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| A picture of the Tate Modern from the Millenium Bridge, September 2013. by Gabriela Davies |
Designed by Sir Giles Gilbert Scott, built between 1947 and 1963, as an oil-fired power station, the building at the margin of the river Thames on Bankside has now become home to one of the most incredible museums of all history: Tate Modern.
In 1994, after an architecture competition, Herzog and De Meuron were announced the winners to reform the building which would become home for innumerable modern and contemporary masterpieces from all over the world. The company was announced winners after claiming “their respect for the original architecture, with subtle alterations rather than grand gestures, and the introduction of more light via the enormous roof light box, combined to create an interior both functional and modern” (“Archive Journeys: Tate History | Tate” 2013).
The building, after its opening in 2000 has most definitely gained attention of the public, having contradictory effects on its viewers. “The effect is ugly and intimidating, and one thinks of Auschwitz.” (Sewell) and “The hanging of the Tate Modern’s augmented collections is a nightmare of over-curating and is all the more oppressive for being exceedingly tasteful, intelligent, and inventive.” (Schjeldahl) both state critical views of the building.
Yet, in contradiction to these statements, the building makes a statement of “we were here” (Parker 2000) because it impacts for the passer-by and the admirers of the Southbank skyline. Since the 19th Century, “London was too large to be dominated by any one style or standard” (Ackroyd 2000). I believe this city is one of the few in the world that can take in any style of personality. This is clearly translated through its design clearly emphasizing how Tate was planned: a combination of styles, which recycles a space to fit a different purpose.
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A view from the 14th floor of a building in King's Cross - London Syline, October 2012. by Gabriela Davies
My first assignment at the Criticism, Communication and Curation course at Central Saint Martins.
Concluded on the 21st of October, 2013.
Bibliography:
JONES, Rennie. "AD Classics: The
Tate Modern / Herzog & de Meuron | ArchDaily.” 2013. Newspaper Webpage. Arch
Daily. September 17. http://www.archdaily.com/429700/ad-classics-the-tate-modern-herzog-and-de-meuron/.
SCHOENBERG,
Lisa P. “Æ - The Tate Modern and the Future of the Art Museum.” 2013. Accessed
October 15. http://www.uqtr.uquebec.ca/AE/Vol_9/nihil/shoen.htm.
“Archive
Journeys: Tate History | The Buildings, Tate Modern, Building | Tate.” 2013.
Accessed October 18. http://www2.tate.org.uk/archivejourneys/historyhtml/bld_mod_building.htm.
Herzog
& De Meuron. 2013. “Archive Showcase | Herzog & De Meuron Proposal for
Tate Modern.” Accessed October 15. http://www3.tate.org.uk/research/researchservices/archive/showcase/item.jsp?theme=1&subject=409&view=detail&parent=2137&item=2155.
“History of
Tate | Tate.” 2013. Accessed October 15. http://www.tate.org.uk/about/who-we-are/history-of-tate#modern.
ACKROYD,
Peter. 2000. “London: The Biography.” Book.
2013. Accessed October 19. http://moodle.arts.ac.uk/pluginfile.php?forcedownload=1&file=%2F%2F84593%2Fblock_quickmail%2Fattachment_log%2F3297%2FLondon.pdf.
PARKER,
Alan Michael. 2000. “A Trip to the Tate Modern.” Internet Article, July
11. http://www.salon.com/2000/07/11/tate_modern/.
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