Casino Enterprise Management

There was a time when regional differences in architectural design were fairly easy to identify. No one would confuse ancient Roman architecture with ancient Greek or Chinese architecture, for example, and the differences were reflective not only of the different cultures, but also of the materials available to the builders. Regional differences remained noticeable throughout most of modern history. The differences between classic English, French and Italian design, for example, reflect not only cultural differences but also variations due to different climates. The builders, too, were essentially local people; until fairly recent times designers still worked in their own regions—their own backyards.

Today, however, it is not uncommon for Western architects and contractors to be working all over the world. Much of the recent work in the Middle East and the Far East has been planned and directed by Western firms. Many U.S. firms have been working overseas for years, bringing their expertise—and their American design aesthetic—to high-rise office buildings and hotels the world over.

Gaming has never been an exclusively American phenomenon, but it was here, in places like Las Vegas and Atlantic City, that the large-scale gaming resorts were first introduced. As with office buildings and hotels, U.S. architects are now being asked to design gaming venues in places where they have not existed before—or, at least, have not existed to this scale.



Thomas O’Connor of SOSH Architects notes that his firm has been fortunate to have worked with clients in a number of diverse locations, listing among them the Caribbean, Europe, the Far East, Kazakhstan and Moscow. This builds from their domestic work across the U.S. in such varied places as the Gulf Coast, the West and Southwest, as well as Chicago, Philadelphia and Columbus, Ohio.

It’s been interesting to see the Las Vegas market adjust to the preferences and cultural differences of its overseas visitors. For many years, you could not find a 13th floor at most properties, reflecting the Western belief that 13 is an unlucky number. Today you might also find other numbers missing as floor identifiers, reflecting Eastern cultures’ beliefs about unlucky numbers. (You might also be surprised to find a number of cable TV channels in the Chinese language.) But what adjustments are necessary when working overseas? Michael Mangini, SOSH Architects’ director of design, notes that the firm works to keep its design philosophy open minded, while relating specifically to their clients’ needs and branding identities. Mangini notes, “Today, our clients and their customer base are pretty savvy in today’s economic conditions. With worldwide connectivity, access to the Internet through personal computers, smartphones and other social networking—the two are not far separated. The ‘design’ addresses, answers and rewards universal truths that are equally desired for both the owner and their customer.”



The type of client and customer base may be an important key to a successful project. Mangini notes that they are savvy to today’s economic conditions. Thomas Sykes of SOSH Architects goes a bit further when he adds, “An educated and experience client is the most important component of a project, especially an overseas project. The assemblage of the highest quality consultant team for all aspects of the design process is essential.”

The design process itself is not so different than that used at home, but with an international twist. Sykes explains: “The model we have employed in Cairo, Cambodia, Kazakhstan, Russia and Oman is based on a clear and well-defined program and design goals with an experienced owner. Using multiple-day design charrette sessions with the owner, as well as with local consultants familiar with the construction process, materials and approval process of the particular project site, a refined concept to which all hands contribute provides the sound vision and structure for moving forward on the project.”

One can wonder if the different regions do make a difference in design approach, even if a multi-day design charrette with local consultants is used. Regardless of locations, size of venue or amenities, SOSH Architects stays consistent with its design approach to any project. O’Connor explains: “Regardless of the region, our firm’s design approach is to tell a story. The story could be that of the owner, the brand, the patron end-user, the culture or the location. Property amenities such as retail, dining and entertainment venues will vary based on whether the customers are extended-stay vacationers or drop-in locals. The interior design and lighting features throughout the property, including guest rooms and convention facilities, may be interpretations of regional materials or Native American cultures. In the end, the design is the vehicle that should clearly tell the story.”



After being involved in gaming developments in so many and varied locations, we were wondering if SOSH Architects was noticing any shift in gaming design that we should note for the future. Sykes responds: “Casinos in an urban context are becoming more and more popular. Large development pads, challenges to financing, and extended regulatory processes have layered a degree of difficulty on large casino developments. Conversely, the proliferation of gaming has more and more jurisdictions welcoming the opportunity for gaming to be added as one more form of entertainment in many cities. Boutique casino hotels are, in many aspects, a ‘return to the future’—the European models from which gaming grew prior to Las Vegas were often lovely properties, tucked within the grid of their town, fancifully embellished and well maintained. Their size reflected their market and they were, in many cases, highly successful operations that still made each patron feel special and unique.”

Sykes also notes that the boutique casino hotel approach has made its appearance domestically as well. Sykes describes it in this way: “The intent of the state of New Jersey in passing legislation for the Boutique Casino Hotel Bill is an excellent example of promoting the opportunity for a high-end, energetic property to be developed in an urban context, in a phased program, that provides for a high quality project at a lower market entry cost without compromising quality.”

Perhaps it will serve as a model for gaming development both here and abroad.


Klaus M. Steinke, AIA, has worked on a variety of hospitality, casino, commercial and other projects, several of them exceeding $100 million in construction costs. His most recent project was the Rivers Casino. Steinke has 27 years as a licensed architect and is a strategic partner of American Project Management. www.apmlasvegas.com.

Jane S. Lee is a managing partner and co-founder of American Project Management. She has 30 years of marketing, business development and management experience in the global financial, investor relations, design and construction industries. She is responsible for establishing and maintaining client relationships in casino, hospitality, Indian gaming, entertainment, international investor relations and financial markets. Lee can be reached at Jlee[at]apmlasvegas.com.