It certainly sounded like one of those "fires of suspicious nature" that plague empty, historic buildings in Las Vegas.  So we are not surprised that Arson investigators have some questions about the fire that finally destroyed the historic Moulin Rouge Hotel two months ago.

From the Las Vegas Sun:

For city residents, the four-alarm fire at the Moulin Rouge in May was a civic misfortune, the second major blaze to devastate the site since the iconic downtown hotel opened in 1955.

For Las Vegas arson investigators, who have confirmed that the fire was set by human hands though not necessarily intentionally, the blaze presents a host of facts to explore.

No allegations of arson have been made by city investigators — and may never be. In their only public statement since the May 6 fire, investigators last month confirmed “there was human involvement regarding the heat source” — though they do not yet know whether it was intentional or accidental.

“Neither arson or cooking by vagrants could be eliminated, so the investigation is ongoing,” according to a city spokeswoman.

The Moulin Rouge’s new owners assumed control of the property one day before the fire, after the former owners went bankrupt and the property was foreclosed upon. The Moulin Rouge sign — the only remaining valuable vestige of the historic casino — was carted off to the Neon Boneyard one week before the blaze.

The Moulin Rouge, open for a period of months in 1955, was the first integrated casino in Las Vegas. It was the place where several community leaders, including former Las Vegas Sun Publisher Hank Greenspun, met in 1960 and agreed to end segregation on the Strip.

The property’s former owner, the Moulin Rouge Development Corp., had sold the City Council last August on its plans to develop a spacious casino and 41-story hotel on the Bonanza Road site. Before demolishing the site’s existing structure, the owners faced a large bill for removing asbestos from the property. The fire cut into that cost considerably.

Two arson experts outside of Nevada who were interviewed by the Las Vegas Sun after they familiarized themselves with news accounts and city news releases about the fire say the circumstances, taken together, raise questions investigators want to explore.

“These are all what we call major red flags,” said Nicholas Palumbo, a nationally certified fire investigator based in New Jersey. “You look at these things and you have to ask: Are they all just coincidences?”

City spokeswoman Diana Paul said no other questions about the fire, or the probe being led by Las Vegas Fire & Rescue arson investigators, will be answered until the investigation is complete. The statute of limitations for arson in Nevada is four years, she said.

More than 100 firefighters took over two hours to quell the blaze. Plumes of dark gray smoke could be seen for miles. No one was injured.

A local fire investigator from the U.S. Bureau of Alcohol, Tobacco and Firearms was on the scene, the ATF confirmed, though local fire officials decided not to call in the agency’s national response team to assist with the probe.

(ATF national response teams have been called to at least three Southern Nevada fires in recent years, including the 2003 fire at the Moulin Rouge.)

As firefighters were finishing their task, the structure was demolished. According to a city news release, the decision to demolish what remained of the building was made by the city manager and fire chief based on an ordinance that allows the city to abate a hazard — in this case, tear down a smoldering building — if “the condition of a property constitutes an imminent hazard.”

According to the release, representatives of the group that had lost ownership control of the property the day before, the Moulin Rouge Development Corp., were on the scene and had a contractor ready to conduct the demolition.

Despite the fact that the group no longer owned the property, the city gave the company the OK to tear it down. The city said arson investigators had finished their work at the site before the demolition.

The Moulin Rouge Development Corp., which purchased the property in 2004, filed for bankruptcy in February with $40million in debt, despite receiving a $24million loan from Seattle-based lender Olympic Coast Investment Inc. for a new hotel on the site.

The week before the fire the property was put up for auction but there were no bidders, sources familiar with the process said. On May 5, Olympic Coast took ownership of the 15-acre site, which also includes two former apartment complexes and 60 condominium units.

Olympic Coast’s president, John Hoss, visited his new property while the fire was still being doused.

“The timing is a little odd,” Hoss told a Las Vegas Sun reporter at the time. “It’s a weird coincidence. It’s certainly odd.”

In a more recent telephone interview, Hoss said he had no idea how the fire started.

He said his group is attempting to sell the property — which still has gaming development rights attached — for more than $25million, and that parties have expressed interest. A sale could be announced soon, he said.

Hoss said there was an insurance policy in place when Olympic Coast took ownership. He declined to say how much the property was insured for, other than that it was in the single-digit millions of dollars. But he said he’s asking insurers for only $100,000 to cover the cost of the fire’s clean-up.

Both Hoss and the city’s neighborhood response division manager, Devin Smith, confirmed that all four properties are or were laden with asbestos, and that the city has been demanding it be cleaned up at a cost of $1.2million. That cost is now hundreds of thousands of dollars less because it is cheaper to clean up asbestos from a fire site than to remove asbestos from an existing structure, Smith said.

Palumbo, the fire investigator, and Patrick Andler, a Phoenix-based certified fire instructor who has investigated more than 4,000 fires, say the city may have erred by allowing the building to be demolished so soon after most of the fire had been doused.

Investigators would have had a better shot at determining the precise origin of the fire — and what may have caused it and who may have started it — if the structure had been left intact, they said.

“Fire investigation is a process of elimination,” Andler said. Investigators need to be able to look at every single room to determine which one was the source of the fire. And then they need to have access to that room to search for debris.

Neither the three principals of the Moulin Rouge Development Corp., Chauncey Moore, Dale Scott and Los Angeles attorney Rod Bickerstaff, nor the group’s former public relations consultant, Jayson Bernstein, could not be reached for comment.

David Peter, the president of Republic Urban Properties, a Virginia group that had announced it would invest up to $1billion to develop the site — said he has washed his hands of his investment and given up on seeing a return on the money that his group had poured into the project. “We’ve written it off,” he said.

It is one of the iconic books about Las Vegas architecture, "Learning from Las Vegas".  Written over forty years ago, this influential book, along with Alan Hess', "Viva Las Vegas: After-Hours Architecture", influences the way we look at the architecture of the Classic Las Vegas Strip.

Recently, Denise Scott Brown and Robert Venturi returned to Las Vegas to see how the landscape had changed in forty years.  Their partner, Steven Izenour, passed away some time back.

From our pal Kristen Petersen at the Las Vegas Sun:

It’s 100 degrees. Everyone is sweating.

Architects Denise Scott Brown and Robert Venturi tour the Neon Boneyard, followed by a small crowd, some shaded by umbrellas. Cameras roll.

The Boneyard visit and a subsequent architectural bus tour are for a documentary on the architects whose famous 1968 study of Las Vegas launched an influential way of architectural thinking by observing what the people want, rather than what the architect dictates.

The project, begun five years ago by their son, Jim Venturi, delves into their working relationship, transformative years, observations, influences, ideas and projects, and has taken them around the world.

The Las Vegas stop is key. “Learning from Las Vegas,” a book of their study of the city as a prototype for 20th century American suburbia, became a formula for how they approached, and still approach, architecture.

Jim Venturi calls it a bedrock of his parents’ career, “the defining element that they are associated with by their willingness to look at things other people weren’t looking at.”

That the book remains topical in college curricula and contemporary conversation, even outside of architecture, is partly what inspired him.

“People had discovered their thinking and applied it outside the field,” he says. “Today you’ll find all kinds of interesting schools that are using ‘Learning from Las Vegas’ in the curriculum.”

Scott Brown, 77, and Venturi, 84, have received their share of criticism for their writings and designs — though they have their disciples and Venturi won the 1991 Pritzker Prize.

The film, Jim Venturi says, explains some of that: “You see the world from their perspective. You see their challenges. You learn about the experiences that shaped them.”

That, he says, includes their application of Eastern ideas and quest for balance.

John Halpern, known for his 1979 documentary on German artist Joseph Beuys, directs the film, one he says he would have given anything to be a part of: “Our main characters are amazing and complex.”

Halpern recalls Robert Venturi describing Palladio’s Basilica di San Giorgio Maggiore: “He revealed part of his mind, his mental process, his natural instinct for seeing art in its deeper meaning and esoteric impact. His sincerity, openness to and love of art and architecture moved me completely.”

Halpern describes Scott Brown as a powerful woman and architect, denied credibility in the “men’s club” of architecture. He’s also seen her open up:

“While describing her feelings and visionary ideas about architecture and the intricacies of city planning, (she) revealed a beautiful correlation between her body and sensorial experience in her art expression.”

Scott Brown says the project has been hard work, but has given them their lives back by revisiting the places where they shaped their ideas and careers.

Have they visited Vegas much?

“We have,” she says. “But who’s to know, this could be our last. But we say that everywhere.”

Having just driven from Southern California to Las Vegas (and back), you would think that the idea of a high speed train would excite those of us who do the 4.5 hour drive on a regular basis.  And the idea of a high speed train does interest me. 

Just not the one that Sen. Harry Reid is backing.  As reported here a few months ago, a battle is brewing over two companies that want to bring high-speed rail to Southern Nevada.  The DesertXpress is the maglev train that would go from Anaheim to Las Vegas.  You could leave Las Vegas and be at Disneyland without having to endure the notorious (and not getting any better) Southern California traffic jams.  If you wanted to go to Los Angeles, you'd take one of the light-rail trains to Union Station.  They have plans for a terminus in Palmdale to accomodate those in the high desert that want to go to Las Vegas.

The other high-speed train, the one that Sen. Reid is backing, would go from Victorville to Las Vegas.  Yes, you read that right.  Victorville.  People in Southern California would have to drive to Victorville to take advantage of the train.  And people visiting from Las Vegas, would have to rent a car in Victorville and drive into Los Angeles.

The worst part of the trip is usually getting through Southern California traffic just to get to Victorville.  After that, the trip is usually less aggravating.  The idea that the freeways in Southern California are only a problem during rush hour is an urban legend.  About the only time the freeways aren't jammed are in the wee hours of the morning.

It is about 2.5 hours from Victorville to downtown Los Angeles.  And it usually bumper to bumper for a good portion of that drive.  And most people going to Los Angeles aren't staying downtown, so just getting to Downtown Los Angeles, still means you have more driving (and more sitting in traffic) to do.

So, we are scratching our heads over Sen. Reid's backing of a high-speed train that does not connect Southern California to Las Vegas but instead only goes part of the way.

It reminds us of the hype around the Las Vegas Monorail and we all know what a boon-doggle that became.

Let us know what you think!  Would you take a train to Victorville?

From our friends at the Las Vegas Sun:

A high-speed train should be in place in 2012 that links Las Vegas and Southern California.

Senate Majority Leader Harry Reid today announced that plans are moving ahead for the DesertXpress train to Victorville, which is a private project. Reid had thrown his support behind the project, saying it had a better chance of getting built than an alternative maglev option that would have linked Las Vegas and Anaheim.

Officials hope to break ground in the first quarter of next year, with the project expected to be completed two years later.

As a private project, DesertXpress has insisted it has no interest in competing for $8 billion in federal recovery money — although more recently its backers said they may seek federal loans to help finance the $5 billion project.

Reid said today that plans are in place to link the project with California’s north-south trunk line "soon after" the Victorville project is complete, although no specific timeline is in place. The $45 billion trunk-line project links San Francisco and Southern California.

DesertXpress envisions a spur linking its Victorville stop to the California train’s Palmdale station, about 50 miles west. The Sun reported today that the U.S. Transportation secretary would announce the designation of a federal high-speed-rail corridor between Las Vegas and Southern California.

The one-way fare between Las Vegas and Southern California would be about $50.

DesertXpress is a private enterprise currently unaffiliated with a state agency.

Courtesy of the Las Vegas Sun

Hundreds of locals and tourists gathered under the Fremont Street Experience's canopy to celebrate the Fourth of July with an innovative twist.

While many look forward to the holiday's spectacular fireworks shows, visitors downtown instead got to witness virtual fireworks on the Viva Vision big screen that features more than 12 million lights.

During the light shows, many stood with their necks craned to take in the view of the big screen while others danced and sang along to familiar favorites like Don McLean's "American Pie." The light shows coincided with the Fremont Street Experience's "Summer of '69" theme and members of the crowd, regardless of age, seemed to enjoy them.

"It's about bringing America together," said Eric Snyder, 25, of Las Vegas, after the night's first virtual display. Snyder also liked the fact that the digital fireworks "won't burn anyone's house down."

Others liked that admission to the Fremont Street Experience is free.

DeShaun Turner, 25, of Las Vegas, brought his nephew and three nieces downtown so they could have a good time without the risk of getting burned by sparklers or a rogue flying spinner.

"The Fourth of July is really for the kids," he said. "It's all about the fireworks and down here it's safe."

In addition to the shows up above, performances by live bands on two stages kept visitors entertained. The "Summer of '69" concert series is the reason many made their way downtown.

"It brings back old memories for me," local resident Andre Wilson said while listening to the band California Dreamin' perform Steppenwolf's "Magic Carpet Ride." "I'm proud to be an American and respect all those that came before me and allowed me to have these freedoms. It's an important holiday and this is such a great way to celebrate it."

Nick Krein, 19, of Modesto, Calif., studied the crowd during Class Act's set. It was his first Fourth of July in Las Vegas and he wasn't sure what to expect.

"I like the atmosphere here," Krein said. "People are laid back and seem to be having a good time."

Locals Brian Jackson and Kim Chambers brought their children to the Fremont Street Experience to see Grass Roots and the area in front of the stage was packed by the time the band performed at 9 p.m.

"I grew up listening to them with my dad so I wanted us to come out and see them," Jackson said. "The Fourth of July is a good time to get together with friends and family."

Before the band took the stage, a speaker reminded the audience not to forget those who served in the military, making special note of Vietnam veterans.

"While we were talking about things like Woodstock, they were talking about places like Saigon," he said.

The holiday has a special meaning for Edward Soto, 28. He and his friends are stationed at a Naval base in San Diego and decided to travel to Las Vegas for the weekend.

"The Fourth of July always meant something to me," Soto said. "My parents came to this country to find work and I'm doing what I can to pay back what this country did for my family."

Others in the crowd weren't there to celebrate the holiday at all. Bri Eshleman, 21, and Jayme Donohoe, 21, both from Vancouver, Canada, came to Las Vegas because they had time off from work for Canada Day, which was Wednesday.

"We aren't really celebrating the holiday, but I am celebrating winning $35 at Fitzgerald's on my first trip to Las Vegas," Donohoe said.

When asked why she chose downtown instead of the Strip for her first trip the Las Vegas, Ehlesman said a friend of hers was just here and recommended "old Las Vegas."

Despite the lack of pyrotechnics, traditional favorites like hot dogs, hamburgers and beer were easily found downtown. In front of several casinos, white picket fences created mini backyards where people could pretend that they were at a cookout despite the large canopy of lights above them.

From the Las Vegas Sun:

The rockets glared brightly as the music of Bruce Springsteen and John Mellencamp blared and all eyes stared skyward at Red Rock Resort on Saturday night for Station Casinos’ 4th of July Blast.

Hundreds of people gathered with family and friends and filled the lawn near the resort’s pool for a nine-minute fireworks show choreographed to music paying tribute to America — with Sinatra and Elvis thrown in to recognize the hometown spirit.

Billed as the valley’s largest fireworks show, Red Rock was one of nine Station casinos to simultaneously light up the sky starting at 9:30 p.m.

Along with Red Rock, the choreographed show included Aliante Station, Boulder Station, Fiesta Henderson, Green Valley Ranch, Palace Station, Santa Fe Station, Sunset Station and Texas Station.

“It was fabulous. They did a great job,” said Summerlin resident Karen Kovacevich, who was at Red Rock. “I really liked that they added in Elvis and Sinatra.”

It took Grucci’s of New York four days and about 1,500 man hours to set up and choreograph the displays.

At Sunset Station in Henderson, hundreds of spectators gathered in the casino’s amphitheater to watch the fireworks.

Gina Buthman and her daughter, Chelsea, celebrated their first July 4th in Henderson after recently moving from Idaho. “We saw their big sign because we live right up the street,” Gina Buthman said.

Roy Nunes and his fiancee, Deanna Bono, said they watched the fireworks at Sunset to avoid the crowds on the Strip. “This is the easiest one to get to,” Nunes said.

Bono thanked the servicemen and women who are serving in Iraq. “My brother lived in Afghanistan, and my father is in Iraq,” she said. “So we have to wait until they come home, and then we can get married.”

Christine DuBois, husband, Steve, and son, Jaden, celebrated their first Independence Day in Las Vegas at Sunset, too.

“We were looking for a fun picnic, sit-on-a-blanket type atmosphere... and they’re supposed to have the best show in town,” Christine DuBois said.

Flashes of red, white, blue and green fireworks filled the night sky while some children ran around swinging glow-in-the-dark necklaces and others sat quietly in their parents’ laps, eyes wide.

At Red Rock, after the casino’s floodlights were turned off, guests could see other, earlier displays in the distance. It only seemed to heighten the anticipation.

“Being able to see all the fireworks going off all over the valley, it makes it seem like it’s one giant show in a way,” Allaina Marcus of Summerlin said.

For Rick Merchin, dressed in red, white and blue, the day began early with the Summerlin Council Patriotic Parade followed by a barbecue with family and phone calls to friends he served with in the Vietnam War.

And the fireworks display, he said, was “the perfect end to a beautiful day.”