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By C. F. Manski

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Sample text

The Tate Modern majestically presides, claiming its site. However, its conviction remains questionable in light of the polite and unobtrusive extension/intervention. Everything about my view is expectable, tamed possibly by an architectural education, tired conversations reiterating empty thoughts. Part of me wishes to protect this monumental presence, but another needs to resurrect the possibilities that may effect its change. These sedate perspectives have provided the reasoning behind the Floating Gallery project.

The structure attempts to recreate a very intimate presence with the subject, where we are left to interpret and respond to the spaces that are continuously altering through sound, touch and view; the structure will never be viewed in the same way twice. The project allows us to bring our memories with us and recollect them by engaging with the experience of the structure, in turn becoming a vivid dream that follows us as the memory of our dwelling. I would like to approach this project within the liberating ideas of imagination applauding reality.

We now have a sense of inactivity and monumental waiting for services from machines, waiting for telecommunications and accessibility. The city is no longer governed by physical boundaries, and it could be argued that the homogenisation of global communications, far from promoting a simple placeless-ness, may have a counter-effect of a renewed celebration of the specificity of place. But how can this work if we are too precious to adapt the use of these spaces? We could state that monumentality3 offered each member of society an image of that membership, an image of their social visage, a collective mass-produced identity.

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