Extract
[...] This preference directly testifies to the architectural intention behind the festive place project: to attach the architecture of the nightclub to that of the scenic production. According to architect Scott Browley, this rapprochement is explained by the underlying desire that, according to him, animates the spirit of the party: « everybody wants to be on the stage, let's make the stage the dancefloor47. In other words, the central location of the nightclub - the dance floor - has here a direct proposal linked to the professional stage, in a remade form (and perhaps in part parodic, as we will see below). [...]
[...] The space is gradually mastered as one operates returns and returns, all the more so if one is accompanied by a group that disperses in different spaces. In the extension of these macro-migrations, the micro-movements also participate in the appropriation of the space. b. Stationary body, dancing body, interacting body: scale & proportions In a nightclub, the possibility of expressing a bodily and physical identity through dance implies having sufficient space, and that physical constraints be reduced to a minimum. In the quantitative survey of respondents indicated that they go to a nightclub to dance, and 80% to listen to music. [...]
[...] Summary of a dynamic of appropriation of a space for minorities: an art of staging? The case of Studio 54 If, as proposed by the phenomenological and eco-phenomenological approach, the architectural experience results from a crossing of space and involves the perceiving subject himself in a logic of co-production, then the analysis of the appropriation of space allows us to specify how the place is perceived by individuals. In the framework of the quantitative survey of respondents stated that the establishment of an inclusive posture by the establishment was of a nature to help them appropriate the space. [...]
[...] This phenomenology participates in the gradation of the party as a succession of places and atmospheres. Scheidegger (2023) summarizes this succession of obligatory stages: « Passage in front of the bouncer, passage to the locker room, passage to the bar. At each of these stages, the eyes are wide open to this new place to discover. Excitement rises and surprise points. This place is nothing like anything I know, no loud light, no small group of people inside. A sound almost calm despite the volume, a rather dim lighting, a rather shabby place and yet welcoming.13. [...]
[...] Seamon D. (2000). Phenomenology, Place, Environment, and Architecture: A Review of the Literature, Kansas State University, pp. 157-178. Todd J. Rosendahl, (2009), Working in out on the dance floor: the role of music and dance clubs in a emerging pansexual culture, Florida State University pages. Tessier M. (2012), Architecture and Phenomenology: Resonances, Ideological Turning Point of the 1950s and Contemporary Perspectives, Doctoral Thesis defended at the University of Paris pages. Tjersland H. [...]
