![]() ![]() ![]() The new extension is more intricate than this and its public spaces, and circulation routes exhibit a finer grain of detail that is not common in contemporary architecture. I naively expected a similar regime to that evident in the existing Tate Modern previously refurbished by the Swiss pair. All of this sounds like a lot of extra space and prior to visiting the building I naively expected to see it organised around clever vertical circulation with large open and flexible floor plans. ![]() The new Switch House as an addition to the Tate Modern adds more gallery spaces, education and events facilities, staff facilities, a restaurant, members rooms and best of all a viewing deck across London. In some ways it is the final triumph of the architecture of the New York Five. In the public realm this dominant piety is certainly the public and civic architectural language most beloved by the neoliberal state. Everything is Richard Meier like these days. As I have written elsewhere the house seems to have suffered the most from this kind of architectural pornography. As the Observer art critic Laura Cumming noted the Switch House seems to go against the “dominant piety of modern public buildings that democracy = transparency = glass.” This dominant and simplistic piety seems to have infected much of contemporary architecture. The new Switch House extension at the Tate Modern museum attests to Herzog and de Meuron’s ability to propose a public architecture that need not be a mish mash of white walls and fully glazed open vistas. ![]()
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