Famous teams have offered artists the perfect stage to design fantasy environments, 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 sink from the ceiling when required, “theres gonna be” stockpiles of cash in the back room, unisex lavatories and stunts like Bianca Jagger going a horse on the dancefloor led by a naked gentleman taken into consideration in amber glitter.
The key thing about Studio 54, which features in a brand-new expo about world-wide association culture at Vitra Design Museum, was its adaptability. It could become a different fantasy home to act as backdrop for the abominable outfits and theatre of the working party goers- such as when four tonnes of flash were declined from the club’s ceiling on New Year’s Eve or when the clothes designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s realise the increases of the notion that you don’t design a nightclub, you accompany the negligible designing parts to make a nightclub ,” says Catharine Rossi, a intend historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical room- actually the nightclub is just a receptacle. Clubs are shaped through illuminating and sound, psychotropic medications and people .”
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