GRADUATION STUDIO 2021-2022│MONUMENT

SUPERVISORS prof. ir. P.J.R. Diederen ir. arch. B.C.I.M. Kuit Arch ir. R.P.J. Roorda

STUDENTS

A. Klawikowska

C. Menegon Nossig

B.P.G. Verdonschot

B. Wiebes

S.K. Lee

Q. Zhao

Eindhoven University of Technology

Faculty of Building Sciences

Architectural Urban Design Engineering (AUDE)

Chair: Transformational Architecture

Graduation Studio

2021-2022

TABLE OF CONTENTS

PROLOQUE

MEANING AND TRANSLATION

APPROACH TOWARDS

DEVELOPMENT

TRANSFORMATION:

INTRODUCTION

TRANSFORMATIONS

CONCLUSION

BIBLIOGRAPHY

STUDY CASES

INTRODUCTION

MODERN ART MUSEUM, CHINA

CAIXA FORUM, SPAIN

IL FONDACO DEI TEDESCHI, ITALY

THE REICHSTAG, GERMANY

THE TATE MODERN, ENGLAND

TEATRO EROTIDES DE CAMPOS, BRAZIL

This book is the result of the research carried out during the first semester of the Graduation Studio “The Monument”. The goal of this initial phase was to dissect the concept of Monuments, understanding their definitions, their historical and cultural implications, and how they are transformed. To achieve this, the students were divided into groups, with each of the groups being responsible for one of the themes described above. The themes were the basis for the development of the questions that would guide the students during their research process.

The first section was on the definition of the monument, where the group formulated the following research question: “What is the definition of a monument and how is it related to the collective memory?” The discussion that is brought up is that of the monument as an architectural type that is intrinsically related to the collective memory, as their main quality is their expression of meaning. This expression however is part of a process of interpretation – the process through which meaning will make its way into society. As a certain society, in a certain context and period will generally share the same principles, monuments tend to be the objects that represent this collective memory. In this sense, the definition of a monument is

also constantly changing, given that society is ever-changing. The relationship between the people, the monument, and the architect are thus essential to understanding how a building is interpreted and what is their relation to the current collective memory.

The history and culture group aimed at answering “How did the approach towards monuments look like through centuries?” To achieve that, the group focused on collecting relevant data about the different approaches towards monuments over time. This allowed for the creation of a timeline, with the starting point in Ancient Greece until current times. The research was also included examples of different types of building modifications, the development of international organizations, documents, definitions, and norms regarding the preservation of cultural heritage.

The transformation group worked towards answering the question “How do buildings change over time?”

To answer the question, the research was divided into four themes: representation, memory, preservation, and transformation. The goal was to initially understand how monuments represent history and memory, to afterward understand how they are preserved and transformed. To

preserve a monument means necessarily to transform it, even if only to guarantee that it does not fall into ruins. The aim is to understand the diverse possibilities of interventions, according to context and periods, for future reference.

The research product of each group was an essay, presenting their findings. The essays are accompanied by the production of study cases, done individually. The study cases are considered exemplary cases of transformation projects done in the last 20 years, in different countries. The case studies are based on the results of the research and form the starting point for the individual investigations and designs in M4.

CASE STUDIES

ASIA

Modern Art Museum

by Atelier Deshaus • Shanghai, China

Analysis by Qihui Zhao

EUROPE Caixa Forum

by Herzog & de Meuron • Madrid, Spain

Analysis by Bruce Verdonschot

Il Fondaco dei Tedeschi by OMA • Venice, Italy

Analysis by Aleksandra Klawikowska

The Reichstag by Foster + Partners • Berlin, Germany

Analysis by Brent Wiebes

The Tate Modern by Herzog & de Meuron • London, England

Analysis by Shun Kyung Lee

LATIN AMERICA

Teatro Erotídes de Campos - Engenho Central by Brasil Arquitetura • Piracicaba, Brazil

Analysis by Carolina Menegon Nossig

TATE MODERN

LONDON, ENGLAND

original date of construction:

architect:

programme:

typology: listed as monument:

transformation 1

date of transformation:

architect:

programme:

type of transformation: reason for transformation:

transformation 2

date of transformation:

architect:

programme:

type of transformation:

reason for transformation:

1947 & 1963

Giles Gilbert Scott

Bankside Power Station

Industrial factory no

January, 2000

Herzog & de Meuron

Art museum

Conversion

Selecting as new gallery site

June, 2016

Herzog & de Meuron

Art museum

Extension

Increasing space up to 60%

Tate Modern is the world’s largest contemporary art museum newly reborn in London in 2000. It is located at the former Bankside power plant in the Bankside area of the London Autonomous Region of Southwark. It has also had a significant impact on London’s art, culture, and social life, attracting the world’s largest number of visitors (1).

The new development of Tate Modern adds meaning not only

to architectural value but also to the surrounding environment. In the next step of development, it aims to establish a new paradigm for modern and contemporary art museums by promoting the role of museums that integrate exhibitions, learning, and social functions, and further expanding from museums to the scope of urban scale (2).

(1) 126 Tate Modern, HERZOG & DE MEURON, accessed October 23, 2021, https://www. herzogdemeuron.com/index/projects/ complete-works/126-150/126-tate-modern. html.

(2) Tate Modern, Wikipedia, accessed November 2, 2021, https://en.wikipedia.org/ wiki/Tate_Modern.

Image 01: Bankside Power Station (early photograph), digital image, Power Stations of London, accessed November 2, 2021, https://powerstations. omeka.net/items/show/7.

Image 02: Iwan Baan, Tate Modern, photograph, Architenweb, accessed October 27, 2021, https://architectenweb.nl/nieuws/artikel. aspx?ID=39147#photoid=222190.

(01) Bankside Power Station in 1963

(02) Tate Modern with Switch house

HISTORY FROM BANKSIDE POWER STATION TO TATE MODERN

The history of Tate Modern begins at Bankside Power Station in the 1890s. The original building, Bankside Power Station, was designed by Giles Gilbert Scott after two expansion steps in 1947 and 1963 (3). The building supplied electricity mainly by burning coal from 1891 to 1981, and was a thermal power plant that played a major role in supplying electricity to central London, especially shortly after World War II.

However, the gas emitted from the Bankside to generate electricity poses a health risk for people. Many people thought the generated gas was creating serious pollution problems and would pollute and damage St. Paul’s Cathedral just, across from Thames (and wind direction) of the power plant. Eventually, Bankside Power Station was closed in 1981 (4).

After that, in 1993, discussions on the demolition of the existing Bankside Power Station began. However, the British government and the Tate Foundation decided that the power plant, which is located along the Thames River and has a large building area, was suitable for a place to build a modern art museum. And in 1994, an international competition was held for the new start of this building. It was reborn under the name of Tate Modern based on the proposals

of Herzong and de Meuron, the winners of the contest.

Completed with the first modification in 2000, the building is 35 meters high and 152 meters wide, consisting of a turbine hall, a boiler house, and a 99-meter-high chimney characterized by the building. This chimney has become a symbol of Tate Modern today that it was made lower than the height of the dome to cover the architectural characteristics of St Paul’s cathedral.

The biggest feature of today is that the existing exterior has been changed to a completely new structure to match the function of the museum without touching it as much as possible (5). The existing Boiler House has become a gallery space, and Turbine Hall has been reborn as a unique exhibition space that accommodates special exhibition works as an open space on a huge scale. In 2016, architects Herzog and de Meuron added a 10-story tower called Switch House using three concrete tanks buried underground.

(3) Tate Modern, Wikipedia, accessed November 2, 2021, https://en.wikipedia.org/ wiki/Tate_Modern.

(4) Bankside Power Station, Wikipedia, accessed November 2, 2021, https:// en.wikipedia.org/wiki/Bankside_Power_ Station.

(5) Tate Modern, Wikiarquitectura, accessed October 23, https://en.wikiarquitectura.com/ building/tate-modern/.

(03) The article of Bankside Power Station in 1950

(04) Side view of Bankside Power Station in 1952

(05) Front view of Bankside Power Station in 1952

Image 03: The Rise of Bankside Power Station (1950), digital image, Power Stations of London, accessed November 2, 2021, https://powerstations. omeka.net/items/show/10.

Image 04: The left of the new Bankside power station, photograph, A London Inheritance, accessed November 2, 2021, https://alondoninheritance. com/london-buildings/building-bankside-power-station/.

Image 05: Building Bankside Power Station(1952), photograph, A London Inheritance, accessed November 2, 2021, https://alondoninheritance.com/ london-buildings/building-bankside-power-station/.

Image 07: Tate Modern, digital image, Artchina, accessed November 2, 2021, http://art.china. cn/txt/2020-06/12/content_41183450.shtml.

Image 08: Bankside Power Station (early photograph), digital image, Power Stations of London, accessed November 2, 2021, https:// powerstations.omeka.net/items/show/7.

Image 09: Bernard Gagnon, Great Tate Modern gallery and the Millennium Bridge, August 29, 2007, https://commons.wikimedia.org/wiki/ File:Tate_Modern_et_Millennium_Bridge.jpg.

Image 10: Extension of Tate Modern, London, photograph, Arquitecturaviva, accessed November 2, 2021, https://arquitecturaviva. com/works/ampliacion-tate-modernlondres-8.

1940 1920 1900

1914-1918 World War I

1939-1945 World War II

1947-1963 the iconic power station built in two phases

1947 commition Station 1951

1891 construction of Pioneer Station

1920

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Image 06: Site of Bankside Power Station, digital image, Power Stations of London, accessed November 2, 2021, https:// powerstations.omeka.net/items/show/8.

1980

2000 construction of Millennium Bridge

1993 threatened with demolition

1994 selected as the new gallery site

1981-2000 the power station closed

1947-1963 iconic station two

1995 international competiton (by Herzog & de Meuron)

2000 conversion to the Tate Modern commition of B

2016 extension to the Switch house

1959 decommision of Station A

1981 decommision of Station B

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TRANSFORMATIONS URBAN SCALE

Tate Modern is a building that has been transformed into an architectural strategy, and is designed to be useful for the public to access from all sides. The garden around the Tate Modern blurs the distinction between the inside and outside of the building, so walking along the ramp on the west side of the building naturally leads to the turbine hall inside (6).

And when looking at Tate Modern from a broader perspective, it was very important to change Bankside’s cultural development, community, and public space. That’s why the master plan for buildings and nearby areas was planned to maximize the potential of the site, and it was just the time when Tate Modern was needed (7).

For instance, St. Paul’s Cathedral is located across the Thames across from the building, and between them, the Millennium Bridge designed by Norman Foster physically connects St. Paul’s Cathedral and Tate Modern. As such, Tate Modern is not just a transformation of a building. Not only does it have architectural significance in itself, but it also forms a link with the surrounding context at the urban level, becoming a dynamic core of London. In other words, the transformation of Tate Modern is playing an amazing role in transforming the entire city beyond just

the simple development of buildings.

(6) 126 Tate Modern, HERZOG & DE MEURON, accessed October 23, 2021, https://www. herzogdemeuron.com/index/projects/ complete-works/126-150/126-tate-modern. html.

(7) Tate Modern, Wikiarquitectura, accessed October 23, https://en.wikiarquitectura.com/ building/tate-modern/.

Rennie Jones , AD Classics: The Tate Modern / Herzog & de Meuron , Archdaliy, accessed October 23, 2021, https://www. archdaily.com/429700/ad-classics-thetate-modern-herzog-and-de-meuron?ad_ source=search&ad_medium=projects_tab.

Image 11: One of London`s best museums, photograph, FDM travel, accessed November 2, 2021, https://www.fdm-travel.dk/england/tate-modern-ilondon-rejsetip.

(11) Perspective view of Tate Modern

TRANSFORMATIONS ARCHITECTURAL SCALE

Tate Modern has undergone two architectural transitions. First, in the original building, the space used as a thermal power plant forms a symmetrical volume, and a characteristic chimney of 99m is located at the center (8).

The first transition of Power Station was to transform thermal power plants into modern art galleries. To achieve this goal, the power plant site was rearranged and even parts of the existing building were demolished. The biggest internal change is that it removed a huge machine inside the turbine hall. Although the original function of the building was removed, it brought out the advantage of a new, grandiose turbine hall spatial feeling. This architectural gesture was an architectural turning point that showed the existing steel structure and bricks of the building in more detail to building users and visitors inside. As for the external change of the building, a new glass volume was added to give the building new characteristics. For this glass volume, the roofs of the old boiler house and turbine hall were removed, which became the amazing source of light in Tate Modern and the new symbol after the existing chimney.

The second transformation of Tate Modern was to use an extension. This extension was based on the analysis of the

building. Three concrete tanks were buried in the basement of the building, and the area was set for this part to be exposed to the ground in an architectural way. The extended volume protruding from this area created a pyramidshaped volume by rotating a simple cuboid at an angle of 45 degrees from the ground level. The volume is a 10-story building that could add a new kind of space, including an art gallery, cafe, shops and educational facilities of about 22,500 square meters (9).

(8) Tate Modern, Wikiarquitectura, accessed October 23, https://en.wikiarquitectura.com/ building/tate-modern/.

(9) 126 Tate Modern, HERZOG & DE MEURON, accessed October 23, 2021, https://www. herzogdemeuron.com/index/projects/ complete-works/126-150/126-tate-modern. html.

original building

add new glass volume (transformation 1)

demolish the part of Switch house

uncovered three underground concrete tanks

analysis position of extension based on underground tank

extrude the extension volume

add new pyramidal volume (transformation 2)

brick material of facade

cut the facade on the new colume

STRUCTURE

CORE AND GRID

Despite the two transformations, the exterior structure of the building did not change significantly. In the first conversion, the axis of the existing small columns located at the bottom was removed and small pillars were added around the chimney. The existing core, which existed sporadically, was changed to a stable structural form to occupy the four areas of the building`s upper part.

In the second conversion, columns were added to connect

the existing building with the volume added to the south side, and the independent core of the new building was also added accordingly.

Original grid

Original core

Additional grid

Additional core 1

Additional core 2

TURBINE HALL BEFORE & AFTER

In the mid-20th century, the turbine hall was a space that was an open steel structure where huge generators, numerous boilers, and other machines were installed. Through the first transformation, this space was reborn as a special space of Tate Modern and a vast hall, with a height of about 7 stories, 35 meters, and a width of 152 meters. It also allows visitors to experience unique interior

spaces through protruding and elongated glass windows (10).

As you can see from the diagram on the right, this vast space is centered on the overall volume of Tate Modern, and through the bridge between level 1 and level 4, visitors can look down at the public hall below and feel the overall space of the turbine hall.

(15) Under construction-1

(12) Before Turbine Hall-1

(16) Under construction-2

(13) Before Turbine Hall-2

(17) Under construction-3

(14) Before Turbine Hall-3

(10) Look behind the art at Tate Modern, Tate gallery, accessed October 2, 2021, https:// www.tate.org.uk/visit/tate-modern/lookbehind-art-tate-modern.

Image 12-17: Marcus Leith, The turbine hall, photograph, Tate gallery, accessed October 23, https://www.tate.org.uk/visit/tate-modern/look-behindart-tate-modern.

TURBINE HALL SPATIAL VALUE

The most important experience of Turbine hall is the user’s movement. The ramp that descends from the outside to the interior space naturally guides the movement of visitors and allows them to experience the view of the gallery through the connecting bridge (11). This experience represents a way of giving turbine hall’s monumental spatial value and interpreting the vast industrial space of the past in a modern way.

The vast space with slopes is used as a huge open space for installation art and events. Various large-scale contemporary art works around the world are exhibited here and are highly praised. In other words, the facade of the building in contact with the turbine hall serves as a huge screen that projects Tate Modern’s various events and exhibition programs to visitors (12).

(11) Rennie Jones , AD Classics: The Tate Modern / Herzog & de Meuron , Archdaliy, accessed October 23, 2021, https://www. archdaily.com/429700/ad-classics-thetate-modern-herzog-and-de-meuron?ad_ source=search&ad_medium=projects_tab.

(12) Turbine hall, Tate gallery, accessed October 23, 2021, https://www.tate.org.uk/visit/tatemodern/turbine-hall.

Image 18: Andrew Dewdney, View of the Turbine Hall(2016), photograph, Stedelijk Studies, accessed December 24, 2021, https://stedelijkstudies. com/journal/temporal-conflicts-and-the-purification-of-hybrids/.

(18) Bird’s- eye view of the turbine hall

CONTEMPORARY MODERN ARTS IN TURBINE HALL

LOUISE BOURGEOIS / MAMAN (2000)

OLAFUR ELIASSON / THE WEATHER PROJECT (2003-2004)

RACHEL WHITEREAD / EMBANKMENT (2005-2006)

CASTEN HÖLLER / TEST SITE (2006-2007)

AI WEIWEI / SUNFLOWER SEEDS (2010-2011)

RICHARD TUTTLE / I DON’T KNOW (2014-2015)

ABRAHAM CRUZVILLEGAS / EMPTY LOT (2015-2016)

SUPERFLEX / ONE TWO THREE SWING! (2017-2018)

ANICKA YI / AEROBES (2021-2022)

Image 19-26: Turbine Hall, photograph, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 167-168. Image 27: Tolga Akmen, Gallery visitors view, photograph, Forbes, photograph, accessed December 24, https://www.forbes.com/sites/ sarahturner/2021/10/12/frieze-and-fanciful-art-londons-artistic-highlights-this-fall/?sh=41c28d536e9c.

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By creating a diverse collection of public spaces, Tate Modern allows visitors to appreciate, relax, reflect and engage in activities. These spaces are connected through a generous public circulation system that penetrates the entire building and spread throughout the building (13). Exhibition, gallery, turbine hall, and bridges, which are horizontal spaces, are concentrated in the center of the volume of the building with horizontal spatial elements. In addition, the vertically oriented elevator core penetrates all floors, and the important gallery spaces have additional stairways to facilitate circulation of the movement.

Exhibition & gallery

Stair

Elevator Turbine hall Bridge

FROM ORIGINAL TO TRANSFORMATION

(13) 126 Tate Modern, HERZOG & DE MEURON, accessed October 23, 2021, https://www. herzogdemeuron.com/index/projects/ complete-works/126-150/126-tate-modern. html.

(14)Tate Modern, Wikipedia, accessed November 2, 2021, https://en.wikipedia.org/ wiki/Tate_Modern.

(15) Rennie Jones , AD Classics: The Tate Modern / Herzog & de Meuron , Archdaliy, accessed October 23, 2021, https://www. archdaily.com/429700/ad-classics-thetate-modern-herzog-and-de-meuron?ad_ source=search&ad_medium=projects_tab.

Herzog & de Meuron did not significantly alter the form so that the old and new do not collide to avoid damaging the historical value of the building. As a result, the empirical and visual characteristics of the building could be preserved, and at the same time, it could be reborn as a modern public space. (14).

The translucent glass box added to the upper part of

the existing building presents a clear horizontal contrast to the chimney. It shows a change in horizontal contrast (15). In addition, the switch house, a completely newly added volume, has a slightly different volume from the original building called Bankside Power Station, but it uses the same brick materials as before to harmonize naturally with each other.

MATERIALITY

PERFORATED BRICK CONSTRUCTION SYSTEM IN SWITCH HOUSE

Tate Modern’s materials are divided into three categories: conventional bricks, glass volume, and perforated bricks. As can be seen from the west elevation, Switch House, a completely new pyramidstructured volume, has been added, but it seems to have been built together from the beginning using the same material from the existing building.

What is unique is that architects use the same materials but different construction methods. The brickwork built by Swift contractors was constructed outside a precast concrete frame and consisted of 336,000 bricks of 212 different types (16).

Original brick Glass volume

Perforated brick

Image 28: Iwan Baan, Extension of Tate Modern, photograph, Arquitectura Viva, accessed October 23, 2021, https://arquitecturaviva.com/works/ ampliacion-tate-modern-londres-8.

(28) West elevation of Tate Modern

MATERIAL DIVISION OF TATE MODERN

(16) Eric Baldwin, Behind the Building: Herzog & de Meuron’s Tate Modern Switch House, Architizer, accessed October 25, 2021, https:// architizer.com/blog/practice/materials/tatemodern-expansion-herzog-de-meuron/.

cladding panel of pre-cast concrete glazing with aluminum frame structural steel

Image 29: Iwan Baan, State of the art: Engineer Ramboll describes in the technology in Switch House, photograph, Brick Bulletin, accessed October 23, 2021, https://www.brick.org.uk/bulletin/state-of-the-art.

THE TANK AND SWITCH HOUSE

VOLUME & INTERIOR

Switch House once originated from a huge circular underground tank that stores oil that powers turbine generators. To maintain a visually pleasing appearance as well as a fire hazard, these tanks were built underground, where oil was chosen over coal, which was difficult to manage and easy to pollute to fuel the station. The Switch House on the basement floor maintains the exposed rough concrete material, keeping traces of the industrial past and clearly recalling the industrial history of the gallery (17).

The first expansion phase was to convert the three large circular underground oil tanks mentioned above into a visitoraccessible exhibition space. Two of the three tanks are for live performing arts and installations, and a third tank is used for utilities (18).

In addition, the form of the final volume also originated from the location of the oil tank. The pyramid structure volume rotated at an angle of 45 degrees is divided into a total of 10 layers.

(17) Look behind the art at Tate Modern, Tate gallery, accessed October 2, 2021, https:// www.tate.org.uk/visit/tate-modern/lookbehind-art-tate-modern.

(18) Tate Modern, HiSoUR, accessed October 23, 2021, https://www.hisour.com/tatemodern-london-united-kingdom-16881/

CONFIGURATION

INTERIOR & EXTERIOR OF THE SWITCH HOUSE

(34) Floor of the viewing level

(32) The Tanks exhibition-2

(30) Hall of the tanks

(35) Outside view of the switch house

(33) Staircase

(31) The Tanks exhibition-1

Image 30-35: Jaroslav Mareš, Blavatnik Building (formerly Switch House), photograph, Archiweb, accessed October 25, 2021, https://www.archiweb. cz/b/blavatnik-building-byv-switch-house-rozsireni-tate-modern.

COMPETITION

COMPETITION TO SELECT AN ARCHITECT

Since the Bankside Power Station closed in 1981, it has long lost its function and has been left unattended, and the conversion has been decided by the Tate Foundation. In 1992, Tate Modern Trustee and Nicholas Serota visited the unused Bankside Power Station to find new candidates for Tate Modern. It was judged that this is an appropriate place for Tate Modern due to the size, monumentality, and location of the site (19).

In 1994, an international contest was held to find an architect who would turn the huge power plant into a museum. Of the 150 submissions, 13 architects were selected in the initial stage and demanded that six final candidates submit detailed proposals later. The finalists were Ando Tadao, Rem Koolhaas, David Chipperfield, Rafael Mono, Renzo Piano and Herzog & De Meuron (20).

The detailed guidelines for the competition were the most public art galleries built in England in the late 20th century, and as an international art museum for modern and contemporary art, Tate Modern is also expected to serve as a catalyst for regeneration in the area. The proposals of each finalist can be viewed in two aspects: integration & contrast and maintenance of new volume & spatiality.

· Ando Tadao added two glass boxes that penetrate the existing building. Through this, he tried to appreciate London’s contrasting scenery and attract the city to Galleria.

· Rafael Mono’s proposal did not add an impactful volume like Ando Tadao but added a large radial restaurant in front of the existing building to revitalize the riverside facade.

· David Chipperfield tried to connect lamps and stairs with many entrances to the building for connection with surrounding buildings. Unlike other architects, suggested that the turbine hall be fully filled with mass, the boiler house area be filled with blocks, and the remaining space is used as public space.

· Rem Koolhaas tried to emphasize flexibility and diversity across the areas of the turbine hall and boiler house by inserting various masses.

· Renzo Piano planned a cityscale proposal to bring the walkway connecting St. Paul’s Cathedral and Tate Modern into Tate Modern.

· Finally, Herzon & de Meuron’s proposal, which was selected as the final winner, was a way to change the exterior to a minimum in the existing building, unlike other architects’ proposals, and to change the

interior to a completely new structure according to the function of the museum. In other words, by making the most of the existing buildings and giving the turbine hall a unique spatiality while maintaining the existing volume and materials, it was possible to create an art museum with a new identity while maintaining its existing value (21).

(19) Yoonjung Shin, ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018).

(20) The ones that got away: Tate’s rejected designs, The Art Newspaper, accessed October 27, 2021, https://www.theartnewspaper. com/2016/06/15/the-ones-that-got-awaytates-rejected-designs.

(21) Oliver Wainwright, How we made Tate Modern, The Guardian, accessed November 3 2021, https://www.theguardian.com/ artanddesign/2016/jun/21/how-we-madetate-modern-herzog-de-meuron-nicholasserota.

Image 36: Task 2. The building, digital image, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 294. Image 37: Opportunities, digital image, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 293.

(37) Competition requirement of Tate Modern

(36) Competition model of Tate Modern

Image 38: Study model of Rafael Moneo, digital image, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 99.

Image 39-40: THE ART NEWSPAPER, The ones that got away: Tate’s rejected designs, image, accessed November 2, https://www.theartnewspaper. com/2016/06/15/the-ones-that-got-away-tates-rejected-designs.

Ando Tadao

Rem Koolhaas

Davidi Chipperfield

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Rafael Moneo

Renzo Piano Herzog & de Meuron

Image 41: Study model of Rafael Moneo, digital image, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 99.

Image 42: Site plan of Renzo Piano, digital image, in ‘La Grandeur Trouvée’ and the Expansion of Site Specificity in Tate Modern’s Turbine Hall (South Korea: Department of Architecture The Graduate School Seoul National University, 2018), 106.

Image 43: Study model of Herzog & de Meuron, digital image, in [el Croquis] 152-153 - Herzog & De Meuron 2000-2009 (Spain: El Croquis, 2011), 205.

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CONCLUSION

Tate Modern was not originally designed as a space for huge contemporary art with its current location. A completely new type of space was created by combining the intention of the museum to find a suitable site as a place for a new space for contemporary art and an appropriate proposal from the architect. In other words, Tate Modern is a complex product that incorporates various factors and views, such as social, economic, environmental, political, and technological factors.

In addition, attempts to create a new space as much as

possible while maintaining the characteristics of the existing space without contrasting various elements of the past and present have created a new space called “Turbin hall” that accommodates many modern and contemporary art today. This space provides a new way of communication between the viewer and the space by enabling the viewer to interact directly with the art, not a space in a universal art museum. In other words, the turbine hall is a unique historical space derived together by the architect and viewers who proposed this space, and a space that visualizes an attempt to newly

define the relationship between architecture and art.

Image 44: Margherita Spiluttini, Tate Modern, photograph, accessed Febrary 2, 2022, https://arquitecturaviva.com/works/tate-modern-londres6#lg=1&slide=0.

(44) The night view of Tate Modern

BIBLIOGRAPHY

LITERATURE AND IMAGES

Baldwin, E. Behind the Building: Herzog & de Meuron’s Tate Modern Switch House. Architizer. Accessed October 25, 2021. https://architizer. com/blog/practice/materials/tate-modernexpansion-herzog-de-meuron/.

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