Architecture: Tate Modern

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Table of Contents

Introduction
Tate Modern: Background
Historical Context
Tate Modern and Herzog & de Meuron’s Works
Conclusion
References

Introduction

Beginning from the time the Tate Gallery of Modern Art was realised in London on the turn of the millennium, this has attracted the attention of a large number of people around the world and this, in part, is for the reason of the architectural merits and also partly because of the role it plays of being a prototype in the art spaces discussions (Kamari, 2011). It is pointed out that Herzog and de Meuron, maintaining a long-standing connection with contemporary artistic world, endeavoured to create in their mind what had earlier on been described as the perfect “art exhibition space” (Kamari, 2011). The consequence of this is a complete experience and not just a materialisation of a personal stylistic idea. In this paper, I am going to discuss Tate Modern and how Herzog & de Meuron came to set it up.

Tate Modern: Background

The creation of Tate Modern was carried out in 2000 with an intention of displaying the countrywide collected works of “international modern art” (The Building, n.d). It is a component of the Tate Collection; the Britain’s collection of national art beginning from the year 1500 and “international modern art” (The Building, n.d). It is pointed out that the international modern art was earlier on put on view together with the British art at Tate Britain (The Building, n.d).

At the start of the 1990s, it was apparent that the Tate Collection had largely outgrown the initial “Tate Gallery on Millbank” (The Building, n.d, p.1). A decision was made to come up with a fresh gallery in the City of London to undertake exhibition of the worldwide modern constituent of the Tate Collection (The Building, n.d). For the first time ever, London would now enjoy a committed “museum of modern art” (The Building, n.d, p.1). The Tate building on the Millbank would almost go back to the initial planned purpose for which it was intended of serving as the British art public gallery.

The problem at hand was whether or not, this new art gallery was supposed to be a new structure or a renovation of one that is already there, in case an appropriate one could be identified. As a consequence of wide-ranging consultations, especially among the artists, a decision was reached to look for a building in order to convert it. At a time the building, which is currently Tate Modern, was identified, this seemed to be some sought of a miracle. The structure to be converted was an ex-power station which had been shut down in the year 1982. This was a quite outstanding construction in the right of its own (The Building, n.d). The building was located in a marvellous place on the River Thames’s south bank opposite London City. There was almost instant devising of plans to set up a bridge meant to facilitate formation of a connection between the newly set up gallery and the city (The Building, n.d). It is pointed out that the initially set up Tate Gallery was as well along the river and produced a suitable evenness, and was designed in a manner that both could be joined by the means of “a riverboat service” (The Building, n.d).

There was holding of an international architectural contest and this attracted a large number of entries from across the globe. When a choice was ultimately made, Herzog and de Meuron Company was the one that was chosen. The decisive feature in this choice was that the proposal they presented ensured retention of much of the fundamental building’s nature (The Building, n.d). For instance, among the shortlisted candidates, one of them had made a proposal that there had to be the demolition of the grand ninety-nine metre high chimney, which was an essential aspect of the building (The Building, n.d).

The power station had a large turbine hall, with a height of 35 metres and a length of 152 metres, with the boiler house which was parallel to this construction. The turbine hall turned out to be a remarkable doorway area since it had an exhibition space for those sculptural projects that were very large in size (The Building, n.d). There was conversion of the boiler house in to galleries. These are disposed in separate but connected blocks, which are referred to as the suites, on each side of the innermost escalators (The Building, n.d). Herzog and de Meuron engaged in putting a two-storey glass penthouse on top of the initial power station’s roofline. There was capping of the chimney by the Swiss Light. The designing of this feature (Swiss Light) was undertaken by the artist Michael Craig-Martin (The Building, n.d, p.1). During the night, the Tate Modern can be seen from many kilometres way because of the features put on it because of the Swiss Light and the glass penthouse (lightbeam) (The Building, n.d).

Tate Modern

Historical Context

Other than being in a key location, Tate Modern as well derived benefits from the past of the site and also the circumstances of its time (Kamari, 2011). The biography of Southwark stretches over a long time period, beginning from the time of it being an important portion of the Londinium. Its significance can be traced in the reality that it formed a link between the City and Europe and south Britain (Kamari, 2011). The other reason for its being famous was in line with its provision of shelters that were referred to as Inns, which were at that time and even still now, located along the Borough High Street. Various activities were occurring in this region and this included fairs, theatre performance trade and crimes. In the course of the 1800s, it went through big changes in regard to the population, which increased and went down noticeably, but stayed to be densely occupied. The living standards in this region were quite low at that time and there was considering of Southwark as being the poorest section of London. The economy in the area relied on such activities as printing and bookbinding, tanning, processing of food, engineering, and hop trading among others. In the century that followed (20^th century), there was an immense increase in the population of wharves and warehouses lying along the river. WWW II as well as the Blitz came in and facilitated slowing down of this activity, converting the bigger portion of the region in to a deserted industrial location to be constructed again shortly afterwards. The period that followed after the war witnessed a drop in the housing growth and the long-established industry, as on the other hand, there was thriving of the office and commercial facilities. Just in the course of the 1990s, a reformation wave came about, putting focus on reformation. In the year 1998, Indi Johal, the pioneer developer, carried out the transformation of the unused Town Hall Chambers in to high quality apartments (Reilly, 2009). A long sequence of the conversions of the same kind followed, at times in a greater scale, like Berkley Home’s Tabard Square as well as the Maidstone Buildings (Kamari, 2009). It is pointed out that, Southwark started acquiring elevated status amongst tourists, who come in to visit the old pubs, museums, and theatres, among others (Kamari, 2011). There has been characterising of the Bankside as a cultural hub, in the course of the last two decades (Kamari, 2011).

The earlier industrial community served to create a centre of attention for all the avant-garde artists, who desire “a tough, large and well-built place” (Kamari, 2011, p.10). There were several artists who began renting spaces and engaging in the formation of associations and gallery opening and at he same time, New Yorkers saw the area as an empty space and non-district (Kamari, 2011). As an expected result, the interests of the developers are captured by these areas, and they run towards them to purchase properties inexpensively and sell them again at least three times the buying price, typically engaging in the promotion of the properties to the potential buyers as places to dwell in or carry out their businesses from (Kamari, 2011). Lastly, once the large numbers of people start flocking, the initial inventors engage in undertaking latest discoveries for two reasons: one of the reasons is that they may not be in a position to afford the living costs and the other is that they long for inspiration in to the less developed neighbourhoods (Kamari, 2011).

In the case of Southwark, what may be different from this is that it has, at all times, been a residential area on top of being an industrial area. However, beginning from the time there was creation of the London Poverty Map, in 1898 and 1899, by Charles Booth, this was recognized as being one of the greatly impoverished and attended by the smallest number of people (Kamari, 20011). Although Sir Giles engaged in setting up the “Bankside Power Station”, the conditions and the general public opinion regarding the site did not change (Kamari, 20011). Conversely, beginning from the 1940s, great plans for Bankside were there. For instance, according Murray (2010) it was pointed out that it is among the biggest irregularities of the capital that whereas there is lining of river on the northern side by splendid building and has a large and nice-looking embankment road, the matching South bank, including County Hall as well as the St. Thomas’s Hospital, is supposed to portray a dismal, half-ruined appearance (Murray, 2010). There had to be developing again of the area with other bridges, business buildings, cultural centres and concert halls among other structures. In specific terms, the plan did not include the industrial premises and factories (Murray, 2010). These appear to have been eventually prompted by the “arriving” of Tate Modern. On the other hand, the coming of the first gallery of London, which was dedicated to modern art, was to happen as a product of a sequence of both global and national happenings (Kamari, 2011).

Tate Modern and Herzog & de Meuron’s Works

Herzog and de Meuron is an architectural practice company which was originally set up by Jacques Herzog and Pierre de Meuron. They founded it in the year 1978 after having a long-standing friendship. This firm is based in Switzerland (Basel). The founders were friends beginning from their childhood years and they remained close even while they were at the University in which they were studying architecture (Kamari, 2011). Later in time, Christine Binswanger and Gugger joined the firm as partners. All of these partners took part in the initial stages of the Tate project. Binswanger’s powerful skills enabled her to be in charge of the proposal drawings. Thereafter, Gugger who was literate technologically and had more experience took over her work. Gugger was in charge of close monitoring of the construction all through its realisation. Pierre served the role of running the office in Basel and he also engaged in discussing the process with Gugger and Herzog at a time they were returning from London. Herzog was also in charge of arranging and holding all the meetings with the Tate’s Trustees and making the final decisions.

At the time H & de M embarked on the commission of Tate Modern, they were having one hundred and thirty works in their portfolio (Kamari, 2011). Most of these works were small-scale and were both public and private. In most cases, they considered carrying out extensions on the structures that were already there or, converting apartments, houses, and offices, and also doing a large number of renovations (Kamari, 2011). In addition, they had engaged in making a master plan, participated in a small number of urban design competitions; designed some museums, display spaces, and artist studios; made contributions in exhibitions; and worked on several independent projects (Kamari, 2011). At that point, their line of business was showcasing the capability they had to deal with various briefs in an equally wide range of contexts (Kamari, 2011).

This skilfulness and knowledge could be attributed basically to the common educational background in one place and at the same period that Herzog and de Meuron had. It is pointed out that open to new motivation; they found fascinating the human-centric face of architecture (Kamari, 2011). Later in time, with Aldo Rossi, they carried out redefining of architecture, connecting it to building “and only that” (Kamari, 2011, p.18). They engaged in learning how to carry out observation and interpretation. In the years that came thereafter, they kept themselves away from the blind devotion to the images, and turned out to be completely anti-representational (Kipnis, 1997). It is pointed out that, according to Herzog, this is contrary to what contemporary architecture comes up with on a frequent basis, by only copying the past forms, they attain an apparent link to the context (Wang, 1992). It grew in to a concern of great importance that those who occupied or visited the buildings they set up would have a matte, physical feel of the building’s spaces. To ensure this is realized, they started putting in place strategies suitable for each individual design as well as each programme (Kamari, 2011).

The main theme in the work of H & de M is ‘pictorial analogies’ (Wang, 1992). It is a similar thing at a time they engage in the abnegation of every architectural cliché and are firm on refraining from conventional “architectural styles” (Wang, 1992, p.143). Wang (1992) also points out that on the other hand, they do not look for carrying out investment in a fresh language; they settle with coming up with a thing that is similar to one’s culture original plans (Wang, 1992), since in such way the fresh piece fits in a place as if it has been in the place from the beginning of time; it is therefore definite and patently obvious, like tradition (Wang, 1992).

The notion of topography is the other important feature in the work of H & de M. Such a notion or idea came up as a necessity, considering that these experts commenced their profession amidst the “post-modernist movement” (Kamari, 2011). In the course of this era, orientation in the architectural discussion seemed to be lost, having historic and innovative patterns emphasising an equal share, seeming like it has been brilliantly envisaged in Blade Runner of Ridley Scott in 1982 (Mack, 2009).The response offered to that by H & de M was to begin giving weight to the whole variety of features that are found in a particular terrain in a similar manner the geologists engage in reading the earth layers (Mack, 2009). There has been clear consolidation of this principle in their Dominus Winery project in California (1998) (Mack, 2009). There has been complete integration of the ‘stealth winery’ with its vineyards and environment, making up a linear transition means between different light as well as soil conditions, as viewed from above. When viewed from the ground level, its gabion masses looks as if to fade away in the mountainous background. This is indicated below:

Dominus Winery as seen from the street

Moreover, the basalt rocks which serve to fill the gabions offer protection to the inner side from the severe temperatures in the region. It is pointed out that there has been utilization of an analogical way of stratification at the same time in the plan of Tate Modern. This plan includes the topological features that form a link among the routes that are there and offering new ones (Kamari, 2011, p. 19).

Basing on the analysis above, it can be pointed out that H & de M do not have any fear of taking the simplest route in the course of offering a solution. They prefer what some referred to as ‘conservative vehicles’, in terms of construction materials as well as building forms. However, the moment there is close observing of the work; the components lose the regularity and attain fresh qualities. And this, according to Mack (2005), is a game of the seducer as looked at in the films of Pasolini, to which there was early introducing of the architects to them in their studies in ETH Zurich (Mack, 2005). In the case of architecture, the architect can be considered to be the seducer and the role he or she plays is to stir up its public’s senses. The physical world, by itself, assumes a vital place, being the means of feeling an architectural space, and changing architecture in to the most influential instrument for passing over a message or messages (Mack, 2005).

These ideas can be materialized by the “Goetz Gallery” in Munich (19720). This building, which is made of timber and glass, has its form looking like a simple rectangular box, made of three layers, that can not however, ‘be disloyal to’ the layout of the interior (Kamari, 2011). The first layer at the bottom is made of a timber case and translucent glass envelop. The timber case is half buried in the ground and the glass envelop is above the ground and serves to bring light to the basement. The layer in the middle is opaque and it has a “matte glass crown” on the top of it. The matte glass crown serves the role of bringing light to the level below through clerestories. This building’s impression varies under the changing lighting external as well as internal lighting conditions. It is pointed out that, at times, the glass looks to be solid making the entire building to be quiet, whereas other times it appears as if the structure is floating (Kamari, 2011). Kamari (2011) further points out that such uncomplicated strategies were later in time adopted in the design of Tate Modern in the form of a “Light Beam” (Kamari, 2011). Lying on the brick mass’s top; it gives out clerestories to the galleries below, and as well ensures satisfaction of the sense of vision in various ways and this depends, once again, on the daylight conditions.

Conclusion

In conclusion, the experience and skills which Herzog and de Meuron had, enabled them to successfully set up Tate Modern. Herzog and de Meuron had a common educational background and they had worked together in the field of architecture for a long time, creating several works.

References

Dercon, C 2000, Tate Modern, Web.

Kamari, M, 2011,Tate Gallery of Modern Art: A private exhibition space or a public event?, Kingston University Press, Kingston.

Kipnis, J 1997, ‘A conversation with Jacques Herzog (H& de M)’. EL CROGUIS, Vol. 84 no.1, p.18.

Mack, G 2009, Herzog & de Meuron: The Complete Works, vol.4: 1997-2001, Birkhäuser Verlag AG, Basel.

Mack, G 2005, Herzog & de Meuron: The Complete Works, vol.3: 1992-1996, Birkhäuser, Basel.

Murray, S 2010, The rise, fall and transformation of Bankside power station, 1890-2010, Web.

Reilly, L 2009, The Story of the Borough, Neighbourhood History No.7, London Borough of Southwark, London.

The Building, n.d, Tate Modern, 2012, Web.

Wang, W.,1992. Herzog & de Meuron, Artemis, Zurich.

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