In Pictures: The radical Italian discos of the '60s and '70s
- Text by HUCK HQ
The 1960s and 1970s were a brief period of clubbing utopia in Italy where a wave of radical architecture groups started transforming spaces in an ideological way.
The era, brought to life in a new show at the ICA London: Radical Disco: Architecture and Nightlife in Italy, 1965-1975 until January 10, featured experimental architecture groups such as Gruppo 9999, Superstudio and UFO who were bored with postwar modern design and wanted to create something that would make clubbers think, as opposed to escape.

The stage and audio-visual system inside La Fine del Mondo, designed by Pietro Derossi, Giorgio Ceretti and Riccardo Rosso, Turin, 1966. © Pietro Derossi

Interior of La Fine del Mondo, designed by Pietro Derossi, Giorgio Ceretti and Riccardo Rosso, Turin, 1966. ©Pietro Derossi
An early inspiration for some of the designers in the show was Carlo Mollino’s Le Roi Dancing in Turin. According to design journalist Alice Rawsthorn: “A dancehall, rather than a disco, Le Roi Dancing was built from scratch in an old scrap metal yard in 1959 by a local impresario Attilio Lutrario, who commissioned Mollino to design the interior. Known as the “dark prince” of mid-20th century Italian design, Mollino worked mostly in Turin with a crew of trusted local artisans. Like all of his projects, Le Roi combined colour, form and light to dramatic effect.”

Carlo Mollino’s Le Roi Dancing in Turin
One of the stand-out clubs in the exhibition is Bamba Issa in Forte de Miami by architect Titti Maschietto whose father bought a villa in the area and renovated it into a hotel. Maschietto decided it was the perfect place for UFO to put their theories into practice. According the Guardian: “Bamba Issa took its inspiration from a Disney comic book, Donald Duck and The Magic Hourglass, which UFO felt was “an allegory for capitalism, its arrogance and shortcomings”. The club’s design reflected the comic’s look: it had large lanterns, hourglass-shaped furniture, a DJ booth apparently on a flying carpet.”

UFO, lovers on a swing chair, Bamba Issa, Forte dei Marmi, 1970. Photograph by Carlo Bachi, © Lapo Binazzi, UFO Archive.

UFO, amphibious camels returning to Africa, Bamba Issa, Forte dei Marmi, 1969. Photograph by Carlo Bachi, © Lapo Binazzi, UFO Archive.
Co-curated by Dr Catharine Rossi and Sumitra Upham, Radical Disco drops at the ICA London at a time when nightclubs are closing across the UK and the idea of clubs as important cultural spaces needs some serious consideration.
Radical Disco: Architecture and Nightlife in Italy, 1965-1975 is at the ICA London until January 10.
You might like
The utopic vision of Black liberation in ’60s & ’70s jazz
Freedom, Rhythm & Sound — As Pan-African optimism spread across the world in the postcolonial era, Black-led record labels gave artists space to express themselves away from the mainstream. A new book collates 500 groundbreaking albums and their covers.
Written by: Miss Rosen
Venice Biennale will not award artists from Israel & Russia due to war crime accusations
Art Not Genocide — Both countries will still be allowed to exhibit work at their respective pavilions, but be excluded from judging considerations, as they have leaders facing arrest warrants issued by the International Criminal Court.
Written by: Noah Petersons
“I didn’t care if I got sacked”: Sleazenation’s Scott King in conversation with Radge’s Meg McWilliams
Radgenation — For our 20th Anniversary Issue, Huck’s editor Josh Jones sits down with the legendary art director and the founder of a new magazine from England’s northeast to talk about taking risks, crafting singular covers and disrupting the middle class dominance of the creative industries.
Written by: Josh Jones
Analogue Appreciation: Wesley Joseph
Forever Ends Someday — In an ever more digital, online world, we ask our favourite artists about their most cherished pieces of physical culture. Today, visual and sonic shapeshifter Wesley Joseph.
Written by: Wesley Joseph
The Strokes condemn US imperialism in Coachella set
Oblivius — The band finished their performance at the festival’s second weekend with a montage of bombings in Gaza and Iran, along with images of world leaders that the CIA has been accused of overthrowing over the past century.
Written by: Noah Petersons
The heady bliss of Glastonbury Festival after the music
Not Done Yet — While the weekend’s headliners and stacked line-ups usually draws the majority of the attention, much of its magic occurs after the music stops. Mischa Haller’s new photobook captures the euphoria and endless possibilities of Glasto’s “in between” moments.
Written by: Isaac Muk