Amanenomori Nursery School / Aisaka Architects’ Atelier


© Shigeo Ogawa

© Shigeo Ogawa


© Shigeo Ogawa


© Shigeo Ogawa


© Shigeo Ogawa


© Shigeo Ogawa

  • Structure: Steel
  • Structural Engineer: Kanebako Structural Engineers
  • Site Area : 2,051.59 sqm
  • Total Floor Area: 1,493.54 sqm

© Shigeo Ogawa

© Shigeo Ogawa

Circular ring shaped structure around the soil, water and green
A nursery school of two-story building with rooftop terrace features 3-dimensional and circuit style structure located in Funabashi city. The concept of its design is to provide enough space for 160 children to play around in the nature and also for all their parents and nursery staff to feel safe.


© Shigeo Ogawa

© Shigeo Ogawa

The south quarter of the site is used for entrance walkway, and the rest of the part is for nursery space. Placing rooms for office staff, nursery staff and cooks on the border between entrance and nursery space achieves both simplicity and security. We designed the circular ring shaped structure that provides enjoyable playground for children and easy access to escape route in case of emergency, having the courtyard in the middle, planting trees along the outer edge, and installing the deck, slopes, stairs, and the bridge along the circle between them. Covered with the solid trapezoid-shape wall and roof outside, its overall structure achieves to protect children’s pleasure with its strength. Its O-shaped building surrounding the courtyard with outside corridor with eaves for weather protection also provides comfort and a sense of safety to adults. This structure helps busy parents to drop and pick up their children quickly without taking off shoes and nursery staff to help each other on the other side.


© Shigeo Ogawa

© Shigeo Ogawa

© Shigeo Ogawa

© Shigeo Ogawa

Outer space of each floor provides not just open space outside, but also various changes, such as sunny spot and shade, higher eaves and narrower space under eaves, slopes, hills and cavities produced by changing the direction and the height of floors and roofs, so that children to spend the whole year here do not get bored. The half-circle-shaped spot garden to help ventilation also nurtures children’s affection to the nature by planting greens in the center. From the perspective of dietary education to develop children’s appreciation and interest toward food, we place the vegetable garden on the rooftop and glass-walled kitchen on the first floor. The floor level of kitchen is settled lower to let children look into kitchen, in the same time, it is able to keep an eye on the courtyard in a cross shape to compensate for blind spot from the office.


© Shigeo Ogawa

© Shigeo Ogawa

Plan

Plan

© Shigeo Ogawa

© Shigeo Ogawa

Environmental Plan
For thorough energy saving, we adopt the eaves to control sunlight, the spot garden to improve ventilation, the rooftop deck and vegetable garden for heat insulating of rooftop, Earth Tube heating system to use geothermal heat, the river and the pond to reuse the rainwater, and solar panels to produce circulating power. Watching these structures in daily life, children can learn about “the nature” including phenomenon about plants or the wind and rain.


© Shigeo Ogawa

© Shigeo Ogawa


Detailed Design
Round chamfering was done for walls and railings necessary for safety reasons and also for the edge of light and skylight in every part of the building using it as a motif of design. The half-circle-shaped spot garden brings children the affection to the nature by catching their attention to the green planted in the center.


Section

Section

Finishing work of Interior and Exterior
In order to give children the opportunity to learn the name of materials with feeling its original texture in the same time, we try to use “wood as wood-like, steel as steel-like and stone as stone-like” to keep the original texture of each material. From this perspective, we didn’t use the primary colors. Instead, we exploit the 3-dimensional and so-called “primary color-like” structure to provide contrasting experience using the various spatial features and environment.


© Shigeo Ogawa

© Shigeo Ogawa

“Amane”
“Amane” is one of the Japanese kanji that stands for “round,” “around” or “all-around”, which represents the wish of the nursery school to let children feel the blessing of the all-around nature and also its architectural feature of circular shape around the woods. We wish that children can go around both inside and outside of the building, feeling everything around here, and nourish their sensibility and ability to think.


© Shigeo Ogawa

© Shigeo Ogawa

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Studio MOA / Atelier GOM


© Zhang Jiajing

© Zhang Jiajing


© Zhang Jiajing


© Zhang Jiajing


© Zhang Jiajing


© Zhang Jiajing

  • Architects: Atelier GOM
  • Location: West Bund Art Demonstration Zone, Shanghai, China
  • Design Team: Zhang Jiajing, Huang Wei
  • Area: 375.0 sqm
  • Project Year: 2015
  • Photographs: Zhang Jiajing

© Zhang Jiajing

© Zhang Jiajing

From the architect. The office for atelier MOA in west bund is a temporary building, with a period of 5-10 years of use. MOA is the branch office of Atelier GOM, which is mainly responsible for events like design exhibition, salon, performing arts and so on. This is the practice of the architects to build an office for themselves.


© Zhang Jiajing

© Zhang Jiajing

A small part of the building will serve as a cafe and a studio, most of the space is for exhibition, and many non-daily events will occur here. The functional properties of half solid and half void inspire the architect to treat the building not in a static, conventional way, but in an attempt to find its own design expression.


© Zhang Jiajing

© Zhang Jiajing

Plan

Plan

© Zhang Jiajing

© Zhang Jiajing

And looking at the era we are living, many architects are discussing theory as “minimalism”, “less is more”, “Sachlichkeit”, etc. The logic of construction seems to reveal itself in a clear way. But if we trace back to the origin that people construct a building in order to provide a shelter for themselves, all the theories seem to be questioned.


© Zhang Jiajing

© Zhang Jiajing

For the construction of studio MOA which is “lighter” than a normal architecture, whether there can be a “undisciplined” attitude to build? We are not affected by the shackles of any theory, only rely on to the worship for the nature, the sun, the wind, and the water. Then the design intention is coming into being, to build with instinct, not rely on any theory. Here, the building becomes a vital individual.


© Zhang Jiajing

© Zhang Jiajing

Many non-construction materials are used here. Matter goes beyond the attributes defined by the people and return to a simple identity. For example, we can see different colors of old doors collaging into the walls of courtyard, socket wiring decorating Cafe background wall, iron architectural section model becoming a table, metal curtain becoming partitions and so on.


Isometric

Isometric

At the same time, the house is also a building that could be broken down, remodeled at any time. It is more like the architectural prototype proposed by Gottfried Semper, with four fundamental elements as platform, roof, wall, and the fire. Except for the coffee shop on the ground floor and the studio on top, there is not a fully enclosed space inside the building. Sunshine, air indulge here.


© Zhang Jiajing

© Zhang Jiajing

Studio MOA is an inclusive building. It accepts and welcomes daylight, wind, birds and even stray dogs and cats. In order to allow daylight to fill in the building, the top interface and the vertical interface of the space are made of material with good light transmission and diffuse reflection properties. Perhaps precisely because of the “fragility” of the building, the project has delivered a magical moment, a delicate balance between construction and non-construction.


© Zhang Jiajing

© Zhang Jiajing

When we experience it, we feel peaceful and free. Even, we can’t simply use a still image to perceive it. Just like the Chinese classical garden, you must walk through it, to experience the light changing from bright to dark, or a corner to be suddenly enlightened.


© Zhang Jiajing

© Zhang Jiajing

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Polish Pavilion at the Venice Biennale Will Respond to the Conditions Construction Workers Face


Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Construction workers are one of the most critical yet underrepresented groups of people in the architecture industry. Often times, the safety of labor conditions are pushed aside in favor of budget constraints and strict deadlines. The Fair Building, an exhibition hosted by the Polish Pavilion at the 2016 Venice Biennale, will address these issues and ask: “why don’t buildings come with ‘fair trade’ marks?”

Responding to the theme of “Reporting from the Front”, the curatorial team, Martyna Janicka, Dominika Janicka, and Michal Gdak, based their pavilion design around the idea that “construction sites represent the frontline in architecture.”


Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

The pavilion will contain a two-part installation. The first part is a mockup scaffolding, which represents a construction site and displays videos of construction workers describing their workplace conditions. The second part of the exhibition is a display of infographics that “explore the industry in numbers,” situated in what is designed to look like a showroom apartment. The pavilion will focus on the ethical issues involved in construction through the views of laborers in the industry.


Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Instead of showing a finished product or design resolution, the exhibition aims to spark a debate about this often overlooked sector of the field, with the goal of attracting the attention of architects, engineers, consumers, and developers in the industry.


Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

“By presenting the stories of persons directly involved in the building process, we ask whether ‘fair trade’ is achievable in the field,” says Curator Dominika Janicka in a press release. “If so, what would it be? Is ‘fair building’ possible? We don’t focus on looking for culprits responsible for the abuses occurring at the various stages of the construction process. Rather, we create a space to reflect on how to make this process not only effective but also fair.”

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K Valley House / Herbst Architects


© Lance Herbst

© Lance Herbst


© Lance Herbst


© Lance Herbst


© Lance Herbst


© Lance Herbst

  • Architects: Herbst Architects
  • Location: Kauaeranga Valley Rd, Thames, New Zealand
  • Architect In Charge: Herbst Architects
  • Area: 178.0 sqm
  • Project Year: 2015
  • Photographs: Lance Herbst
  • Contractor: Doug Fleming

© Lance Herbst

© Lance Herbst

Location

Location

From the architect. A retreat for Ginny Loane and Gaysorn Thavat

The clients are a childless couple, a director and camera operator in the film industry, their jobs involve them filming on location for stretches of time. This house is the space to which they retreat between filming.


© Lance Herbst

© Lance Herbst

Floor Plan

Floor Plan

The site is 20 hectares of farmland on the Kauaeranga river in the valley of the same name, it stretches from high on the hillside to the river banks and includes a ridgeline which commands a panoramic view of the farmland below and the native bush on the opposite slopes of the valley.

The clients brief called for a response which engaged with the site in both a filmic as well as practical way, they live a life of self-sufficiency while on the land, including growing, animal husbandry and butchery.


© Lance Herbst

© Lance Herbst

The clients spoke of materials that have a patina of age, of sustainability, of recycling and adaptive re-use, of provenance of materials.

Our response was to concentrate the small mass of building that the brief determined into a singular geometric form that could hold its own in the big landscape. We positioned the form straddling the ridgeline, engaged with the slope at the high end and floating above the land as it falls away.


© Lance Herbst

© Lance Herbst

Drawing from the vernacular of rusty corrugated iron sheds prevalent in the district, we clad the form in a rainscreen of rusted corrugated iron sheets, a rural camouflage of sorts.

The building is made largely of recycled materials and fittings, which the clients procured over the duration of the build.


© Lance Herbst

© Lance Herbst

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Harvard GSD Announces Anna Puigjaner as the Winner of 2016 Wheelwright Prize


MAIO Studio. Image © Jose Hevia

MAIO Studio. Image © Jose Hevia

Anna Puigjaner has been selected from nearly 200 applications as the winner of the Harvard University Graduate School of Design 2016 Wheelwright Prize. The $100,000 travel grant was awarded for her proposal, Kitchenless City: Architectural Systems for Social Welfare, for which she will study “exemplars of collective housing in Russia, Brazil, Sweden, China, Korea, and India, which reflect a variety of approaches to organizing and distributing domestic spaces.” Puigjaner notes that this typology is “deeply understood as a tool for social transformations,” and through her investigation, she hopes to apply new thinking to the housing dilemmas of today. The prize will fund her travel and research over the next two years.


Anna Puigjaner . Image Courtesy of Harvard GSD

Anna Puigjaner . Image Courtesy of Harvard GSD

Puigjaner is a cofounder of MAIO Studio, which has executed several design projects, including furniture, interior spaces, and urban planning. The office will soon complete its first building project, a six floor residential complex in Barcelona. Puigjaner graduated from Escola Tècnica Superior d’Arquitectura de Barcelona-Universitat Politècnica de Catalunya with a BArch in 2004, MArch in 2008, and Ph.D. in 2014. 

The 2016 Wheelwright Prize jury included Eva Franch, Jeannie Kim, Kiel Moe, Rafael Moneo, Ben Prosky, K. Michael Hays, and Mohsen Mostafavi.

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Instagram Provides a Sneak Peek at 2016 Venice Biennale Exhibitions





As the 2016 Venice Biennale is set to begin this upcoming Saturday, May 28th, the first glimpses of the pavilions have begun to roll in through the social media wires. In addition to the event’s main exhibition, curated by this year’s Pritzker Prize winner Alejandro Aravena, there will be 63 exhibitions held in country pavilions throughout the grounds responding to this year’s theme of “Reporting From the Front.” We’ve taken to Instagram to round up the best sneak peeks of the exhibitions coming together at architecture’s preeminent event—read on to take a look.

US Pavilion—”The Architectural Imagination”

Curated by Cynthia Davidson and Monica Ponce de Leon

New views. #uspavilion2016 #thearchitecturalimagination #biennalearchitettura2016

A photo posted by Log (@log_grams) on May 21, 2016 at 4:15am PDT

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Nordic Pavilion—”In Therapy”

Curated by David Basulto and James Taylor-Foster

#tease #InTherapy #BiennaleArchitettura2016

A photo posted by James Taylor-Foster (@j_taylor_foster) on May 22, 2016 at 11:53am PDT

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🚚 ⚓️ 🏁 #InTherapy #BiennaleArchitettura2016

A video posted by James Taylor-Foster (@j_taylor_foster) on May 21, 2016 at 12:54am PDT

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Kuwait Pavilion—”Between East and West: a Gulf”

Curated by Hamed Bukhamseen and Ali Karimi

Pavilion Construction @labiennale #kuwaitpavilion2016 #biennalearchitettura2016 #kuwait #gcc #architecture

A photo posted by Between East & West: A Gulf (@kwtpavilion2016) on May 22, 2016 at 9:25am PDT

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Hong Kong Exhibition—”Stratagems in Architecture”

Organized by The Hong Kong Institute of Architects Biennale Foundation & Hong Kong Arts Development Council

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Portuguese Pavilion—”NEIGHBOURHOOD: Where Alvaro Meets Aldo”

Curated by Nuno Grande and Roberto Cremascoli

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German Pavilion—”Making Heimat. Germany, Arrival Country”

Curated by Oliver Elser, Deutsches Architekturmuseum (DAM)

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New Zealand Pavilion—”Future Islands”

Curated by Charles Walker

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Finnish Pavilion—”From Border to Home—Housing Solutions for Asylum Seekers”

Curated by Marco Steinberg

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Korean Pavilion—”The FAR Game: Constraints Sparking Creativity”

Curated by Sung Hong Kim, Eungee Cinn, Keehyun Ahn, Seungbum Kim, Isak Chung and Daeun Jeong

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Around the Grounds

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Porsche North America Experience Center and Headquarters / HOK


© Alan Karchmer

© Alan Karchmer


© Eric Laignel


© Eric Laignel


© Alan Karchmer


© Alan Karchmer


© Eric Laignel

© Eric Laignel

The design of Porsche’s new North American Experience Center and Headquarters combines office, training and driving functions into one sleek, high-performance facility that encapsulates the essence of the company’s brand. Bringing together 400 Porsche employees from five divisions of the company, the facility serves as a new destination for partners, customers and car enthusiasts. 


© Alan Karchmer

© Alan Karchmer

An estimated 30,000 guests are expected to visit the Porsche Experience Center each year. By integrating a 1.6-mile driver track into the lower levels of the office building and weaving in subtle motor-sport-related cues, the design immerses visitors in the Porsche experience while demonstrating the unique capabilities of its sports cars. The track, which runs through the facility’s courtyard, includes six driving modules designed to demonstrate the capabilities of different Porsche models. Classic and modern Porsches are on display in a classic car gallery. 


Plan

Plan

Visitors can see historic Porsches undergoing renovations with vintage German parts at the restoration center. In the design studio, customers can virtually create their dream cars with fully customizable options. Restaurant 356, named after the first production Porsche, offers diners a front row seat to the test track. The center also includes a driving simulator lab. The contemporary, naturally illuminated office space encourages collaboration and creativity among Porsche staff. A 13,000-sq.-ft. business center features state-of-the-art conference rooms and event spaces.


© Eric Laignel

© Eric Laignel

The LEED Gold-certified building’s east-west exposures eliminate glare while the north-south curtain walls maximize natural light and minimize solar heat gain. Previously home to an automobile production facility, the former brownfield site was remediated as part of the development process. A green roof links the building to the landscape while providing insulation and reducing stormwater runoff and the parking area includes charging stations for Porsche’s electric vehicles. The building is designed to perform 60% better than CBECS/AIA 2030 baseline.


© Eric Laignel

© Eric Laignel

Plan

Plan

© Eric Laignel

© Eric Laignel

Porsche and the design team worked with MARTA (Metropolitan Atlanta Rapid Transit Authority) to increase transit access to site. A new bus stop is located at the entrance to the campus.


© Alan Karchmer

© Alan Karchmer

Located adjacent to Hartsfield-Jackson Atlanta International Airport, the building and test track are a prominent symbol of the Porsche brand to passengers on arriving and departing flights. HOK is currently working with Porsche to design the four-star Solis Hotel, which will overlook the Porsche Experience Center and continue to catalyze development in Atlanta’s aerotropolis region. Opening in late summer 2017, Solis Hotel Two Porsche Drive will feature 214 guest rooms, event space, a rooftop terrace, a fitness center, luxury dining and retail space.


© Alan Karchmer

© Alan Karchmer

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David Chipperfield Selects Swiss Architect Simon Kretz as his Protégé


Simon Kretz and David Chipperfield. Image Courtesy of Rolex Mentor and Protégé Arts Initiative

Simon Kretz and David Chipperfield. Image Courtesy of Rolex Mentor and Protégé Arts Initiative

David Chipperfield has chosen to mentor Swiss architect Simon Kretz as part of the Rolex Mentor and Protégé Arts Initiative for 2016-2017. Launched in 2002, but working with architects only since 2012, the venture is a biennial philanthropic programme created by Rolex to “ensure that the world’s artistic heritage is passed on from generation to generation, across continents and cultures.”

Chipperfield said he became a mentor because “At school and at university I was lucky to have been encouraged by teachers that I had great respect for and who took a real interest in the progress of their students. Without such encouragement perhaps I would not have challenged myself or had the confidence to imagine or dream.”

Speaking on his selection, Kretz said he was “overjoyed” anticipating that “Sir David will profoundly influence his understanding of the methodologies of architecture.”

As the Initiative’s first Swiss protégé, Kretz was selected from three finalists, ahead of Luis Callejas of Colombia and Anna Puigjaner of Spain. In the nomination process, a panel of architectural experts scour the world for likely candidates, looking for individuals who have begun to make a name for themselves in their own country and beyond, and who would benefit from working with a world-renowned architect. According to the Initiative, “Kretz was recognized for his ability to design in a multitude of scales, in particular projects that enhance the urban environment, an interest he shares with his mentor.”

In 2010, Kretz cofounded Christina Nater und Simon Kretz Architekten GmbH in Zurich, and in 2014, he became a founding partner of Christian Salewski & Simon Kretz Architekten GmbH. The architect gained experience working at Swiss offices in Zurich and also with time spend at OMA Rotterdam. Since 2013, he has been Senior Lecturer for Urban Design at ETH Zurich’s (Swiss Federal Institute of Technology) Department of Architecture.

Past pairs of the Rolex Mentor and Protégé Arts Initiative in Architecture include: Álvaro Siza and Sahel Al-Hiyari, Kazuyo Sejima and Yang Zhao, and Peter Zumthor and Gloria Cabral.

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Napur Architect Designs a Bowed Building for the Ethnography Museum in Budapest


Courtesy of Napur Architect

Courtesy of Napur Architect

Napur Architect has won the competition to design a new building for the Museum of Ethnography in Budapest. On a site bordering Ötvenhatosok Square and adjacent to City Park, the building is one part of the Liget Budapest Project, aimed at renewing the civic space of the area with renovations to existing structures, rejuvenation of green spaces, and institutional additions. Besides the Ethnography Museum, City Park will be home to the House of Hungarian Music designed by Sou Fujimoto and a New National Gallery designed by SANAA.


Courtesy of Napur Architect


Courtesy of Napur Architect


Courtesy of Napur Architect


Courtesy of Napur Architect


Courtesy of Napur Architect

Courtesy of Napur Architect

After years of operating in the former building of the Curia (Hungary’s Supreme Court), a facility that was small and unfit to the needs of Hungary’s most important institution for ethnographic science, European ethnology, and cultural anthropology, the museum will have its first dedicated building since it opened in 1872. According to Liget Budapest, “after 140 [the Museum of Ethnography] will finally [have] a home worthy of a collection comprising hundreds of thousands of artifacts.”


Courtesy of Napur Architect

Courtesy of Napur Architect

Concluding a competition announced at the end of last year, the jury unanimously selected Napur Architect over proposals by 13 other firms, including the second and third place winners, Sauerbruch Hutton and BIG. Besides building quality, the jury weighed technological and functional solutions, sustainability, contextuality, and costs. Jury members felt that the building’s bowed design was suitable for a site that acts as a transitional area between City Park and Dózsa György Road.


Courtesy of Napur Architect

Courtesy of Napur Architect

The Museum of Ethnography is scheduled to open in 2019, with the entire park project scheduled for completion by the end of the decade.   


Courtesy of Napur Architect

Courtesy of Napur Architect

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Tate Modern Switch House / Herzog & de Meuron


© Iwan Baan

© Iwan Baan


© Iwan Baan


© Iwan Baan


© Iwan Baan


© Iwan Baan


© Iwan Baan

© Iwan Baan

From the architect. Opening on 17 June 2016, the new Tate Modern will be a model for museums in the 21st century. Designed by internationally renowned architects Herzog & de Meuron, a spectacular new building will add 60% more space and will open up the museum to the area around it. It will be Britain’s most important new cultural building for almost 20 years, and will complete the site’s transformation into an accessible public forum.


© Iwan Baan

© Iwan Baan


Tate Modern changed London when it first opened in 2000. Herzog & de Meuron transformed the derelict Bankside Power Station into a home for the UK’s collection of international modern and contemporary art, sparking local regeneration and creating a new landmark on the Thames. The power station’s original Boiler House was converted into galleries, learning studios and social spaces, while its Turbine Hall was turned into a huge open space for special commissions and events. Tate Modern quickly became the world’s most popular museum of modern art, attracting around 5 million visitors each year – more than double the number for which it was designed – while its collection grew to encompass a huge variety of art from around the world.


© Iwan Baan

© Iwan Baan


2016 marks the next phase in Tate Modern’s evolution, with the opening of a new 10-storey building to the south of the Turbine Hall on the site of the power station’s former Switch House. The new Switch House building is rooted in the cylindrical underground Tanks, each measuring over 30 metres across and providing the world’s first museum spaces dedicated to live art, installation and film. They form the physical foundations of the Switch House and the conceptual starting point for it, offering new kinds of spaces for a new kind of museum. Above them are three additional floors of world-class galleries with a wide palette of volumes, from intimate small-scale environments to dramatic top-lit spaces. They are complemented by extensive areas dedicated to learning and interpretation, as well as a new restaurant, bar and Members Room, topped with a public terrace offering 360-degree panoramic views of London. A new bridge across the Turbine Hall joins the existing Boiler House galleries on Level 4 to the new Switch House galleries, uniting both sides with the Turbine Hall at its heart.


© Iwan Baan

© Iwan Baan


The Switch House arranges the new spaces into a unique pyramid-shaped tower, with its concrete structure folding into dramatic lines as it rises. Reinterpreting the power station’s brickwork in a radical new way, it is clad in a perforated lattice of 336,000 bricks. This unique façade allows light to filter in during the day and to glow out in the evening, transforming a solid, massive material into a veil that covers the concrete skeleton of the new building. Thin vertical windows in the new galleries echo those in the Boiler House, while also allowing visitors to look out over the landscape or across the Turbine Hall. As visitors journey up through the Switch House, long horizontal windows are also cut across the façade to offer new views and reveal details of the brickwork. The resulting exterior creates both an iconic addition to the skyline and a unified Tate Modern. It also puts environmental sustainability at the heart of its design, with a high thermal mass, natural ventilation, solar panels and new green spaces.


© Iwan Baan

© Iwan Baan


Reuniting the team who developed the original Tate Modern, Herzog & de Meuron have worked with Vogt Landscape Architects and designer Jasper Morrison. Two new public squares are being developed around the site, while the footprint of the Tanks is echoed in a large terrace opening out from the new southern entrance. Specially-selected furniture by Jasper Morrison will complete the interior of the building, responding to its varied architecture from the galleries and concourses to the restaurants and bars. Tate Modern will also host a free display of Morrison’s designs to mark the opening this summer, and a book about the building will be published this autumn, edited by Nicholas Serota and Chris Dercon and featuring interviews with Herzog & de Meuron, Günther Vogt and Jasper Morrison.


© Iwan Baan

© Iwan Baan

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