The team at NanoLumens has created what they call "Visualization Centers" in Atlanta, Bath, England and—most recently—in Las Vegas, which provides a much greater reach and supports customers in the western United States.
The Nevada Museum of Art, the state’s largest art museum, now features a colorful wayfinding program and donor recognition wall by Hunt Design.
Trying to out-dazzle the Las Vegas nightlife is a tall order, even from inside Vegas. The T-Mobile Arena, one of the latest additions to the self-proclaimed “Entertainment Capital of the World,” is a multi-use monument to the desert city and luxe digitally-integrated experiences.
The Fashion Show project consists of 10,000 square feet of LED video displays reaching 112 feet at the tallest point. The video displays feature more than 12 million LEDs to create more than four million pixels across 7,000 LED modules to provide 281 trillion colors for high contrast vibrant imagery.
A truly unique project from the SEGD archives circa 2010, CityCenter Las Vegas had a dream-team of five firms working on experiential graphic design. The 76-acre site sits on one of the world’s most notorious streets, where the development company commissioned eight world-renowned architects, 15 fine artists, more than 250 design firms, and 9,000 construction workers to realize an unprecedented $8.5 billion “urban resort”.
Monarch is the latest experiential design concept unveiled by The Cosmopolitan of Las Vegas, extending the library of digital narratives for which it has already won numerous design awards, including the 2011 Cannes Grand Prix. The display platform for the installation is a unique and innovative combination of architecture and multimedia: eight massive floor-to-ceiling video columns in the Cosmopolitan lobby. The original content platform was designed by Rockwell Group's LAB.
SEGD Fellows Clifford Selbert and Robin Perkins add dramatic scale, emotion––and most of all, stories––to the urban landscape.
Landscape architect/graphic designer Clifford Selbert and graphic designer/sculptor Robin Perkins teamed up in the late 1980s and, in the ensuing 25 years, they have collaborated with a wide range of municipalities, public agencies, owners, developers, and architects to create landmark projects that connect stories to places using art, communications, and environments.
Patrick Gallagher has followed his own road to success—and along the way, he’s led the design of some of the world’s most memorable museum experiences.
There’s no formal path to a career in museum planning and exhibition design, so Patrick Gallagher has blazed his own.
Playing with Fire
Burning Man is an anarchistic art festival, pop-up city, and laboratory for social experimentation.
Tumultuous, thundering cheers echo into the evening air as fireworks begin to pierce the inky sky above the Black Rock Desert of Nevada. A 40-foot-tall wooden effigy rises into the air atop a 50-foot pedestal, waiting silently, patiently for his moment. His countdown clock reads 00:00:00.
There is a sudden flash of light, a tremendous WHOMP, and Burning Man ignites.
A Piece of the Rock
Hard Rock’s interactive displays put guests in touch with the magic of rock ’n’ roll.
It may have Cafe or Hotel in the name, but Hard Rock is as much a museum as it is restaurant, hotel, or casino. Its vast memorabilia collection chronicles the history and legacy of rock ’n’ roll, from Eric Clapton’s red Fender Lead II guitar to Jim Morrison’s ripped leather pants. Its more than 72,000 pieces of rock ’n’ roll history are divided among 161 locations worldwide, giving guests in each city just glimpses of the complete collection.
Putting the “Public” in Public Art
From the SEGD archives, a new era of public art is collaborative, viral, and above all participatory.
Traditional public art is an interesting contradiction in terms—one that often has very little to do with the public, says Andrew Shoben, founder of Greyworld, a London-based artists’ group that creates installations in public spaces.
Pointing the Way
At Las Vegas’ Desert Living Center, interpretive sculptures reveal the keys to sustainable living.
The primary objective of this trade show exhibit was to position the Levi Strauss brands as leaders of men's apparel trends. The company's former exhibit occupied 20,000 square feet in the farthest corner of the exhibit hall and had struggled through twenty years of use. In redesigning its trade show exhibit, the client was aware that a massive "corporate" exhibit would alienate buyers focused on unique, individual style. The solution was a metaphor of exhibit as village. A wide variety of elements was set in a loose visual framework.
Specialty Graphics for Paris Las Vegas Casino Resort
Paris Las Vegas Casino Resort brings the passion and excitement of Paris to the entertainment capital of the world. Located on the famous Las Vegas Strip, this luxurious new resort aims to immerses visitors in an authentic Parisian experience.
Zamias Services is an owner and developer of secondary market centers throughout the United States. The exhibit design is inspired by an agora – a Greek marketplace – presenting Zamias Services as a company firmly grounded in tradition with its eye squarely focused on the future. This "modern-classic" theme gives visitors the impression of walking through a marketplace, surrounded by display windows filled with items for sale, while a graphic wall frieze tells the company's story.
Desert Passage is the centerpiece of the Aladdin Hotel & Casino resort in the heart of the Las Vegas strip. The primary goal at the outset of the project was to create a completely immersive environment so compelling and authentic in its detailing that it would transport guests to a different place and time. Environmental graphic design began with the creation of a story line that took the visitor on a retail "journey" retracing the ancient spice routes from Morocco to India.
Set apart from the new casinos of the last few years, the Palms was built for the local Las Vegas visitor. Theming the property was far down on the list of priorities when this friendly and approachable desert resort was created, although out-of-town visitors also recognized the appeal. Patterns in combination with a color palette, inspired by Maynard Dixon's paintings of the Southwest, evoke the impression of palm trees as affected by sunlight and shadow, and form the core of the visual identity for the project.
Visitors to the Absolut® Flavor Suite at Caesars Palace are soaked in color, pattern, and branded ambience like the proverbial orange slice in a Blue Cosmopolitan. The Rockwell Group branded six separate "flavor" rooms using digital output to image everything from carpet to wallcovering, upholstery to window treatments, even lampshades. A visit to the suite invites a careful search: guests discover hidden iconography as they explore, adding depth to the "Find Your Flavor" theme.
It's not easy to command attention in glitzy Las Vegas, but Fashion Show Las Vegas is visible by contrast through the use of clean lines and creative technology. Fashion Show's brand/identity references two classic logos associated with the highest standards in fashion: the simple black and white Chanel No. 5 box and the elegant Didot logo of Vogue magazine. The purity of black and white functions as an envelope for all the tenant activity and stands out among the dizzying visual noise that is Las Vegas.
A twenty-three-foot rooster asked all to Wake Up to Formica! The message was clear: Formica products still rise and shine after more than eighty years. The runways – two long counters – featured 82 different Formica surfaces including sinks. The simple runway plan was accompanied by irresistible egg-shaped lights and seating. Floating typographic walls defined the perimeter and a minimalist sculpture gallery displayed sample swatches.
Signs of Love and Signs of the Holidays were two separate guerrilla street sign postings in downtown Reno. Designed to inspire double takes and smiles, the signs were posted on existing sign poles the night before Valentine’s Day 2007 and during the holiday season in 2005. The Glenn Group wrote sign copy, created layouts for the printer, and hung the signs.