Set in Vauxhall in the near future in a post COVID-19 world – where the virus has been completely eradicated and local lockdowns have ended – the film sees two lovers reunited for the first time since their government imposed hiatus.

Lucca’s project investigates the links between social technology, gender identity, performance, public space and the state. The work extrapolates the consequences of the pandemic into the future, but also tunes into the wider undercurrents that are seeing disenfranchised sections of society seek out new modes of occupancy within the city.

Ideas of reclaiming public space through reclaiming the body and fusing fashion with architecture are imagined within a reinvigorated nocturnal realm for the city. The project draws on the rebellious art/performance/fashion practices of Lee Bowery, Oskar Schlemmer and Issey Miyake.

The building acts as both a space to house, as well as mechanically encourage, the motions of a typical date, while paying tribute to the Regency and Victorian structures that were commonplace during the early history of the Pleasure Gardens.

His carnivalesque neon-lit world, the strange nervous behaviours of its occupants and the semi-automated glossy movements of the machine-building are depicted with a nudge, a wink and a gentle tongue-in-cheek wit.