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Erschienen in:
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2022 | OriginalPaper | Buchkapitel

Design is in the House: Basic Concepts to Understand the Role of Design in the Creation of the Club Experience

verfasst von : César Lugo-Elías, Pedro Cardoso

Erschienen in: Advances in Design and Digital Communication II

Verlag: Springer International Publishing

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Abstract

The present paper reviews different sources from specialized literature regarding the role of Design in the construction of the club experience, focusing on clubs devoted to house and techno music. This review aims to explore Design not as the discipline in charge of the construction of objects – furniture, image, fashion, lighting devices – to be inserted within the physical space of the club, but as the discipline in charge of the creation of artificial environments capable of triggering emotions, organizing experiences, and challenging traditional notions of space. This paper reviews several works analyzing the case of the design of eight historic clubs and it is closed by a final section presenting eight Design strategies in the creation of the club experience. It also presents a critical comment and identifies some gaps in the literature. Hopefully, by sharing this literature review, other designers will be also inspired to look at clubs not only as spaces of leisure but also as a territory for design experimentation and design research.

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Vorheriges Kapitel Infusing Data Literacy in Design Education: Maturing a Distributed Design Observation Approach in Portugal
Nächstes Kapitel An Interactive Product to Enhance Elderly People’s Self-esteem: Results from the User Research Phase
Fußnoten
1
Members of the Gruppo 9999 were Carlo Caldini, Fabirzio Fiumi, Mario Pretu and Paolo Galli (Kries et al., 2018, p.51). The Gruppo 9999 was part of the movement called Architettura Radicale, other collectives like Archizoom, and Superstudio – identified with the movement – created similar clubs in cities like Milan, Turin, and Florece (Rossi, 2018).
 
2
In 2019, Isozaki became the recipient of The Pritzker Architecture Prize, considered the Nobel of Architecture.
 
3
To understand the private or semi-private nature of the Loft, it is necessary to contextualize it in the NYC in the decades of 1960s and 1970s. Lawrence (2018) and Munuera (2018) report three main factors involved in the appearance of such private events: first the rise of feminism, gay liberation and anti-war, and LSD movements, whose members needed private security spaces to gather; second, the need to avoid NYC’s legislation on alcohol and opening times applied to public clubs, by not selling alcohol and therefore not needing any licence; and finally, the drop in rent prices of large spaces, especially in lower Manhattan, due economic crisis and urban decay in the 1970s.
 
4
Richard Long oversaw the design of this sound system which was characterised by an accurate and powerful bass (Lawrence, 2018). The system was so famous that it was duplicated in other venues, like the Zanzibar in Newmark, New Jersey, and later in London’s renowned Ministry of Sound (Fikentscher, 2000, p.70).
 
5
As Arnold (2012) documents, the Warehouse was located inside a three-storey building with no signal on the façade and black painted windows producing darkness and evoking secrecy.
 
6
The Rolling Stone Magazine has considered the Berghain as one of the best techno clubs in the world: https://​www.​rollingstone.​com/​culture/​culture-news/​berghain-the-secretive-sex-fueled-world-of-technos-coolest-club-111396/​ (last accessed, March 24th, 2019); as well as by the British journal The Guardian: https://​www.​theguardian.​com/​travel/​2016/​jul/​15/​berlin-clubs-nightlife-germany-techno (last accessed, March 24th, 2019).
 
7
This is noticeable in historic clubs, such as the Paradise Garage and the Warehouse, which were installed in a parking garage and a warehouse respectively and took the characteristic of this spaces into the design of the dance floor and into the venue’s name.
 
Literatur
Ackland-Snow, N., Brett, N., Williams, S.: Fly: The Art of the Club Flyer. Thames & Hudson, London (1996)
Banks, R.: Clubbed: A Visual History of UK Club Culture. Face 37, Manchester (2018)
Esteves, P.: Total space. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 130–147. Vitra Design Museum, Weil am Rhein (2018)
Fikentscher, K.: “You Better Work!”: Underground dance music in New York City. University Press of New England, Hanover (2000)
Heiser, J.: Club culture and contemporary art: a relationship. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 172–189. Vitra Design Museum, Weil am Rhein (2018)
Kries, M.: Foreword. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-today, p.10. Vitra Design Museum, Weil am Rhein (2018)
Lawrence, T.: Love Saves the Day: A History of American Dance Music Culture, 1970–79. Duke University Press, Durham (2004)CrossRef
Lawrence, T.: Dance floor transformation: counterculture, post-industrialism, and environmental design in New York City during the 1970s and early 1980s. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 88–97. Vitra Design Museum, Weil am Rhein (2018)
Lles, L.: La casa de Jack: Ritmo y deseo. El primer imperio del house (1985–1995) [Jack’s house: rhythm and desire: The first empire of house (1985–1995)]. In: Blánquez, J., Morera, O. (eds.) LOOPS: Una Historia de la Música Electrónica, pp. 230–260. Reservoir Books Mondadori, Barcelona (2002)
Lugo-Elías, C.: Reassembling the Dance Floor: Exploring interactions at after-parties in spaces of consumption of electronic music in the city of Oporto in the years 2016–2018. Doctoral thesis, University of Porto, Portugal (2021).
McLuhan, M.: The Medium is the Massage. Gingko Press, Corte Madera (2001)
Munuera, L.: Discotecture: the bodily regime of archi-social exploration. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 116–129. Vitra Design Museum, Weil am Rhein (2018)
Pratginestós, R.G.: Poderosamente real: la música disco, de The Loft al Paradise Garage (1970–1985) [Mighty real: disco music, from The Loft to the Paradise Garage (1970–1985)]. In: Blánquez, J., Morera, O. (eds.) LOOPS: Una Historia de la Música Electrónica, pp. 119–139. Reservoir Books Mondadori, Barcelona (2002)
Rief, S.: Club Cultures: Boundaries, Identities, and Otherness. Routledge, New York (2009)
Rose, C.: Design After Dark: The Story of Dancefloor Style. Thames & Hudson, London (1991)
Rossi, C.: In the media: Italy’s radical pipers in the 1960s and 1970s. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 25–39. Vitra Design Museum, Weil am Rhein (2018)
Snoman, R.: The Dance Music Manual: Tools, Toys and Techniques. Focal Press, Oxford (2004)
Twemlow, A.: Smiley faces: the graphic language of electronic dance music promotion. In: Kries, M., Eisenbrand, J., Rossi, C. (eds.) Night Fever: Designing Club Culture, 1960-Today, pp. 216–229. Vitra Design Museum, Weil am Rhein, Germany (2018)
Wurnell, M.: Berghain: The World’s Most Legendary Techno Club. [Kindle DX version] Telegram Journalism (2017)
Metadaten
Titel
Design is in the House: Basic Concepts to Understand the Role of Design in the Creation of the Club Experience
verfasst von
César Lugo-Elías
Pedro Cardoso
Copyright-Jahr
2022
Buch
Advances in Design and Digital Communication II

Print ISBN: 978-3-030-89734-5

Electronic ISBN: 978-3-030-89735-2

Copyright-Jahr: 2022

DOI
https://doi.org/10.1007/978-3-030-89735-2_42