ABSTRACT
Using Jean Baudrillard’s early writings on atmosphere, the chapter points to how the production of harmony in the casino entrance is the result of a complex system of labour and logistics (Baudrillard, 1996). By hiding the necessary labour and tools in inconspicuous architectural details, in the hours of the early morning, in backstage spaces, and in remote sites of production, the atmosphere takes the appearance of a natural order. The continuous work of maintenance serves to construct an interior where the time of the outside is forgotten, and where money can be spent neglecting the consequences. What is produced in the backside of the casino lobby, is therefore not only desire, but also the invisibility of the resources needed to support such experience.
