Современная архитектура. Гусева О.Г - 17 стр.

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16
above, various technical, administrative and study rooms. In the angle between the two
wings is a landscaped garden.
Sidney Smith's Tate building of 1897 stands on a basement of rock-faced rustics.
Smith has two orders: the Corinthian of the portico and a secondary order which is
Ionic but suddenly turns Doric. Stirling has taken Smith's Ionic/Doric cornice and ran it
continuously with a blocking course along both arms of his new building. More by
chance, than by design, the Gibbsini-an cornice of the red-brick Neo-Georgian Lodge
strikes exactly the level of Smith's. Between the old Tate and the Lodge, nothing rises
higher than the blocking course, except a brief attic storey at the Lodge, containing the
curator's office.
In front of the public entrance to the Clore there is a stone-flagged terrace with a
pool of water and a pergola. Here the Tate pavilion comes exactly opposite the public
entrance to the Clore and both are axially reflected in the pool.
The Tate is pedimented and windowed only in its rocky base. The Clore entrance
wall is of Portland ashlar. The entrance opening has the shape of a low, gabled (or
pedimented) building, above it there a lunette, there are no windows. The bright
green metal grid fills the opening and clasps the revolving door.
The solution of the adjacent elevations is also very interesting. Picture gal-
leries, like prisons and mausolea, do not ask to be windowed. The Classical masters
played Classical games on blind walls: Soane's game with the Tivoli Order* at the
Bank, Sidney Smith solved the problem simply by blocking up Venetian windows.
Stirling has found his own answer in a different mode - system of "gridding". A grid of
Portland stone ribs wraps the whole building. The grid contains square panels filled
either with buff stucco or with red brick. It has nothing to do with the structure (it is a
reinforced concrete frame, unseen). In the gallery block all the panels are filled with
buff stucco, in the other block partly by red brick to match the Lodge.
There are nine rooms in all. First a big room, then a long "spinal" room, four
smaller rooms lead off this and on one of them is a Stirlingesque version of what the
Elizabethans called a carrel window, i.e. a bay projecting into a peaked oriel, its metal
bars, painted green, appear in the centre bay of the outside elevation. Another big room
connects with the old Tate. A separate room, adjoining the first big room, darker and
differently decorated, is reserved for watercolours. There is an auditorium to seat 200
and a "social room" for occasional use, with spiral staircases in one corner leading to
the secretary's room. That officer can look over a balustrade into the room, or
outside to the terrace (through a small peaked oriel) or inwards to the staircase hall
(through an open triangle) with scarcely a movement from his or her desk.
The lighting combines natural and artificial light and adjusts itself automati-
cally to the conditions of the external world.
_________________
Vocabulary:
a portico
an auditorium
a wing

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