Famous associations have offered artists the perfect platform to design fantasy surroundings, says Chris Hall
Caligula hurling a party ,” was how the funk musician Rick James described the famed Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” facet that would pitch from the ceiling when required, there were mounds of cash in the back area, unisex bathrooms and stunts like Bianca Jagger going a horse on the dancefloor led by a naked gentleman contained within golden glitter.
The key circumstance about Studio 54, which features in a brand-new exhibit about global club culture at Vitra Design Museum, was its adaptability. It could become a different imagination situation to act as backdrop for the outrageous clothings and theatre of the working party goers- such as when four tonnes of shimmer were plunged 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 determined the rise of the notion that you don’t design a nightclub, you introduce the negligible pattern constituents to make a nightclub ,” says Catharine Rossi, a layout historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical space- actually the nightclub is just a container. Clubs are built through igniting and sound, psychotropic dopes and people .”
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