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- 1. HERZOG & DE MEURON Illustration from https://mediastorm.com/ AZAD RK S5 AVANI INSTITUTE OF DESIGN
- 2. Jacques Herzog (1950) and Pierre Meuron (1950) both went to the Swiss Federal Institute of Technology “ETH” in Zurich. Since the 1990’s until today, they are professors at ETH in Zurich as well as at Harvard University Graduate School of design. They have both received an Architectural Nobel price.
- 3. Herzog & De Meuron’s work can be roughly describe in several adjectives- -minimalism and ornament, -cosmetic and structural, -image and body . Their designs have a common and similar prospective on nature, which makes them carry out a simplicity of their shapes that are usually described as a shape of a box. A shape of a box consists of a flat roof and large windows, which at the same time characterized their prototype buildings. Both architects carry out an “organic” philosophy, which means that their buildings are design to fit its natural surrounding
- 4. ● Their engagement of expressing themselves through materiality is something that can be seen and admired through all their projects. ● They established themselves at the centre of architectural colloquy just by their artistic works and their process of organising and collecting materials at the heart of their work. ● Their techniques have changed from the purist simplicity of rectangular forms to more complex and dynamic geometries throughout the years. ● It is said that their success can be associated to their skills in releasing unfamiliar or unknown bonds by utilizing innovative materials. ● Herzog and De Meuron collaborate with different artists on each and every of their architectural projects.
- 5. After constructing Beijing National Stadium they used a phrase that strongly characterizes them: “There should be many ways of perceiving a building” after calling their new project “The Bird’s Nest”. Herzog & De Meuron often cite Joseph Beuys as “an enduring artistic inspiration” of their work. Their most known project is probably the Tate Modern in London
- 6. TATE MODERN LONDON, UNITED KINGDOM ● Architects: Herzog & de Meuron ● Area: 34000.0 m2 ● Year: 2000
- 7. London’s Bankside Power Station stood disused from 1981 until 2000, when it opened to the public as The Tate Modern. Since Tate Modern first opened in 2000, it has become a London landmark, not just for the art it houses, but also for the architecture of the building itself.
- 8. south of the Thames River had been synonymous with industry, entertainment >> once the theaters left and harbor activity moved east of the city >> build an oil-fired power station directly opposite St Paul's Cathedral by architect Giles Gilbert Scott to draw comparison to London's famous cathedral ('cathedral of pure energy') >> active for more than 30 years >> shutdown in 1981, vacant & slowly decaying. Bankside urban fabric needed a new catalyst. Site feature ● -unparalleled large-scale central London location, ● - excellent transport facilities, ● -the possibility of a riverboat connection with the gallery at Millbank, ● -immediate availability for development"
- 9. completely accepted the existing building it's form, it's materials and it's industrial characteristics. By re-using the existing power station, the architects argued that the Tate was free from the need to create the memorable, signature form that is deemed essential in contemporary cultural design.
- 10. Site analysis of access, circulation, new development, and points of social engagement
- 11. Created by the Southwark Council, aimed at improving the accessibility of the area and its immediate environment as well as pulling investment into the area. Developments, such as the Bankside Pier (with ferry service) and Bankside Riverwalk manifested the area into an accessibility nexus, the center of a linear sweep along the Thames connecting destinations East (Tower Bridge, Tower of London) and West (South Bank, Westminster) of the site.
- 12. Perhaps the most important connection would come months later, as the highly publicized Millennium Bridge (the first new central London river crossing in over a hundred years) opened, physically bringing together ideas of old and new, north and south, art and commerce, and the two visual landmarks of St. Paul's Cathedral in the city and Bankside's Tate Modern.
- 13. 11-story addition will create new gallery and social spaces to relieve the overcrowded existing building and respond to the changing nature of art, with facilities for new media and raw spaces where special installations by artists and performances will take place The proposal, putting all of the new development south of the original building, begins to structure a duality, defining the boundary of Tate's public center. To the north, the articulation of the landscape is much more expansive and public, with vast views of the city and river edge, occupied by movement of thousands of people from the bridge, ferry and riverwalk. To the south, a new development aimed at developing a dramatic change in scale and character, creating an 'external room' with a natural canopy and smaller, humanistic spaces to be shared between the surrounding local community.
- 14. f <<View from south The building will rise 64.5 metres above ground in 11 levels, its height responding to the iconic chimney of Giles Gilbert Scott’s power station
- 15. The façade will use brick to match the surface of the existing structure, while creating something radically new – a perforated brick lattice through which the interior lights will glow in the evening. Windows and the terrace will appear as cuts in the brick surface.
- 16. Sustainability The building will be a model of environmental sustainability, setting new benchmarks for museums and galleries in the UK. It will draw much of its energy needs from heat emitted by EDF’s transformers in the adjoining operational Blavatnik Building. With a high thermal mass, frequent use of natural ventilation, and utilisation of daylight, the new building will use 54% less energy and generate 44% less carbon than current building regulations demand.
- 18. 1. THE TURBINE HALL The vast hall at the heart of Tate Modern is probably the best-known space in the gallery. 35 metres high and 152 metres long, you could comfortably teeter seven London buses on top of each other in there.
- 19. Entry to Turbine Hall from the West, slipping below the building
- 20. When the building was converted into the gallery space we now know, architects Herzog & De Meuron retained many of the original features, from the unfinished brick walls and exposed steel construction beams, to the narrow vertical windows stretching up to the cathedral-high ceiling at each end of the hall
- 21. 2. THE CHIMNEY Ar.t Giles Gilbert Scott (the mind behind the red London telephone box) was employed to ensure the new power station did not compete with St Paul’s and he simplified the building into the low horizontal profile with its single brick chimney that we know today, very different to his other iconic power station in Battersea. The Bankside chimney is 99 metres tall, just lower than the dome of St Paul’s, and is built entirely of brick. Best seen from the river, either on the Millennium Bridge, or on the boat between Tate Britain and Tate Modern.
- 22. 3. THE NEW SWITCH HOUSE The Switch House is the new extension to Tate Modern, built on the site of the old switch house of the power station. It marries old and new technology to create 10 new floors of gallery space.Nearly 170,000 bricks have been used to clad the extension, while inside concrete construction echoes the original boiler house and tanks.
- 23. Look out for where the patchwork of bricks is perforated to let light in, and new nooks in staircases for resting, chatting and people watching. Right at the top of the pyramid-shaped building is an open viewing terrace. Though no higher than the chimney, it has an unobstructed view down the river Thames and across London, from Canary Wharf to Wembley Stadium.
- 25. The chain mail brick façade is a completely new invention that allows the museum to bridge the gap between the contextual and the iconic
- 26. 4. THE TANKS As the name suggests, the huge circular rooms to the south side of the Turbine Hall were once underground tanks to hold the oil that powered the turbine generators. Oil was chosen to fuel the station as it was seen as less polluting and difficult to manage than coal. Though it came with its own hazards (not least the fire risk), Sinking the tanks into the ground was another way of reducing the visual impact of the building on the riverbank. Their rough concrete walls still bear the marks of their industrial past and remain the clearest reminder of the industrial history of the gallery. Now fully excavated, they may not seem like normal gallery spaces, but like the Turbine Hall, they open up the sort of art that can be seen in Tate Modern. Instead of holding the fuel for the turbines, they now provide space for live art: performance, dance, film and discussion.
- 28. It allows the curatorial staff almost complete freedom in displaying art. These spaces also include a whole floor dedicated to educational facilities and outreach programs; as well as staff and public cafes, an events space and a viewing deck. The location of the museum required moving the original switch house, a huge piece of central electricity infrastructure, which is a major civil engineering project in its own right.