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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
The judge presiding over the highly publicized case dismissed the residents' demands that parts of the 10th-floor public viewing terrace in the Tate Modern's Herzog & de Meuron-designed extension be closed off to prevent visitors from peeking through the floor-to-ceiling windows into the ritzy... View full entry
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
The Art Newspaper cites the minutes from a 2015 Tate board of trustees meeting: "Conversation at a senior level indicates that [Herzog & de Meuron] will look sympathetically on this position, but that costs have already been incurred to a certain level, which will require some recompense... View full entry
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
In an apparent case of art interfering with life, the owners of the apartments next to the Tate Modern's viewing platform are trying to legally erect some kind of visual barrier between them and the visitors of the museum (although the exotic technology of curtains has apparently not yet made it... View full entry
Each year, the Turbine Hall of the Tate Modern in London houses a site-specific work designed specially for the massive space. This year, the Danish collective Superflex will install a work, the details of which are under wraps until October 3.Founded in 1993 by the artists Bjørnstjerne... View full entry
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
Read more on the Tate Modern:A look around the new Tate Modern extension"We can't sneer at developers": Herzog & de Meuron examine London's futureFirst look inside Tate Modern's new Extension View full entry
The original Tate Modern redevelopment was started in 1995 and since opening in 2000 has become the most popular gallery in the world. It made sense then for Herzog and De Meuron to return and finish the job. Their architectural evolution and legacy is now embedded in the London skyline, as is... View full entry
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
Now that they've completed the Tate Modern extension, what's next for Herzog & de Meuron? In this piece, trilingual biking-afocidionado Jacques Herzog speculates on the architectural future of London, and his firm's potential (developer-positive) role in it. Herzog & de Meuron, in the... View full entry
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
Read more relating article here:Future sustainable skyscrapers will be made of...wood?Fabricated robot installation at the V&A unveiled as part of their first Engineering SeasonHerzog and de Meuron in conversation with Rowan Moore View full entry
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
"In this and other works, Herzog and De Meuron like to present a protestant moment of denial before pleasure, to forbid before welcoming, to be severe before generous. It is part of their worldview, different from most architects’, in which delight and beauty co-exist with more troubling or... View full entry
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
Previously, Höller had created a similar installation for the Tate Modern's Turbine Hall in 2006. The slides were very popular with the public, although also responsible for several injuries.For his upcoming exhibit at the Hayward Gallery, Höller has also created "Flying Machines," which are... View full entry
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
For the latest edition of Working out of the Box: Archinect talked with Adora Lo, Architect turned Pro LEGO Builder. They discussed the "challenge of keeping it LEGO legal" and the satisfaction of designing a "Star Wars building in LEGO". midlander was impressed "That Boston model...The Lego... View full entry
"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
The Guardian reported "A man has defaced a multimillion-pound Mark Rothko mural hanging in the Tate Modern gallery in front of onlookers. A police investigation is now under way into the vandalism of the US artist's work. The graffiti on the painting appears to read "a potential piece of... View full entry
Making a piece that works in Tate Modern's vast turbine hall is far from child's play - Carsten Holler has responded to the challenge by turning the space into a giant playground. The artist tells Lynn Barber why riding his huge, curving, steel slides will change our perceptions and set us free... View full entry