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Fig. 4.5 Aaron Lee, CPO Training Facility — an architecture that trains bodyguards in Las Vegas through the surreptitious monitoring and tracking of patrons within the restaurant and bar that comprise the front of house. A series of interchanges and articulations keep trainees in a constant state of alertness, and circulation allows people to filter into and out of the choreography of protection. Fig. 4.6 Anja Kempa, Windsurfing School — an Argon distillery providing gas for neon signs uses the by-product components of air to articulate an artificially enhanced landscape for windsurfing on Lake Mead, Arizona. Fig. 4.7 Navi Masutomi, Unpacking Primrose Hill — an occupiable device that allows the user to recreate the qualities of Primrose Hill in a multitude of other locations. Features include the visual enhancement of green vegetation through complementary colours, the production of a gentle breeze, and the elimination of
middle ground through an ersatz ‘tree line’. Fig. 4.8 Sam McGill, Journey’s End — A resting place for hikers in the remote Arizonan village of Supai. Fig. 4.9 Connor Cunningham, Court of Last Resort, Tucson — Through a dissection of the Western film, comparing the contrasting styles of directors Sam Peckinpah and Anthony Mann, the Court of Last Resort creates a pre-trial journey which unfolds as a classic cinematic standoff between the plaintiff and defendant. Through analysing the clichés of the western, as well as particular scenes in the films of Mann and Peckinpah, an architecture emerges that striates the border between Arizona as actual site, and as site representing other places and other points of history through cinema. Fig. 4.10 Tim Shou-Hang Wu, 1% Clubhouse — Providing a social hub for Hell’s Angels in Las Vegas, sitting across the road from the plasticised Harley Davidson Cafe on the strip.
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