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Forming the’ decadent twilight world-wide’ of nightclubs

Famous fraternities have offered masters the perfect scaffold to design fantasy environments, says Chris Hall

Caligula throwing a party ,” was how the funk musician Rick James described the famous Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” aspect that would condescend from the ceiling when required, there were batches of cash in the back room, unisex lavatories and stunts like Bianca Jagger riding a horse on the dancefloor is presided over by a naked soul covered in gold glitter.

The key thing about Studio 54, which is available in a brand-new exhibition about global guild culture at Vitra Design Museum, was its adaptability. It could become a different imagination environment to act as backdrop for the outrageous dress and theatre of the party goers- such as when four tonnes of glitter were dropped 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 pictured the rise of the idea that you don’t design a nightclub, you fetching the minimal motif ingredients to make a nightclub ,” says Catharine Rossi, a pattern historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical opening- truly the nightclub is just a container. Clubs are made through lighting and sound, psychotropic dopes and people .”

Interior
A situate to crash: Manchester’s post-industrial Hacienda with hazard-marking stripes on the editorials. Photograph: Courtesy of Ben Kelly

A new stage set would inspire a new persona.” Historically, nightclubs have provided as infinites for freedom of expression and safe infinites because they’re masked ,” says Rossi.” They’re obscure from daytime criteria and premises about behaviour and identity. At darknes we can try out different identities .”

Playing with personas was something Andy Warhol was drawn to at Studio 54, where he would document this emerging culture with its transformative possibles. The association had a door policy where simply celebrities and the beautiful or unconventional were allowed in- those searching their 15 times of prestige. This was a surreal, decadent, twilight macrocosm and whether it was Truman Capote, Debbie Harry, Grace Jones or Andy Warhol, it was mutually beneficial, the association burnishing their portrait and vice versa.

The exhibition will be crammed with a fascinating resource of layout detail to go with the photographs and frameworks- interior furnishings, illuminating, book intend, mode, and the graphics of flyers and posters. One of the exhibition rooms will be devoted to a sound and lighting station, without quite being a mock-up of a nightclub.” If you’re going to do an exhibition about nightclubs ,” shows Rossi,” then elements like ambiance and experience are key parts of the design of the rooms and how that design is expended or experienced .”

Nightclub
Staying cool: the Philippe Starck-designed Les Bains Douches in Paris. Photograph: Foc Kan

In the 70 s and 80 s, New York organizations, such as Area, Club 57, the Mudd Club, Paradise Garage and the Palladium, offered a artistic platform to masters. Nightclubs became galleries. Keith Haring designed flyers and summons, organized exhibits and installations, and covered a huge mural inside the Palladium. His canvas was also the human body, decorating Grace Jones with his signature kinetic moves for a live achievement at Paradise Garage in New York in 1985.

Another famous club that boasts heavily in the exhibition is the Hacienda in Manchester, with its innovative post-industrial design.” Nightclubs have evolved in line with the changing nature of our municipalities ,” says Rossi.” In the 1980 s for example, the post-industrial city led to the opening up of cavities from warehouses to factories .” Whereas Studio 54 was about exclusivity and decadence, the Hacienda was about inclusivity and a different kind of escapism. In short, it was the difference between cocaine and ecstasy.

Ben Kelly, who designed the Hacienda, says that it seemed logical to him to use the visual conversation of factory interiors given that it was a former yacht showroom and had an industrial feel.” There was a line of editorials passing through the cavity, which inevitably would be hazardous where people were drinking and dancing. I put stripes normally used as hazard markings in the workplace on the lines in the nightclub, and yellow-and-black stripes on to the riser of the stage. There was another safety issue getting on and off the conjured dance floor, so I expended roadside bollards and give cat’s sees into the concrete floor. The industrial speech advanced through practical reasons .”

Read more: www.theguardian.com

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