Famous societies have offered masters the perfect pulpit to design fantasy environments, says Chris Hall
Caligula throwing “states parties ” ,” was how the funk musician Rick James described the legendary Studio 54 in New York, which opened in 1977. There was a cocaine snort” Man and the Spoon” facet that they are able to descend from the ceiling where needed, there are still pilings of cash in the back room, unisex bathrooms and stunts like Bianca Jagger riding a mare on the dancefloor led by a naked guy covered in gold glitter.
The key thing about Studio 54, which features in a new exhibit about world association culture at Vitra Design Museum, was its adaptability. It could become a different fantasy environment to act as backdrop for the outrageous clothings and theatre of the working party goers- such as when four tonnes of glitter were lowered from the club’s ceiling on New Year’s Eve or when the fashion designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s learnt the increase of the relevant recommendations that you don’t motif a nightclub, you introducing the minimal blueprint factors to make a nightclub ,” says Catharine Rossi, a designing historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical seat- actually the nightclub is just a container. Clubs are made through igniting and sound, psychotropic drugs and people .”
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