of the site was manner, revealing and concealing
the flux. elements like seating. The essence
and elusiveness of the water would
Light as Space: This concept create a mystifying experience for
is based around the idea of light and the pedestrian.
its ability to be ar ticulated to
control and influence ingress and
egress of pedestrian traffic on the
site. The root of the concept is the
site’s ability to use light as an
interactive element (see figure 36).
The light’s application would not be
that of ambiance, but more of
striking boldness. Light cast onto
areas of the site would be very
defined and vibrant, thus creating
rooms that would be navigated and
inhabited by the pedestrian.

transformation of space (figure 37)

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light as space (figure 36)


flux concept (figure 38)
Project Concept: The Flux
The fluctuation of Las Vegas is unlike any
other city, specifically the area of Las Vegas
defined by the Strip corridor. Within this
corridor tourists from all over the world
visit casinos that can change in a matter of
weeks, and street vendors that appear
overnight. This change is very apparent
when a new popular trend is discovered.
In most recent years the instant popularity
of Las Vegas nightclubs had hotel casinos
scrambling to open the next hotspot. This
process repeated itself when topless
pools became the new rage. There is no
other place in which transformation
happens so quickly. No single visitor shares
the same experience as another. In order
for the site to be a true reflection of Las
Vegas’ constant flux, the site will have to
change and transform. This concept was
chosen for its direct link to the context of
the site, its ability to create individualistic
experiences, and desire to remain
dynamic over time (figure 38).
As part of the process of design, the team
developed a process called Viral Process
Theory (VPT). The development of this
process occurred in conjunction with the
development of the concept of flux.
Because the nature of the concept is
fluctuation, it was important to create an
approach that would encourage the site
to evolve and change in a meaningful way.
The goal of the Viral Process Theory is to
exceed people’s expectations. Therefore,
when this process is applied to the
concept it becomes the goal of the site:
visitors must be taken through a specific
sequence of events in order for them to
be excited about the experience. If this
process is carried out on the site, the park
will become a popular world-renowned
park; a destination.
Viral Process Theory: The Viral
Process occurs in five basic steps (see
figure 39). First, the Implicit Pull creates a
simple but engaging situation. Second, the
site must elicit an emotional response
from the user, termed Transparent
Emotion. During this phase the user is not
aware of their interest in the site, they are
just experiencing the situation. In the next
phase, Cognitive Experience, the user
becomes aware of their excitement and
they begin to become emotionally
attached. The fourth step is Dynamic
Fulfillment. In this phase, the user decides
to remain and see what else can be
discovered. They become fans of the site:
the user becomes completely intrigued
and is very excited about the site. It is in
this phase that the user’s expectations
must be exceeded. The final phase is the
Transfer of Identity, and critical to the
success of the process. During this stage,
a person is excited enough about the site
to convince their friends they need to
experience it. If this process is executed
effectively, the result is a site that is raved
about, which creates more visitors. This is
the rational for the term “viral.” The viral
process is applicable to any project,
product, or process. In order for a project
to be viral and have people constantly
talking about it, the individual user must
37
 be taken through this experience. If
one step, emotion, or interaction is
missed, then the chain will be
broken and the item will not be
viral.
VPT Expanded:
1. Implicit Pull: The Implicit
Pull is the initial exposure to any
item when that presented has not
been recognized or associated with
a person’s existing schema. For
example, it may be three seconds of
a commercial or the feel of a
storefront from a distance. The
objective of the implicit pull is to
grab the user’s attention, creating
the oppor tunity for the
implementation of the rest of the
Viral Process. However, this does
not mean that the implicit pull has
to be over the top, loud, flashy, etc.
It could be very simple. Whatever
the image, sound, etc. used, it must
be subtle, and its meaning should be
implicit. The image’s only value is
the user’s per sonal semiotic.
Therefore the producer of the
image has limited control over how
the individual will interpret this first
image, though the image itself is
ver y impor tant. If the wrong
experience is presented, the user
will not be drawn in and may even
be turned off.
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2. Transparent Emotion:
Transparent Emotion is the process
wherein an individual’s body and
mind reacts to stimuli without them
being cognitively aware of the
reaction. The user is at the point of
interest and intrigue, their body is
beginning to react and produce an
emotional response, but they are
unaware of their building interest.
For example, this happens when a
person is reading and their mind
wonders in a new direction: they
may even read a page or two
before their cognitive br ain
suddenly realizes that they have
been daydreaming for ten minutes.
Another way this can be
accomplished is through the
arrangement or smell of a store.
This will cause a subliminal
emotional response.
3. Cognitive Experience:
The cognitive experience happens
at the very moment the person
becomes aware of their emotions
and their investment in the
product. This process is a gradient,
a process that unfolds
incrementally. The transparent
emotion builds and builds until the
moment the individual becomes
aware . Once the cognitive
experience begins the user is still
not “sold” on the idea/product, they
are just now aware of their interest.
They begin to associate the product
with their own life, imagining how it
would be used, and registering what
their body is telling them. It is at
this moment that the “sale” is either
made or lost. The rational brain is
now asking: “can I afford this?,” “will
it really work?,” and “what is the
catch?”. If the product and delivery
 implicit pull

transparent emotion

cognitive experience

dynamic fulfillment

transfer of identity
vpt process (figure 39)
 are designed to address each of these issues, the
individual will resolve their concerns and return
to their emotional investment in the product. It
is important to understand that the mode of
delivery must paint a picture for the person of
exactly how this item will operate in, and
improve, their life. There can be no
exaggeration. If done correctly, the individual will
“love” the product. When this is taken to the
extreme, the individual will become an almost
cult-like follower. Examples of this are ‘Mac
techies’, and Dyson vacuum fans. These people
will rave about these products, tell their friends
about them, and argue with anyone who
disagrees. This is a gradient and the experience is
different for different people. For example, some
people know Dyson’s whole story, which patents
he went to court over, and all the elements of
the vacuum. Others have to test it for themselves
before they are convinced.

4. Dynamic Fulfillment: The Cognitive

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

Identity is the final crucial step in the process. If
this step is not fulfilled then the design,
landscape, or product was not effective in
creating a Viral Process. Transfer of Identity
 “ Excite us. Engage us. Amuse us.
Inspire us. Bring us the wonderful,
exceptional and special - It's not too
much to ask.  The people visiting Las
Vegas want it and the Void delivers it ”
occurs when a person is so convinced of
the greatness of a product that they
become the de facto spokesperson. They
tell people how the product works, the
history behind it, why it’s great, and send
their friends the video, the ad, or to the
store where they bought it. But for one
individual to tell another is ver y
significant. A true Transfer of Identity
happens when this second person also
becomes dynamically fulfilled and passes it
on to a third person. The product, this
new identifier of personality, values, and
thoughts, has been transferred from the
original person to a second person, and
that person is attempting to convince
another. This is the completion of the
Viral Process.
If a designer makes it his/her number one
goal to create viral products, then his/her
number one goal will be to fulfill and
exceed people’s expectations. This
process only works if people truly believe
that the product has done more for them
than they expected. Therefore this process
is only successful when the designer is
honest about what the individual can
expect from the product. Most
infomercials paint the picture, create the
cognitive experience, but do not deliver
Dynamic Fulfillment. 41
inputs The concept of flux is naturally
complicated because it is based on
constant change. This makes the
expression of the concept in built
form challenging. Built forms are
typically hard, immovable structures
that do not flux or change. In order
to express the flux of Las Vegas it
was determined that the site would
need to react in unconventional
ways, creating experiences that
would be participated in by the
users.
The first task was to determine the
inputs. The site could not just
change and fluctuate without some
controlling elements that
determined why the site was
changing, and how it was going to
change. The inputs are the
structuring elements. The three
controlling elements are people,
time, and place (figures 40, 43, 44).
around the site.  Emotions such as
anger, excitement and complacency
are used in conjunction with the
other inputs to create a scene that
appropriately anticipates user
experience and emotional reaction.
Mass: Mass deals with how and
where people are congregating on
the site, and if they are in large
masses or dispersed throughout. In
order for the site to be influential
and Dynamically Fulfilling (see Viral
Process Theory), the site must react
to the movement and coagulation
of pedestrians on the site (figure
41). This measure is used to
deter mine if individuals are
gathering for a certain event or just
stopped at the crosswalks.

People: The focus of the entire

project is to make an experiential
park that would leave visitors
excited and wanting more.
Therefore people are the most
important input. The site reacts
differently depending on the
number of people, their emotional
state, level of excitement, how they
are massed together, etc.

Emotion: The emotional input relies

on the state of the people on and
mass (figure 41)

people (figure 40)

 !

movement (figure 42)

Movement: This input is a measure of the rate of speed at
which pedestrians are entering and exiting the site (figure 42).
It is also a measure of how individuals are moving through the
site, where they go, how long they stay, and where they move
afterward.

Quantity: The total number of pedestrians on the site may be

one of the most important factors in determining the
experience. If there are only two people on the site it will
react differently than if there are two hundred. This measure is
focused on the specific number of people on the site. The
measurements will help determine whether there should be a
large show, or a quiet and personal experience. This
measurement could be used to determine the number of
impressions and conversion ratios for advertisers purchasing
time on the site. In this way the site becomes even more
43
 attractive as an advertising medium because the data is
quantitative and trackable.

Time: The time input has many variations and

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

Time of day: Depending on the exact minute of the day

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

Time of year:  With 365 days a year and four seasons

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

Events: These inputs may be closely tied to time of year

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

time (figure 43)

 place (figure 44)

Place: Place is a measure of the physical conditions of the

site. This may be weather but it may also include shade cast by
buildings, and other inputs of the area such as street noise.
The weather inputs are very important to the site because
weather greatly effects actions. The temperature, cloud cover,
air speed, and precipitation all affect people and induce
emotions. If the temperature is well over 110 degrees then the
site will not "try" to create a place to sit in the sun (figure 45).
This action would be futile and people would not use the
space. However in sunny 75-degree weather, the site would
encourage seating. Weather is easy to measure and map as
well. Other trackable elements such as cast shadows would be
pre-programmed into the system based on azimuth and
surrounding buildings. All of these elements together could
react to Las Vegas’ ever changing sense of place.

las vegas sun (figure 45)

45
In order for the site to react to the
various inputs, the information
must be collected and processed.
The data collection system is used
to process the various inputs, then
calculate and start a “story” (see
figure 46).
servers (figure 46)
data collection
The Server: The brain of the site, the server receives
data from the inputs and processes that information.
Some of the input data is permanently programmed into
the system, i.e. azimuth/shadow data, “time” transitions, etc.
The rest of the data would be collected by on-site
devices.
server (figure 47)

Video: Cameras are used to track pedestrian

movement, massing, and overall quantity.

video (figure 48)

Pressure Sensors: These sensors are located in

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

Weather Equipment: These sensors are used to

monitor the site’s current weather conditions. The server
also receives weather forecast data from outside sources
that can be factored into the stories.

weather (figure 50)

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

audio (figure 51)

47
 Data Collection Placement:
The data collection devices are placed
The Void Spring 2010

on the site based on the information

gathered during the analysis (figure
52). The locations for the various
devices is based on gathering points,
existing infrastructure, and camouflage
opportunities.
data collector placement (figure 52)
SYNTHES
SIS Definition: The
the combination
combination of
simple ideas into a complex
whole.
(figure 53)
35)
 stories
The stories are the final piece of the
design. The stories are the expression
of the site’s understanding of the
various inputs, and the full realization
of the program set forth in the
beginning of the design process. The
stories are the experiences that are
created for the pedestrians and in
which the pedestrians participate.

renewed connected diverse converge and enjoy (figure 54)

Place to converge and If there is a large group, the site may

enjoy: This story can function on
many levels depending on the inputs.
If there are only a few people on the
site then the site will react in a very
intimate way and may attempt to lead
these people together.  The site may
even create the perfect atmosphere
for attraction to start. This would be
The Void Spring 2010
create larger areas that are ideal for
comfor table conver sation and
relaxation. This story would be one of
discovery and finding new friends.
This set of stories would be the base
mode of operation, the default story,
whenever the other stories were not
running or taking precedence (see
figure 54).      

the story of a chance meeting. It may

be that the site simply creates a
comfor table environment with
cooling mist, soft music, and a
comfortable atmosphere to sit in and
relax.
unforeseen
Revenue: This story will be activated
and controlled by the number of people
on the site as well as the other specified
inputs depending on the advertiser and
the message.  As the story unfolds the
users will be pulled into the
advertisement and become a part of it
(figure 55). “Advertisements” does not
necessarily mean billboards, videos, or
commercials. While this type of blatant
advertising is possible, it is the goal of the
design to use more subtle forms of
advertising. The ads envisioned for the
site are a form of guerrilla marketing. They
will create emotion and interest in the
powerful interactive revenue (figure 55)
product without the user being
completely bombarded with the product,
its features, and benefits. At some point
during the story (depending on its
individual choreography) the product will
be revealed and a call to action may or
may not be presented. As stated
previously an example of this would be
the Phantom of the Opera’s third year
a n n i v e r s a r y. B y t h e e n d o f t h e
performance those on the site would
know about and be excited to go see the
Phantom of the Opera.
53
 submersed progressive engaged entertainment and performance (figure 56)

Entertainment and pad and a group of people form

Performance: One story that around him, then the site will begin
the site will create is a place of to react. Perhaps the lights will dim
entertainment and performance.  throughout the site but increase in
This story will unfold to provide a intensity directly over this individual.
true stage for the Las Vegas street The speakers may reduce in volume
"performer” (figure 56). It was as well in order to allow the
observed in the site inventory and performer to be heard.
analysis that the site is often used by
It is also possible for multiple stories
performers, people like Elvis, Yoda,
to be happening at once. If a
Silver Statue men, Storm Troupers,
performer is on the center portion
etc. The site now provides a
of the site with a small crowd
specific space for these individuals
around him, the western end of the
to attract larger crowds and
site may still be ideal for
increase their draw and
adver tising, or converging and
marketability. If, for example, a
enjoying.
performer is standing on a sensor
The Void Spring 2010
Theatrics: “Theatrics” are the
physical elements such as lighting
and sound that are used to elicit an
emotional response from the
viewers. In essence theatrics will be
used in ever y stor y because
theatrics are what make the stories
apparent and real (figure 57).

captivating imaginative experienced theatrics (figure 57)

55
 story simulation ma
ss

on
iati
var
site condition

place we
ath
er
The Void Spring 2010

The diagram outlines story

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

em
oti
on

t
ven
e

year story diagram (figure 58)

57
 Converge and Enjoy: This diagram
outlines a specific series of events that leads
to the story of converge and enjoy (see
figure 59).

50+ people are

stationary in seats
or standing.
quantity

ss
ma Most of the people
em are relaxed and
oti
on having fun.
People grouped on
the east end of the
site.

Site deepens with red

hues as people move on
site condition

to the site. Soft music

Shade cast on large element begins to play and the mist
and mist stage. Wind begins stage begins to activate
to cut through the site from which directs people to
the north. the seating nodes.
The Void Spring 2010

t
ven
e
Phantom of the
Opera opening day.

converge and enjoy (figure 59)

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

The city is where the people are,

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

59
 layout
ped landing
sculpted seating

projection planes

mist stage

recessed seating

Plan
plan (figure 60) N
0 10 20 30
The layout of the site was of particular concern due to the
large volume of pedestrians that pass through the corridor. It
was important that the site not impede the flow of
pedestrians while still providing seating and other park
amenities.

The main flow of pedestrian traffic occurs through the

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

The eastern portion of the site was devoted to park amenities

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

Steps were placed at the east end of the site to take the
pedestrian back to grade heading east on Harmon Avenue. On
the southern end of the site is a pathway that does not change
grade for handicap access.
61
 Concrete: Throughout the site, brushed
concrete makes up the ground plane with large
six by six score joints. Concrete was chosen
because it is durable and capable of creating
many surface experiences (figure 62). On the
north edge of the site is an area named the
“mist stage.” This area has mist nozzles that are
lit from below by LED lights (figure 63). These
nozzles are spaced 12 feet apart and lie at the
intersections of the score joints.
plant materials (figure 61)

Plant Materials: The raised planters are

planted with vegetation in large masses to give
an even but interesting texture to the site as
well as a fairly even plane for light and images
to be projected on. The four Palo Verde trees
(Cercidium floridum) were chosen because of
their desert qualities, smooth hued bark and
multi-trunked form. These trees are very
drought tolerant which makes them excellent
for Las Vegas’ arid climate. Texas Mountain
Laurel (Sophora secundiflora) was used along
the southern edge of the site to screen the side
of the Harley Davidson Cafe. Deer grass
(Muhlenbergia rigens) was used in masses as
background plants. This plant is used for its
movement in the wind, sound, texture, depth
and natural hue. Blue fescue (Festuca glauca)
was used in the foreground because of its
architectural qualities and its deep blue hue.
The Void Spring 2010

Octopus agave (Agave vilmoriniana) was used

for its silhouette and smooth leaves. These
plants have a striking appearance and
structured appeal.
concrete properties (figure 62)

led mist nozzle (figure 63)
Atmosphere: The site has various
forms of lighting from LEDs to
projectors. There are also outdoor
speakers in the planters that create
sound and music on the site.
seating nodes
Elements: The focal element on the site
is the large white concrete structure (figure
64). This structure was purposefully designed
to be obvious and noticeable. In researching
famous pocket parks it was determined that
it was important to have elements of the
park that were unique and unmistakable. The
large surface area of the structure creates
planes that can be used for many purposes
including projections, advertising, lighting, etc.
The white concrete is also carried through all
of the benches on the site. Seating nodes act
as essential areas for congregation, placing
the viewers in ideal locations to observe the
happenings on the site. These qualities
enhance the stories that are played out and
heighten the essence of the site.
projection planes
focal element (figure 64)
63
the void. las vegas boulevard and harmon avenue (figure 65)
 conclusion
Designed by Stewart Christensen and
Christopher Levy, The Void, will become
the newest pedestrian focal point on the
Las Vegas strip. The Void was designed in
response to its environment, Las Vegas,
an innovative and diverse cityscape. The
Void offers a place that not only fits into
the fabric of the strip, but magnifies its
harmony and vibrance. Another main
intent of the designers was to create a
space that harnesses individual
experiences, unheard of in traditional
landscapes. The ultimate solution, The
Void, incorporates a concept of fluxing
inputs, which mimic the characteristic of
Las Vegas.
The designers’ intent for using a variety
of inputs (time, people and place) was to
gather enough information for the site
to react. The reaction would take place
in the form of four selected stories, place
to converge and enjoy, revenue,
entertainment and performance, and
theatrics. Once the site had gathered
enough data from the inputs a story
would be selected and acted out. This is
done by the use of technology such as
lighting, sound, and projection emitted
throughout the site.
The Void Spring 2010
Further articulation of the arrangement
of the site and its stories was done
through the designers’ formation of the
Viral Process Theory (VPT). The intent of
the VPT was to create a step by step
for mula that will result in user
satisfaction being so high that they will
transfer this satisfaction to friends, family,
and colleagues who may have never
heard of The Void. Once the site has
selected a story to act out it is
programed to use VPT in the unfolding
of that story. An example of how this
process works is, at sunset on a Sunday,
the site tracks a small group of people
forming on the fringes of the site. The
site beings to illuminate the interiors of
the site using deep blues and purples
where seating is located, in order to
entice the pedestrians to move their
conversation and gathering to a more
pleasant portion of the site. Once the
site senses the group’s movement it
begins to set the scene by projecting
images onto the site and dimming
surrounding lights. The designers’ intent is
that this type of individual consideration
will create experiences that are far more
impressionable than any other
experienced landscape in the world (see
figure 66). The designers also intent that
The Void will mesh cohesively into the
identity of Las Vegas, helping the quality
of urbanization the city is experiencing.
The Void is more than a project it is a
new way of experiencing landscapes. The
processes and methods applied to The
Void are new to the profession of
landscape architecture. It is the ultimate
hope of the designers to improve not
only the quality of Las Vegas, but the
quality of life through user experience.
concept flux

inputs

stories + vpt

output (transfer of identity)

Complete Process (figure 66)

67
 work cited
Associates, Kimley-Horn. City Center HTE 05-46158 10/12/07. Tech.
Clark
County. Print.
"Big Traffic Mass Media®: Study Shows Las Vegas Strip Pedestrian
Traffic
Volumes Are Significant and May Be Undervalued |
Facebook." Facebook.
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Web. 21 Jan. 2010. <http://www.facebook.com/note.php?

note_id=232826950607>.
"Climate for Las Vegas, Nevada." RSSWeather.com. HAM Weather. Web.

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

%20Vegas/>.
"National Weather Service - NWS Las Vegas." NOAA's National Weather

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

www.weather.gov/climate/local_data.php?wfo=vef>.
The Void Spring 2010
image credits
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showbizinbc/400302416/. Accessed 10 May 2010.
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photos/garo/3200052354/. Accessed 10 May 2010.
20. Shade On Site. Personal photography by authors. 12 Feb. 2010.
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22. Pedestrian Strip Traffic. Personal illustration by authors. 11 May. 2010.
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25. Seating Opportunities Map. Personal illustration by authors. 22 Jan. 2010.
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mikejonesphoto/2491851977/. Accessed 10 May 2010.
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 30. City Center From Site. Personal photography by authors. 12 Feb. 2010.
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www.flickr.com/photos/tooomahs/4491754387/. Accessed 10 May 2010.
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Database on-line. Flickr. http://www.flickr.com/photos/mark-edwards/
4123124700/. Accessed 10 May 2010.
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www.flickr.com/photos/sgoralnick/3294476464/. Accessed 10 May 2010.
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The Void Spring 2010
53. Cnmark, 9 Jan. 2009. Shanghai - Bund Sightseeing Tunnel. Database on-line. Flickr. http://
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57. Theatrics. Personal artwork by authors. 18 Apr. 2010.
58. Story Diagram. Personal illustration by authors. 18 Apr. 2010.
59. Converge Story Diagram. Personal illustration by authors. 18 Apr. 2010.
60. Plan. Personal artwork by authors. 18 Apr. 2010.
61. Plant Materials. Personal artwork by authors. 18 Apr. 2010.
62. Concrete Properties. Personal artwork by authors. 18 Apr. 2010.
63. LED Mist Nozzle. Personal artwork by authors. 18 Apr. 2010.
64. Focal Element. Personal artwork by authors. 18 Apr. 2010.
65. Perspective. Personal artwork by authors. 18 Apr. 2010.
66. Process Diagram. Personal illustration by authors. 18 Apr. 2010.

71
The Void Spring 2010
appendix a
Existing overall site conditions with adjacent
roads, utilities, structures, etc.
73
 appendix b
Existing site utilities and structures.
The Void Spring 2010
75
 appendix c
Existing center island utilities and structures.
The Void Spring 2010
77
 appendix d
Site Photos
The Void Spring 2010
79
 appendix e
Site Bench Photos
The Void Spring 2010
81
 oid
e V The Void: The Essence, The

h
Experience, The Pleasure of Las Vegas
Chris Levy

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