Tate Modern: interior light box
interior
interior light box
With such methods and outcomes, to say that architecture is nothing but space or architecture is all on the surface, it would be misleading either way. Perhaps it is fair to say that Herzog & de Meuron’s work is never a so-called spatial or formal creation. From these projects, perhaps it would be productive to ask how architectural surface, form and space work together, whether there is a level in which they imply one another. And perhaps we also inhabit not only iarchitectural space or form but also surfaces. Architectural space could as well be a by-product of the creation of architectural surfaces. It could as well be the creation of surface that leads us to understand space and its operation.
neither form, space nor surface. By removing the flooring which once stretched along the entire length of the turbine hall, a new space is shaped. Yet it is not only the removal of the flooring that reshapes and emphasizes the volume of space. Dark vertical strips of columns and horizontal stretches of beams against light surface are accompanied by various light boxes along the entire length of the turbine hall. Despite being called boxes, each of the glowing volume functions more as a room. Once we realize the scale of these glowing volumes attached to the walls, we also realize the vast scale of the turbine hall in its entirety. In this case, vastness and imposing dimension of the turbine hall may not have been similarly perceived without an accentuation of the structural elements and an addition of new glowing surfaces.
Tonkao Panin, currently a Ph.D. candidate at the University of Pennsylvania working on a dissertation concerning the notions of space and surface in late nineteenth/early twentieth century German theory.
ON SITE review 6: BEAUTY
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