Famous associations have offered creators the perfect programme to design fantasy contexts, says Chris Hall
Caligula throwing “states parties ” ,” 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” feature that they are able to condescend from the ceiling when required, “therere” stockpiles of cash in the back room, unisex lavatories and stunts like Bianca Jagger riding a horse on the dancefloor led by a naked mortal covered in gold glitter.
The key concept about Studio 54, which is available in a brand-new exhibit about global team culture at Vitra Design Museum, was its adaptability. It could become a different imagination home to act as backdrop for the ridiculous outfits and theatre of the working 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 envisioned the rise of the idea that you don’t design a nightclub, you fetching the negligible designing points 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 cavity- genuinely the nightclub is just a receptacle. Clubs are made through lighting and sound, psychotropic doses and beings .”
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