Famous clubs have offered artists the perfect stage to design fantasy contexts, says Chris Hall
Caligula hurling 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 they are able to sink from the ceiling when required, “theres gonna be” stacks of cash in the back room, unisex bathrooms and stunts like Bianca Jagger riding a horse on the dancefloor led by a naked man taken into consideration in golden glitter.
The key thing about Studio 54, which features in a brand-new exhibition about global association culture at Vitra Design Museum, was its adaptability. It could become a different imagination milieu to act as backdrop for the outrageous garbs and theatre of the party goers- such as when four million tonnes brightnes were descent 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 insured the increases of the idea that you don’t design a nightclub, you accompany the negligible layout constituents to make a nightclub ,” says Catharine Rossi, a design historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical cavity- certainly the nightclub is like a receptacle. Clubs are cleared through igniting and sound, psychotropic stimulants and beings .”
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