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Developing the’ decadent autumn nature’ of nightclubs

Famous clubs have offered masters the perfect stage to design fantasy homes, says Chris Hall

Caligula throwing a party ,” 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” boast that they are able to descend from the ceiling where needed, there is indeed pilings of cash in the back chamber, unisex showers and stunts like Bianca Jagger riding a horse on the dancefloor led by a naked husband covered in gold glitter.

The key thing about Studio 54, which features in a new exhibit about world team culture at Vitra Design Museum, was its adaptability. It could become a different fantasize situation to act as backdrop for the outrageous dress and theatre of the working party goers- such as when four tonnes of glitter were plummeted 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 experienced the rise of the idea that you don’t blueprint a nightclub, you returning the minimal motif factors to make a nightclub ,” says Catharine Rossi, a motif historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical infinite- genuinely the nightclub is just a container. Clubs are made through illuminating and sound, psychotropic stimulants and people .”

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

A brand-new stage set would inspire a new persona.” Historically, nightclubs have sufficed as cavities for freedom of expression and safe rooms because they’re masked ,” says Rossi.” They’re hide from daytime standards and beliefs 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 possibilities. The association had a door policy where simply celebrities and the beautiful or unconventional were allowed in- those attempting their 15 hours of prominence. This was a surreal, decadent, twilight world and whether it was Truman Capote, Debbie Harry, Grace Jones or Andy Warhol, it was mutually beneficial, the golf-club burnishing their image and vice versa.

The exhibition will be crammed with a fascinating affluence of designing detail to go with the photographs and simulates- interior furnishings, illuminating, book motif, fad, and the graphics of flyers and signs. One of the exhibition areas will be given to a clang and lighting facility, without fairly being a mock-up of a nightclub.” If you’re going to do an exhibit about nightclubs ,” clarifies Rossi,” then elements like feeling and suffer are key parts of the design of the seats and how that designing is exhausted 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 inventive pulpit to creators. Nightclubs became galleries. Keith Haring designed flyers and invitations, set exhibits and installings, and decorated a huge mural inside the Palladium. His canvas was also the human body, covering Grace Jones with his signature kinetic portrays for a live execution at Paradise Garage in New York in 1985.

Another famed squad that boasts heavily in the exhibition is the Hacienda in Manchester, with its innovative post-industrial design.” Nightclubs have progressed 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 spaces from warehouses to plants .” Whereas Studio 54 was about exclusivity and debasement, 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 speech of mill interiors given that it was a former yacht showroom and had an industrial feel.” There was a line of columns ranging through the cavity, which inevitably would be hazardous where people were drinking and dancing. I employed stripes normally used as hazard labels 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 parent dance flooring, so I employed roadside bollards and prepare cat’s attentions into the concrete floor. The industrial speech evolved through practical reasons .”

Read more: www.theguardian.com

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