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Tate Modern, Bankside, London

(photos Tate Modern: Jaume Prat)


A short story


Until the first half of the twentieth century , the industrial heart of London was the Thames, crossing the city by dividing it into two halves unbalanced. Explained that his activity was such that they could come across, at high tide, from shore to shore by jumping from boat to boat without getting your feet wet. This traffic was steadily decreasing, and barriers built to the east of the city controls the relationship of the river with the sea ended up killing their industrial use. A clean river, without noise or odors and dirt, with its flow controlled, was already a political choice that redefined the city. The rest: to build decent housing, attractive to facilities such as the Millennium Dome and convince Sir Norman Foster to go and live there. Then it is given the title of Lord of the Banks of the Thames.
The appearance of the river (Bankside in English) was changing, but the industrial past, had left populated by a number of notable buildings that had to be recycled. Two of them belonged to a visionary architect named Giles Gilbert Scott, who built power plants as if they were cathedrals. Better yet, judging from that built in Liverpool. Someone convinced the owners of the Tate Gallery to buy one of them to install the new Museum of Modern Art Company. Or maybe they were convinced by themselves, as the Tate Gallery was, in fact, a headquarters in an industrial building recycling sheds specifically about 1846, by architect Jesse Hartley, at Liverpool, which rehabilitated James Stirling (1984-1988) after built, years before, the Clore Gallery, attached to the original building of the Tate Gallery, to house the collection of paintings by Turner of the institution.
The power plant was built to last, both for the virtuosity of its construction and for the exceptional quality of its architecture. It's a life lesson: do things right, do it nice and have sustainable architecture: those who question the demolition of a building and is converted automatically into a Taliban.

Jesse Hartley, arq. Sheds that would stay, conveniently rehabilitated, the Tate in Liverpool North.

The building faces the major axis to minor axis of the Cathedral of St. Paul, the masterpiece of Sir Christopher Wren, and is not to say the least: I have already talked about it in an article, either on the blog, either in the journal engawa. Saint Paul's is one of the best buildings in the world and probably the first to be calculated. Even today is a milestone indisputable, obvious, London. Sir Giles Gilbert Scott manages a building that can rival it in scale, and takes up the challenge with exceptional bravery. Further considering that, when it built the plant, its chimney became one of the tallest buildings in London. No problem. Scott had a genuine vocabulary, appropriate mix of many things: Gothic, Frank Lloyd Wright, rationalism Europe. Anything Arts & Crafts movement, some of the Werkbund. Some of Behrens. As in the case of Catalonia, London (especially London) did not need the modern movement, current stupid that thought it could go over the story. Not at Saint Paul's. They played a powerful industrial brick building, dark brown, organized in three parallel strips river.

The first band on the Bankside has several plants. I do not know its original function. Aspect and typology is not too different from a shed or a textile factory.
The second band was the Turbine Hall. Capitalized. A space that competes in quality with the very nave of St. Paul's. A powerful vertical space, lit from above through a lucernacio run and two extreme windows. A religious space, without the slightest ornament, where an overhead crane ran strong, made in Glasgow, serving the turbines themselves. These are available at a depth of water, and therefore below the height of the building accessible, built a good five or six meters on this level. This dimension plus five or six more for water as the ground level of Bankside. Operators manipulated the turbines, monsters of many feet high, the altitude des zero, and went ahead with them through a very porous slab.

The third band were the fuel tanks that served this huge complex. Three fuel tanks clover shaped behind closed the building.
The main façade faces the River. It's actually the end cap of the first band of the building. Presents an almost perfect axial symmetry organized by the fireplace in the complex, 99 meters, so it could not be higher than the dome of Saint Paul's. On either side, three large quasigóticos the windows related to both Liverpool Cathedral and the Houses of Parliament, a few miles to the west after a meander. The building is severe, solemn, and faces the river with a sullen silence. Neither before nor now let see what was inside. The facade belonged to the city. In the former one, industrious, gray, dirty, rushed, and now, more playful, less gray, more luxurious, one of the capitals of the world, equally busy. Or more.


Environment

A part of Saint Paul's, North as close to scale, the building has a neighborhood full of historic preexisting potent. To the west a series of extremely high quality factory buildings are being rehabilitated. This is the most important building for the entire history of literature: the Globe, Elizabethan theater where William Shakespeare represents his work, another unique building type. Well, the ghost of the theater, two hundred yards away from where the actor who has glorified the father played the ghost of Hamlet. After him, a Community Council Flats (apartments limited income) of a certain architectural intention, made also in dark brick, we speak of a past industrious labor housed near where he worked, the pragmatism of the place. From Saint Paul's and Central on the opposite bank of the Thames, the home of Sir Christopher Wren, an orange brick baroque building, so exceptional in its way as the cathedral itself.


An architectural decision


Architects we believe very clever, but ultimately, we are just about to sell obrerillos pormayor talent at the service of those who truly believe : Supporters. Bankside, London (especially the Bankside) deserved a brave, strong, a skeleton supports all interventions provided afterwards this master plan. Defined a tangent to the house street Wren perpendicular to the river pricking. It went to a bridge. This street (which could start) crashes into one of the windows of the focuses, desaxializando its major axis. The street was full of quality buildings. Homes, shopping centers, private facilities. A tourist office. It was designed for pedestrians only. Parallel to the river, most residential buildings with central faced serve as a platform for the dome of Saint Paul's. At the edge of the plant, the Globe as a tourist attraction. The community council flats rehabilitated. Industrial buildings as luxury homes. After the plant itself, luxury homes and offices with commercial base. A complex built by Lord Richard Rogers, interesting and attractive. Some buildings quite worthy of Allies & Morrison plug all Southwark St complex, which will change the face and become a major artery.

the new road that connects St Paul's to Tate Modern. Bridge: Foster & Partners and Anthony Caro.

The master plan and the various partial plans must be drawn up by architects sellers talent. The buildings are beautiful, effective and worthy. But who took the main architectural decision, who remained, who enhanced, not an architect. It is a politician who either spur or supports a number of private developers who have believed. What made this possible. Who have put their two cents, more money, more will, for as long as someone put on a dress then back to the emperor. We think we are very clever, but without them we are nothing. No sensitivity, no education, if your sense of civic duty. The remaining building materials tidy.


The competition and the jury


Part of this plan was to restore central museum. To get it convened an international competition that ended with five competing proposals. In cases like this who is examined is the jury. And the jury knew exactly what to choose. Its aim was to rehabilitate a power plant and put in a museum inside. Within an existing building, a building worthy.


Participants:


Rem Koolhaas and his OMA intended to leave the main facade to the river and remove the rest of the building in its entirety. In a show complex of ramps available in two speeds museum paa people who do not like the art, which went before the works as if they were ads on the subway. The brick chimney was losing its turned into a skeleton.
David Chipperfield left the building intact ... except by the fireplace, which bothered him. Paradox: to assess the building should be charged its distinctive feature. So I thought.
Rafael Moneo, more respectful, building a common housing for the Turbine Hall and the body factory
Renzo Piano was loaded cover of the turbine hall to provide these skylights series that is designed from an ideal des Menil Foundation.
Herzog & de Meuron . Ah, H & dM. They were smarter, more sensitive. The old building was fine. Four changes and we have a museum.


Guess who won.


decisions promoters


The Tate Gallery building had very clear what he wanted. And without your support would be stillborn. The best architectural decisions are yours. Input, the name: Tate Modern. Output, that's not a museum is a meeting point. A covered street. A place where you go for a drink, talk, buy books at an exceptionally well-stocked library. Where appropriate, visits art. Where no fee is charged. We can think of many things, but the building is public by the will of the developers, who were clear about where was the business. You can get his hands in his pockets to view the pictures. If you want to see them pay.

The program is structured around always interesting temporary exhibitions. Then the permanent collection it's no nonsense. Therefore, if you're ready to go three or four times a year paying. The rest will stay in the public parts, or buy books or go to keep safe the twenty minutes it rains.

Tate North, Stirling & Wilford, Liverpool

And if anyone thinks this is in fact a decision of the architects the others have strengthened, the answer is obvious and the Tate North? Makes me laugh a diagram of Herzog & de Meuron as they seem, strikethrough, the skylights of the Clore Gallery as anathema, as it should not be an exhibition space. They, who did exactly the same bill as James Stirling had made some years earlier. Ah, but he was already dead and could not protest.

of the competition proposal: Sections of Aalto, Stirling, Piano crossed by H & dM contest in memory.

autograph sketch James Stirling studying skylight entries.

Stirling & Wilford, Clore Gallery. Section through showrooms.

In effect, the Tate North, we have left before Liverpool housed inside a shed, has exactly the same pattern as the Tate Modern: below, a public hall. A strong coffee. An enclosed and unheated. A vertical communications core embedded between two bays, as a new band facilities, elevators etc.. Some old rooms well equipped.

Tate North, ground floor. Porch, hall, cafeteria.

Tate North, first floor. Showrooms. Insert key vertical communications hub that H & dM used in the Tate Modern.

Tate North, perspective view of a showroom.

starting with the very clear idea if you're a promoter Smarter still do to win Herzog & de Meuron you get to talk with them to enhance your idea. After all they are good sellers pormayor talent.

Tate North, the hall light

Tate North, an exhibition hall.

decisions architects


an elegant way to clone the building Stirling, which is perhaps a third or a quarter smaller, architects based their intervention on three key decisions.

The Turbine Hall : obviously I was. For them, a very clear way, was the heart of the intervention. Access to the building. The meeting point.
They presented several difficulties genialoide solved in a way. The first of them (perhaps most) was that the Turbine Hall is the second band parallel to the river, not the first. Where do I enter?
There are two main entrances, but only one door. The door. It is located at the west end of the building and was made possible by the fact that the left also involved in the building's exterior, which crearin a riverside park trees leaves bare the middle of the fireplace and leads people des of the new bridge access. Bridge built by Lord Foster with the help of the sculptor Anthony Caro. The bridge is an extreme. The other is the input.

Street Tate getting into the North.

Earlier I described the Turbine Hall, which has a level zero in contradiction to the ground level of Bankside. The ground level of the room is that of water. And this ground level will be chosen by the architects to provide the ground floor of the museum. Therefore, the ground floor is a basement.
I deny those who think that Herzog & de Meuron's dig. Simply find it. Making difficult things easy advantage, without denying, without cegarla. There will be the library, lockers, the origin of travel. There are overhead light from above with the original skylight of Sir Giles Gilbert Scott. Since, as he was clear of the arrogant, Piano, who also was carrying it.

Herzog & de Meuron: Tate Modern, cross section. Three bands, zero elevation at river level. Cota ground floor level of the city.

therefore have to get people to come. There appears the only excavation of the building. They are already down. A new street gets inside the Tate Modern. The ramp inside the building is not a dig. Is a filler. It is a technical floor. As the rest of the ground floor a few feet above the original.
The Turbine Hall is then a street. Streets not have air conditioning. This either. The streets have facade. This, too. The blank walls of the other wings are pierced by a series of glass boxes where you can watch this show des heights.

The crane fell.
The lighting system belongs to Giles Gilbert Scott. Herzog & de Meuron are limited to waterproof it.
Ten for architects: the access ramp does not meet regulations. It is not necessary. And have been an inconvenience, silly, steps or landings leave with these ridiculous rules imposed accessibility. Disabled people can cross it with or take an elevator lampshade ensuring that they can visit every corner of the building. And the ramp and tranquility.


vertical circulations : bite the body and lodge manufacturing, all over there. If the Turbine Hall is a street and it has a new facade, you need a sense, the vertical circulation. Elevator cores powerful and, above all, escalators. Also somewhere to come, improving to James Stirling, who drives up and back down to the people, and if you are an art lover, not paint anything up. The place of arrival, restaurant.

One exception: an exquisite staircase leading from the ground floor of the Turbine Hall at the ground floor of Bankside, a few feet above. Recycling a piece of the floor that served to assist the turbines. Therefore, further blurring undone: it is not to build a loft, it is disassembling a floor.
service cores are inserted in the core manufacturing. Containing lifts, facilities, fire escapes. And, coincidentally, the spitting image of Stirling. Help to partition the interior of the standard rooms of the museum.

Flashlight: for architects and developers need to lift the leg and leave a mark territory. Because nobody wanted to leave the building as it stands in the background. Herzog & de Meuron have chosen to disrupt the body manufacturing glass with a flashlight. And that, miracle of intelligence, is many things at once: it is the symbol of the building. It is the body that houses the bar. It's where you come whenever she goes up the escalator. It is a spectacular lookout Bankside. Is the relationship with Saint Paul's, supporting a dome with a lantern flashlight dry contemporary, friendly than the other, that belongs more to God than humans: some hits had to have.
is also an architectural resource of first magnitude to achieve a feat on the top floor of exhibits (which houses the permanent collection): all rooms with natural light.
The forged through the lantern, which houses the restaurant is not to level the deck, but elevated. With this gesture will get an extra space where light in the room to introduce intermediate body manufacturing (organized also in three bands parallel to the river, interconnected among them, with nuclei in the central band). The resulting skylights (which motivated to strike out the of the Clore Gallery) are traced to their art gallery Goetz: a continuous band of light from above that any work above.

interior rooms on the top floor at the Tate Modern.

Adaptation, materials, interior


Basically it was this: to sell talent. The talent comes through the skin. As you see, so touched. And yes, the architects have looked. The idea was to leave the building by Sir Giles Gilbert Scott as well, but in one way or another had to exhibit art. So the rooms have to put up.
Four materials: glass, plaster, concrete, wood. Maintaining its original woodwork, and as they are good for a factory but not for a museum, interior cladding with new joinery to meet the demands of a very sensitive program. For they are lit rooms. No more. The crystal form, too, the new bodies in the inner façade. Form, too, the flashlight.

carpentry extrados original showrooms in summer.

uses of glass in the inside lane.

The cast is of all interior walls. White. Neutral. The Giles Gilbert Scott left the material seen against the Turbine Hall are left unchanged.
The concrete part of the pavement. Especially that of the Turbine Hall. Continuous, seamless, seamlessly. How noses have achieved?
wood forms the rest of the floors. Oak unvarnished oil.
The skylights are catalog.
With this and is just a museum.
pormayor inspiration and talent.


Visit the building, looking at details, drink in the bar and check that the tables are well-visit.
point: the top bar is simply a broker. What we want is to look at Saint Paul's. The bottom bar has mirrors lining the structure. Turned to the park. The railings, lights. Service accesses. Enjoy.

the bar and a hall with a view.

Maintenance


Herzog & de Meuron have not neglected the building. Neither the Tate Gallery of them. I counted at least two subsequent major interventions: a shop of souvenirs to level of Bankside and the conditioning of the rooms (landings) that give access to the floors of exhibition. Tutorials, computers, more oak, touches of red.

Extension


The building has been a total success, all. Not only among tourists. Also, and above all, for Londoners. The Tate Modern we know is, in fact, the first phase of any intervention. The second was always defined, and commissioned a few years ago, following the romance promoter, the same architects Herzog & de Meuron. Space: the clover which was above the giant fuel tanks. At his side, Lord Rogers, Allies & Morrison and Bankside too far. What to do? At first, pyramid containers. But oh, Lord Rogers did just that. But ah, Sir Scott is still too close. Let's stick to the pyramid and revistámosla of the brick plant. With concrete structure. And, as the brick is not supporting, let's lattice.
The agenda: to lift the leg back, now plays new plant. More showrooms, some other bar, I suppose. Little more. If it works do not touch.

render an interior of the Tate Modern 2

slightly alter the original building, a bridge connects the third floor to the third floor. The Turbine Hall is patient. Maybe even better. Outside
jokes: the building is to serve some purpose, and the main reason is exogenous to one's Tate Modern: the Bankside fixed the original program. But this is getting fatter and complexify, good buildings have appeared behind. St. Southwark is growing, changing. There are more homes to sell. More buildings to rehabilitate.
The new project is a development project. The key to turning around a building, which until now was thought to Bankside monoorietado and now must turn on itself to have a rear façade. This is enlargement.


Future


grows London Saint Paul's to Bankside. The Globe will remain. New buildings behind. Southwark St. as the new Cromwell Road. All rehabilitated.

the Tate Modern Bankside expanded.

See you there next year for the Olympics.

with Turbine Hall installation porcelain pipe Ai Weiwei (now hijacked by the Chinese government)