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High Roller: a New Attraction Remakes the Las Vegas Strip

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High Roller: a New Attraction Remakes the Las Vegas Strip www.lightingandsoundamerica.com September 2014 $10.00 High Roller: A New Attraction Remakes the Las Vegas Strip ALSO: Fall Out Boy’s Monumentour Harman’s Blake Augsburger Philips Vari-Lite VL4000 Spot ITEAC 2014 Copyright Lighting&Sound America September 2014 http://www.lightingandsoundamerica.com/LSA.html THEMED ENTERTAINMENT 50 • September 2014 • Lighting&Sound America Reinventing the Wheel Top: Some 2,000 individual LED fixtures are programmed to light up the High Roller at night. Lighting design was provided by Abbey Rosen Holmes, of NYXdesign LLC. Left: The High Roller observation wheel rises 550' at the eastern end of The LINQ, a new retail cor- ridor combining new and existing properties. The High Roller creates a new focal point on the Las Vegas Strip By: Judith Rubin 550' high, the High Roller is a new icon in the Las pop culturist Charles Phoenix as “bubbilicious.” Vegas skyline and has been validated by Guinness The High Roller is owned and was executive-produced World Records as the tallest observation wheel in the by Caesars Entertainment Inc. The Caesars team included Atworld. Positioned at the easternmost end of The LINQ, Greg Miller (executive vice president, development, Caesars Entertainment’s new strip-within-the-Strip Caesars Entertainment) and contractors Randy Printz opening onto one of the busiest street corners in the (project management) and David Codiga (executive project universe, the High Roller, which opened on March 31, is a director). Heading the external team were creative director focal point for the Caesars and Harrah’s properties now Phil Hettema, of Pasadena-based The Hettema Group consolidated under Caesars. (THG, producer and concept designer), and architectural Rotating sedately with a maximum throughput of 1,120 design company THG of Nevada LLC, formed by Hettema people per half-hour circuit, the High Roller is packaged as and John Kasperowicz, AIA (design architect). Wheel a full guest experience complete with themed engineering and design were provided by Arup North environment—and an engineering breakthrough. Its unique America Ltd., whose project manager was Jason Krolicki. single-tube design facilitated the spherical shape of its Additional designers included Abigail Rosen Holmes, of Photos: Denise Truscello twenty-eight 40-passenger stand-up cabins—described by NYXdesign LLC, to light the wheel (under contract to www.lightingandsoundamerica.com • September 2014 • 51 THEMED ENTERTAINMENT Components of the spherical cabins were fabricated by suppliers in various parts of the globe, and had final assembly in the Las Vegas warehouse of Leitner-Poma. Caesars), featuring Martin Professional fixtures provided by Theme team Las Vegas-based 4Wall Entertainment. Lisa Passamonte- Miller, Codiga, and Printz are all past creative execs with Green, of Santa Clarita, California-based Visual Terrain Disney and/or Universal credentials. Kasperowicz, Holmes, (contracted to THG), provided concept design for lighting Passamonte-Green, and Ruud are all seasoned Disney the wheelhouse building, which features gear from ETC alumni, along with wheel engineering consultant Frank and Philips Color Kinetics. Illuminating Concepts Weigand, of The TWT Group. Lance Heywood, of executed the design and commissioning of the building’s Heywood Engineering, designer of the wheel’s PLC-based lighting under the architect of record, Klai Juba Wald integrated ride control system (IRC), has extensive Architects Ltd. experience working on amusement rides. Theme park Kevin Ruud, of Vegas-based Design Horizons Inc., was credentials also show up in the High Roller’s day-to-day AV and show control systems designer. Ruud was management: Eric Eberhart (general manager; 15-plus contracted to National Technology Associates (NTA), years with Disney) and James Donahue (operations whose project manager was Nevin Edwards. NTA was manager; four years with Paramount Parks). contracted to Bombard Electric, working in turn under “Theme park experience is really significant for a project general contractor Richardson Construction. like this,” says Hettema, “because designing and building THG’s team also included project designer Jodi it is such a multidisciplinary endeavor, mashing together all Roberdes, designers Kye S. Lee and Juan Acuna, project the theatrical disciplines, plus architecture, plus director Anthony Pruett, project coordinators Diana engineering.” Cimadamore and Corinne Cunningham, and general “Entertainment design is a spiral,” says Kasperowicz. manager Deborah Saale. Mark Goerner provided cabin “You keep revisiting; new information comes in from the concept design, with concept art and illustration by perimeter and you have to be flexible to adjust for it, Michael Abbott, Michael Marquez, and Michael Scheffe, without messing up your process.” and interior design and color selection for the wheel, Kasperowicz and Hettema coordinated with The LINQ’s cabins, and wheelhouse by Maureen Johnston and Laura design and planning architect David Schwarz Architects to Garrett. Additional credits appear below. determine wheel placement relative to The LINQ and the Strip, and with Klai Juba Wald to develop concept design Photos: Kevin Ruud 52 • September 2014 • Lighting&Sound America drawings into construction drawings. Choosing Arup to engineer the High Roller was, to Hettema, a “no-brainer, not just because of prior experience with big wheels” [design development on the London Eye and reference design for the Singapore Flyer], “but because they are of the same school as us: Their stock-in-trade is anything unusual, around the world. The look of the wheel and its configuration were our responsi- bility. Arup figured out how to make it stand up and, with sub-consultants, to make it move.” Single ring/spherical cabin breakthrough The High Roller cabins stick out around the rim—a design attribute the London Eye and Singapore Flyer share, but “it was Arup’s engineer, John Lyle, who said, ‘I wonder if we could do this with a single ring,’” says Hettema. “They went back and did some counts, and then we were able to say, ‘That means we could do a spherical cabin.’” “The London Eye has two slewing bearings and a large truss rim supporting the cabins,” says Krolicki. “We got that down to a single slewing bearing and a single rim for the High Roller; that’s unprecedented and is what allows the spherical cabin. The concept of 360° views led to the cabin shape. Elongated cabins, such as on the Eye or Flyer, direct your view. The idea of the High Roller is that The High Roller’s single-ring wheel design made it possible to have you’re going for a flight—so it’s important that when at the the spherical cabins with unobstructed views, standing 2m out from the wheel rim. You can see the Venetian and the Palazzo in this view. www.lightingandsoundamerica.com • September 2014 • 53 THEMED ENTERTAINMENT On the maintenance platform of the High Roller, the drive sys- Close-up of the hub-and-spoke construction of the High Roller. tems and the emergency retraction systems are visible. Photos: Kevin Ruud; Diagram: Courtesy Arup Photos: Kevin Ruud; Diagram: The High Roller under construction. Segments were attached at Cross-section diagram of the wheel rim, at a point where the the bottom; the wheel would be rotated to add the next section. cabin connects on the top and the spoke cables connect at the This picture was taken from the roof of the parking garage of bottom. Caesars Palace. 54 • September 2014 • Lighting&Sound America and 1,008 Martin Tripix Wash units with 240 Pathway Connectivity E-Din CMX/RDM splitters (four-way), and 16 Pathway Connectivity Pathport E-Din DMX nodes. “Not every lighting designer gets to be part of changing the Las Vegas skyline,” says Holmes. “We initially covered every prospect on how to treat it. We hauled out and tested lights on roofs of Las Vegas to see how something looks from 500' away. An important requirement was that both the system and the programming be successful from a variety of viewing distances: up close for riders, mid- distance from the top of The LINQ, and the very far distance from across the valley, the airport, etc.” The process included a full-scale wooden mockup of In the fourth-floor rack room, the gear includes 7th Sense servers and Alcorn McBride V16 Pro controllers. one segment of the wheel at Los Angeles-based Lexington Design & Fabrication. The actual wheel, made of steel and shipped in huge sections from China, “was not something top you’re not nested within a structure like the traditional where you could take another look and move something Ferris wheel; instead, you’re flying above it. We were able over a foot or two,” says Holmes. to stand the cabin 2m [6.56'] above the rim, which was “Once it left the factory, it could not be modified. In very different from preceding wheels with trusses. The addition to the mockup, quite a few 3-D drawings were slewing bearing supports this and allows each cabin to generated,” says Buddy Pope, senior project manager for rotate in this singular, tubular containment while keeping system integrator 4Wall Entertainment. the floor level.” Holmes’ lighting team included senior designer Emanuel “The single tubular rim is segmented—as opposed to Treeson, also of NYXdesign, who collaborated on the curved,” says Randy Printz. “The rim is connected to the specification of the lighting system; Troy Shackelton, lead hub and spindle with one hundred twelve 3" locked coil for the electrical contractor Bombard Electric Inc.; and cables that act as the spokes of the wheel.” programmer Jason A. Badger. 4Wall project technicians The cabins were computer-modeled at what Hettema were Heather Martinez, Shane Stine, David Foley, James calls “rocket science level” to fine-tune design and sizing Leblanc, and Shaun Ballew. of all components, finishes, and systems, mocked up at “The wheel itself is the star and we were helping show it the Grand Junction, Colorado shop of Leitner-Poma of off,” Holmes says.
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