Club Stop

TEAM: Milena Fabicka, Polish – Maria Moschou, Greek
Public infrastructure made fun.

Ever feel like dancing your Monday blues away? Could you deal with stress and routine by clubbing daily? YES – at a Club Stop near you!

 

Why not incorporate clubbing into the basic aspect of city life – public transport? An alternative bus stop where you can boost endorphins, actively spend the wait, and improve your productivity.

You can create energy by dancing and earn credits for commute or music events – just tap your contactless card on the scanner. The dance floor will transform your kinetic energy to electricity, which powers the city.

Not travelling? Don’t worry! You can still use the Club Stop any time, day or night. It operates 24/7 and the time span of your visit can be as short as 15 minutes, or as long as a few hours.

Every Club Stop streams DJ sets, live music performances, and festival broadcasts from around the world, bringing the music closer to people. It is fitted with various textures, smells, visuals, and vibrations to be fully accessible for everyone  – as the public infrastructure should be.

 

Let’s bust some moves!

Hoopfier

TEAM: Ana Luisa Rolim (Brazilian; Coletivo-rt & UNICAP), Hugo Santiago (Brazilian; UNICAP), Larissa Falavigna (Brazilian; UNICAP), Maria Júlia Jaborandy (Brazilian; UNICAP)

Would you hoop with me? 

Come along and join the new hoop craze.

A speaker-like, pro-dancing metal post device powered by hoop-shaped solar panels, the hoop-fiER® holds led-filled hoops and blasts music in the city, solo or in clusters. Once the hoop is off the hoop-fiER®, a sensor inside it will activate songs loaded via the Hoop-fi® app. You can pick the song to be played or just let your body activate songs randomly by your amazing moves. The faster you move the faster the beat.

By using the Hoop-fi® app from your mobile, tablet or desktop, you can share your dance moves and your music through hoop-fiER®s spread all over the city.

Bump into a hoop-fiER® in your neighborhood or find it from your device. Load your favorite track or select one on the spot. Grab a hoop and let your body move. Anytime, anywhere, all tribes, rhythms, and hoop-less moves included. Engage, become a hooper and let’s hoop-fi the city together

Say goodbye to boring public spaces or conventional dancing spots. Hoop-fiER®s can help groovy humans take over sidewalks, squares, parks, schoolyards, rooftops, clubs, concerts or just about any city space. If sharing things is cool, sharing dance moves is even cooler.

 

TraLaLand

TEAM: Chrysothemi Kouloumenta_Greek-American_University of Thessaly, Anna-Maria Michael_Greek-Cypriot_University of Thessaly

[tra-la-la: meaningless syllables when humming a tune]

Description:

Welcome to TraLaLand !

Meet the Laterna, a music reproducing instrument that once brought music and entertainment to the streets of Greece. Today, in an attempt to revitalize this almost extinct musical instrument and adapt it to our modern day ways, we present “TraLaLand”, where the Laterna is reconstructed with some tweaks and additions: a sound box system to help transmit the music, solar panels that connect it with the App., and the Balloon.

The Balloon lifts the Laterna off the ground helping it travel the world and pop up in different places.

The Laterna floats through the central streets of cities bringing beautiful music to the ears of the citizens, avoiding the overwhelming traffic on the ground and reaching even the sky high buildings of modern urban centers. During later hours the Laterna positions itself in the quieter neighborhoods of the city, the ones abandoned, avoided or forgotten by the world, bringing people, life and attention to them, turning them into ephemeral dance spots.

The App. allows a user, any user, to get creative and provide the playlist for a night’s event and choose a spot in the city for the Laterna to play his or her sound.

ORB

TEAM: Dominiq Oti, British, University 2014-2017- Leeds School of Architecture

A collective experience where everyone can feel liberated and elevated.

A floating sphere with a celestial glow blares out music causing the crowd to dance and move to the sound and flow. The more the people dance the larger Orb gets.

This movement causes increased dopamine levels in the atmosphere released as sweat. The humidity produced is absorbed converting the dopamine infused sweat into an aromatic mist, which is re-omitted into the crowd as it builds to a climax.

Orb is both the Centre object and the collective experience where an illuminated artifact works in harmony with the crowd to liberate and elevate to create the feeling we all crave- euphoria.

Akasha

TEAM: TAMARA, UČUR, MILICA, JAKOVLJEVIĆ, MILANKA, MAKSIĆ, DRAGOSLAV, SAVANOVIĆ (Serbian).

Observing man as a unique n-dimensional complex structure arising from a comprehensive media (Akasha), i.e. information storage that forms all the elements of reality, in the context of human existence (in Akashi), each is given a unique code or set of elements that characterize it as a unique person. The elements of the set are connected by means of etheric n-dimensional structures in a harmonic whole, and by their reading i.e. deciphering, and then comparing with the common elements of other people, we come to the harmonious structure of the common space. Through different frequencies of the most prominent human feelings, it is strived to fathom at the very core of humanity and thus the emotions that an individual creates reflect it on the space. Depending on the aura that a person “emits”, music is created, which is followed by a certain color.

Man is the measure of all things. The podium is free, there are no physical barriers. Situated in the cube, as a limited form, the atmosphere and ambience induce human senses. The use of LED panels simulates the uncertainty of space by creating optical illusions, thus losing the impression of the enclosed space. A person driven by his own frequencies in an ambient that suits his inner rhythm and with awakened senses, feels the need to start and dance. Freed energy is mixed within the space itself, the dancer is an artist and performer. Dance is the universal language of the human body, and therefore it is also the space that follows it.

Resonance

TEAM: Francesco Barone, Maxime Sauce – Italian, French

a scaleless club

Resonance is an archetype of a club not belonging to specific scales or places. A sound system in a room, a skyscraper of stacked ballrooms in a city or a dancing space of the size of a planet. It relates to its surrounding throughout the founding element of dance: the sound.

Coming from the context, the sound pierces the original module. Hence, the shape of the module is altered in order to amplify and enhance the resonance. The obtained void engages a spatial dialogue with the context, each time suggesting an answer to its specific conditions. The module is finally replicated in each orientation, affirming its absoluteness in the space.

While the envelope represents a fixed component, the greatest freedom is given to the organization of the clubs. Each module performs as a separate universe while being related to the others by the connecting element of the grid: a coordinates reference system that comes from the context and puts in relation the dancing spaces.

With the assumption that dancing is not bound to a specific place, time or dimension, we propose a scaleless architectural prototype that transcends all those restrictions and aims to be a universal experience for all mankind.

A measurement of isolation

TEAM: Junchao Yang, China, Columbia University – Sen Zhang, China, Columbia University

A measurement of isolation.

“What is new, what is new.” Such is the question that Joe wonders when it turns to dusk. Sure, the all-time-favorite is charming, but he wants a little bit of more adventurous uncertainty, that he recalls from his very first visit to a dance place at age sixteen.

“The collective movement of the goofy dances shaped into a beast.” he thought, “hard to believe those people just meet for the first time two beers ago. Dancers were isolated in their own world. “Who was who, what was what, that was of no importance.”

The idea of a club in the size of a pocket interests him. It shall transform an everyday location into a place that feels new and old simultaneously. Let their surge be reminded by the glare of the rings, reflecting on the newly claimed territory enclaved by loss networks of the measuring tapes, marking the magnitude of crowd sizing.

So with a perturbed voice, he is ready. Open the tape to set a tempo. Wrap a gift and crowd shall follow. Share the rings, detach the moment. Claim the isolation from the acquaintance you know.

Reservoir-ing

TEAM: Tania Paula Garza Rico, Guillaume Fournier, Guillaume Larouche, Mexico & Canada, Laval University School of Architecture

The Elusive Entertainment

A forgotten infrastructure inhabits the roofs of the contemporary metropolis. Nestled in the sky, away from prying eyes, this omnipresent technical object possesses unsuspected qualities. The water tanks represent a fertile urban laboratory and an alternative universe for the entertainment world.

Reservoir-ing proposes the wild reappropriation of this marginal infrastructure. Responding to the inherent need of human ‘getting-away’, a disparate morphology takes over the tanks as an invasive plague. The nightclub takes the form of a clandestine network, a counter-culture disseminated over the metropolitan city.

Here, the club is perceived as a ritual of distance from the mainstream urban agglomeration: it’s a musical procession layered on the urban landscape. It represents a voyeur community where the nightlifer observes from up above and is observed from the darkening streets. Inside, a vigorous elastic membrane delimits the dancing space from the contemplating ones. The bright translucent pellicle is like as a new skin in a molting process. It softly enlightens the city at night and creates a distinctive network: a code for the distant walker.

From now on, Reservoir-ing becomes the new act of wandering through the hidden city in search of an emerging collective delirium.

In Between

TEAM: Dominika Kubicka, Poland, Wroclaw University of Technology – Adriana Sowa, Poland, Wroclaw University of Technology – Lukasz Misztal, Poland, Wroclaw University of Technology

The architecture of cultural and recreational locations is a natural place for free, social interaction – including dance. The paradox is that the dance is placed in a completely unexpected and seemingly impossible situation. Such a space is an office – a place associated with a constant, oppressive expectation.

The context of the Official Hall includes high space, elegant interior and crowds of people waiting. These architectural elements are characteristic of the Dance Hall.

Its meaning is redefined by using the existing context. A hall full of impatient and tired petitioners, bureaucratic rules, the dehumanised character, suddenly turns into a dance room. Completely random people standing in queues spontaneously push each other into a dance. Negative emotions which have accumulated in this space are exploding.

The concept rejects the creation of a material object. It uses only the existing situation and transforms the oppressive attitude into something positive.

Club Tactics De Placed

TEAM: Serina Kitazono, British – Sho Murayama, British

Clubs have long acted at the core to social movements, and proved vital to marginal groups attached to such. Acting as a catalyst and enabler – the miscellany within club-culture is a strong model for empowering fringe communities and their individuals. However, clubs are becoming further burdened by commercial restrictions in the city, while ‘fringe-spaces’ for new movements diminish due to relentless development. While centralisation will only increase dynamism within cultural movements, this leads to the prediction that rave culture will heavily re-emerge.

‘DePlaced’ is a whimsical notion towards sustaining niche culture. It describes an open platform for club movements to be physically dropped in as incisions to the city. The rave can be tracked through the sky before landing – becoming a beacon of free-space.

Using future aero-gel technology as base structure, the club is able to fix to varying building typologies. Once in place, the aero-gel is released, taking form of the roof before being inflated. This then provides a balloon-like foundation, both shock and sound absorbent.

The structure allows for flexible club space. The height and randomness to which the structure can be placed makes it impenetrable to police, allowing for future club movements to operate freely.

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