Chris Buchanan
The liberation of our gambling laws, allowing a manifestation of mega casino resorts in metropolitan areas, has done very little for the architectural integrity of our new nation.
Long have we strived for that identity that would render our commercial, retail and hospitality developments reminiscent of an African ethos, rather than a post-modern pastiche of Georgian and Tuscan imagery. And it seems as if we have once again failed in our ability to use those very icons we deem sacred in our quest for our African roots.
Examining the history of casino development nationally and internationally, however, tells a story of the development of realistic fantasy; of highly competitive environments that use every possible ploy to lure the gambler to their establishment.
Our early gambling havens of the Sun International era were, like the Las Vegas of old, bland hotel facades inviting the gambler to enjoy opulent internal environments modelled on the classical casinos of Paris and Monte Carlo. The only essential difference between them was the range of amenities and whether you wanted to gamble in an extinct volcanic crater or at the seaside.
During these dark ages locally, Vegas began to pursue fantasy to the extreme, with each operator trying to outdo the next.
The ancient cities of the Pharaohs, Rome and Venice competed with the Hollywood fantasy along the same strip, incorporating life-sized sphinxes, Roman temples and grand canals. The fantasy went as far as recreating the Venetian canal stench.
As the local gambling industry emerged from its slumber, it followed the American obsession and themed itself into a stupor. “Classical Monte Carlo and Ancient Rome” will coexist at Caesars in Kempton Park with the operators citing the need for “vistas” and “making patrons feel like emperors”.
Your average gambler, most of whom are poor retired people, slugging gin as they shove their entire pension into the slots, will hardly feel like emperors as they contemplate their losses in the Pharaoh Bar. Nor is it likely that the same gambling pensioners will reminisce over the fine wine and extra virgin olive oil of Sienna as they stumble penniless out of Montecasino.
Guru architect of the gambling world Paul Steelman admits that theming is out of control and his name can be attached to almost every gambling joint in Las Vegas, including Caesars Palace and MGM Grand Movieworld. He also happens to be the architectural brain behind Caesars Gauteng, Graceland in Secunda, Grand Palm in Gabarone and the Sun City Entertainment Centre.
Well, in Gauteng alone, we can bear witness to just how out of control theming has become. Our newly acquired Circus Tent, Roman Edifice and Tuscan Village stand testimony to this phenomenon as alien blots on our African landscape. Gold Reef City in Booysens Reserve and the Emerald Casino in Vanderbijl are as close as Gauteng will come to gambling within an African context.
Gold Reef City is architecturally inept but historically enthusiastic and Emerald Casino is architecturally educational in its Cape to Cairo theme – cradle of mankind, heaps of mineral wealth, elephant tusks, renaissance and all that.
Be that as it may, the Gambling Board could not realistically have accepted five bids based on an African identity, but it might have shown some sensitivity toward the African context.
As for our gambling pensioners, there is little doubt that they will pour every cent they have into the first available slot machine, be it in an over extravagant recreated fantasy or in a disused aircraft hangar.