Residents of flats overlooked by the Tate Modern have lost their high court bid to stop “hundreds of thousands of visitors” looking into their homes from the art gallery’s viewing platform.

[...] the board of trustees of the Tate Gallery said the platform provided “a unique, free, 360-degree view of London” and argue that the claimants could simply “draw the blinds”. — The Guardian

Herzog & de Meuron, the Swiss architecture firm behind the ambitious Tate Modern extension, took a reduced fee for work on the building project after costs went £45m over budget. 

According to documents obtained by the Architect’s Journal under the Freedom of Information act, Herzog & de Meuron was asked not to take its full fee for extra work on the 10-storey building, which went from costing £215m in 2012 to £260m in 2015.  — theartnewspaper.com

Good walls make good neighbours – but not, it seems, when they are made entirely of glass. Five residents of the multi-million-pound Neo Bankside towers, which loom behind Tate Modern like a crystalline bar chart of inflated land values, have filed a legal claim against the museum to have part of its viewing platform shut down. They claim that its 10th-floor public terrace has put their homes into a state of “near constant surveillance”. — The Guardian

When we first visited Bankside Power Station for the original Tate Modern competition in 1994, it seemed like the castle in Sleeping Beauty – an enormous urban mountain that was completely overgrown, surrounded by barbed wire and prickly roses, as if protecting the hidden beauty inside. It seemed dangerous. It is totally unimaginable now, but this was a huge chunk of the city that was totally excluded from public life, set back behind high walls. — theguardian.com

In London, though the Tate is now finished, there is other work to be done...

"We can’t sneer at developers," says Herzog. "They are the ones who will increasingly dominate the shaping of our cities. But we should try to convince them to add accessibility for everyone. To ask, can we do it better?" — Telegraph UK

Set to open on 17 June, the Tate Modern Switch House – named after the part of the power station that the new galleries occupy – expands the museum by 60% to accommodate the surging numbers of visitors, which reached 5.7 million last year, well over double the number the building was designed to cope with when it opened in 2000. But the arresting brick ziggurat is also a physical symbol of the effect the Tate has had on its surroundings. — theguardian.com

As Herzog explains, piling some refined Swiss biscuits on the table in front of him to illustrate his point, an earlier design envisaged stacked-up glass cubes, but the material was too similar to the developers’ stuff. “We realised that in order to survive we have to strengthen it,” he says [..]

Yet the precedent of the original Tate Modern – also severe on the outside, lively inside – shows that a building doesn’t have to gurn and wheedle to be popular. — The Guardian

Now visitors will be able to descend from the Hayward gallery’s glass pyramid ceiling to its entrance level on one of two 15-metre slides commissioned for an exhibition opening later this year. Built into the gallery’s exterior wall, the slides will “constitute a graceful sculptural installation” while also being a device for “experiencing an emotional state that is a unique condition somewhere between delight and madness”, [Carsten Höller] said. — The Guardian

Later this summer, London's Flea Folly Architects—Pascal Bronner & Thomas Hillier—will be running a workshop in what they broadly call "narrative architecture" at the Tate Modern.

"What would a town inhabited by Salvador Dali, Pablo Picasso, Alexander Calder and Man Ray look like?" they ask. [...]

Their own project, Grimm City, is perhaps an example of what might result. — BLDGBLOG

"I am a naturally peaceful person, but I wouldn't be that upset if 'Vladimir' accidentally met with a baseball bat," - an art lover @twitter — The Guardian