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BBC News
2 days ago
- General
- BBC News
'Wobbly' Millennium Bridge in London marks 25th anniversary
A quarter of a century after it opened and promptly closed, London's Millennium Bridge is marking its 25th footbridge, which spans the Thames between St Paul's Cathedral and the Tate Modern, was crossed by about 90,000 people when it opened on 10 June landmark closed after three days due to swaying, which saw it dubbed the "wobbly bridge". It was reopened in February 2002 after having dampers of City Bridge Foundation Paul Martinelli said: "Despite its teething troubles, the bridge has become firmly established in the hearts of Londoners." The bridge was the result of a competition launched in 1996 by the Millennium Bridge Trust and promoted by the Financial Times, Royal Institute of British Architects and Southwark design, which avoided blocking the view of St Paul's with tall suspension towers, was a partnership between architectural firm Foster + Partners, the late sculptor Sir Anthony Caro and engineers concept of the bridge as a "blade of light" was designed by Lord Foster, and early sketches were drawn on the back of a napkin in a central London wine bar by engineers Chris Wise and Roger Ridsdill Smith. "We spent hours in there, sketching and sketching and trying to come up with an idea," Mr Wise said."We got more and more minimal until it was one line connecting the river from side to side."I was on the bridge on opening day with my son on my shoulders when it started to wobble. I did feel very responsible, but I don't recall any sense of crisis – it was more fascination, what's the problem and what can we do about it?"It's great to have been involved in something that's now part of the fabric of London." A bridge spanning the Thames between St Paul's Cathedral and Southwark was first mooted in the 1850s, with parliamentary approval finally granted in 1911.A competition in 1913 saw bridge designs including an ornate stone structure featuring a carved winged goddess and a bridge with covered walkways and glass screens to protect pedestrians from the World War One, an attempt to revive the bridge idea was scrapped amid concerns its construction would disturb the foundations of the the competition, bridge construction began in late 1998 with the main works starting in April 1999, marked by a ceremony attended by the then Deputy Prime Minister John Prescott. The modern structure was the first new bridge over the River Thames since Tower Bridge was built in Ridsdill Smith, senior partner and head of structural engineering at Foster + Partners, said he was proud to have worked on the Millennium Bridge."Our design solution provided the most minimal means to span the Thames," he steel suspension bridge is 1,066ft 3in (325m) long – roughly the length of three football pitches – 13ft (4m) wide and sits 35ft 4in (10.8m) above the Thames at high tide. Queen Elizabeth visited the bridge on 9 May 2000 for a ceremony of dedication and was greeted with banners and attending the public opening on 10 June newsreader Julia Somerville, Coronation Street actor Chris Bisson and H from bridge opened on a Saturday, access was restricted on Sunday due to the swaying and the bridge closed indefinitely on Monday evening for a full experts said the wobbling was due to "synchronous lateral excitation", meaning that people were subconsciously adjusting their step to the bridge's natural swaying motion, making it sway even more. It remained closed for 18 months to allow dampers, which work a bit like the shock absorbers in a car, to be fitted underneath to stop the bridge from of the bridge transferred to the ancient charity City Bridge Foundation on 22 February 2002, the same day it finally reopened to the Foster, founder and executive chairman of Foster + Partners, described the bridge as a collaboration between architecture, art and Tuesday the City Bridge Foundation will hold a cake cutting ceremony on the bridge to mark its 25th year. A poem has been written to celebrate the occasion which visitors can find by scanning a QR code on the Martinelli said the bridge had become a "true London icon"."A quarter of a century after it opened, it's now hard to imagine this stretch of the River Thames without Millennium Bridge," he bridge has appeared in films including Guardians of the Galaxy, Run Fatboy Run and, most famously, Harry Potter and the Half Blood Prince, when it was destroyed by Death Eaters.
Telegraph
08-05-2025
- Entertainment
- Telegraph
How to visit the Tate Modern, including the art you mustn't miss and how to beat the crowds
In many ways Tate Modern – which celebrates its 25th anniversary this year – is one of the most accessible of museums. Especially if you are happy to wander in and explore somewhat randomly, rather than driven by expectations or a desire to tick off a list of particular works. The appeal of the space itself, its cafés and restaurants, and the sheer variety of art and installations, seem to attract a broad range of visitors looking for entertainment as well as enlightenment. But there is also something slightly elusive about the place and given the vast amount of art on display, it can be hard for a new, or even a more regular visitor, to grasp fully its riches and the historic importance of its collections. One of Tate Modern's greatest resources is the scale and diversity of spaces which the former Bankside power station offers: from the vast chamber of the great Turbine Hall, to the quiet darkness of some of the old fuel storage Tanks and the more measured spaces of the main galleries. The location too – looking across the river and along the axis of the Millennium Bridge to St Paul's Cathedral – gives it a flying start when it comes to attracting the millions of tourists who contribute to its huge success. Last year it was the third most popular museum in the country and visitor numbers hit 4.6m – suggesting that it must be doing something right. This number does represent a decline from its spectacular success in 2018, however. Then it was the UK's most visited attraction, with 5.87m people passing through the Turbine Hall. True, that year it had a new building (the Blavatnik) to celebrate and two especially popular exhibitions – on Modigliani and Picasso – to draw the crowds. Without these high-profile moments, today's curators do face challenges, not least how best to help visitors digest the vast range of works which Tate has acquired over its 25-year history. And what a range it is. The collection dates from the start of the last century right up to the present day, representing a spectacular array of different media – from video installations to soundscapes, from traditional paintings to posters and found objects. They represent myriad cultures and, perhaps most significantly of all, have been made during an era when our ideas of what might be considered art have been confronted in the most radical ways. Walking around the galleries again recently, I wondered how many works in the permanent collections will attract much interest in, say, 50 years' time. Perhaps not as many as the curators hope. But then part of the point of Tate Modern is to reflect the debate around what is the most significant art of recent years, to experiment and take risks. And part of the enjoyment of visiting is to make our own judgements and – to my mind at least – seek out those seminal, more historic works which shine among the also-rans. So here is how to make the most of Tate Modern, exactly 25 years after its doors first swung open. 1. Do I need to book? For some of the most popular exhibitions, it is wise to buy your ticket in advance, but for the most part, the beauty of Tate Modern is that it accommodates spontaneity so well. 2. How do I get in? There are two main entrances. The doors at the west end of the building give on to the great ramp sloping down into the Turbine Hall – this is usually the quickest way in. The other way in is from the riverside garden – the door is smaller here and there is sometimes a queue to get through the security checks 3. Making sense of the building Once inside this is not the most intuitive of buildings: you need first to get your head around the layout, the escalators and lift system. There are two main wings – the huge Natalie Bell Building – which has seven floors (0-6) to the north of the Turbine Hall and the smaller, higher Blavatnik (or Switch House) which has 11 (0-10, but 5-9 are closed to the public) to the south. They are connected at ground level (0) and via bridges across the Turbine Hall on Levels 1 and 4. Both wings contain a combination of galleries housing the permanent collection and temporary exhibitions. 4. What should I see? Don't try to cover the whole of Tate Modern in one visit: there is far too much to absorb. Instead, take your pick from the following: The Permanent Collections Divided thematically into five main sections – such as In the Studio (focussing on how art is made) and Artist and Society (art which responds with particular emphasis to political and social issues) – the collection is split across levels 2 and 4 in the Natalie Bell Building and level 3 in the Blavatnik. For individual artistic highlights see below. The Tanks These semi-subterranean galleries have been created from the former tanks which used to store fuel oil for the power station. They are now used for live art performances, sound and video installations, new works and displays from the permanent collection. Until November 30, there is a brilliant exhibition of sculptures by Alberto Giacometti in some of the smaller, darker spaces. Temporary exhibitions In many ways, these are the lifeblood of Tate Modern – a chance to present new work, mount major retrospectives and focus on lesser-known artists. Current shows include: Leigh Bowery! (until August 31) Electric Dreams: Art and Technology before the Internet (until June 1) Anthony McCall: Solid Light (until June 29) Do Ho Suh: Walk the House (until October 19) Major exhibitions to follow later this year include work by the Australian artist Emily Kame Kngwarraye and one on Nigerian Modernism. Turbine Hall One of the greatest challenges for a contemporary artist is to make an impact on this colossal space. Notable successes have been Olafur Eliasson's rising sun (2003), Carsten Höller's giant slides (2006), and Doris Salcedo's meandering crack which ran along the length of the concrete floor (2007). Currently the hall is empty, but the next commission is devoted to the Northern Sámi artist, Máret Ánne Sara, and will be installed and opened to the public on October 14. Tours If you prefer your visit to be guided, there are various ticketed tours available – both of the permanent collection and specific exhibitions including a new one exploring 25 highlight works, which costs £20 a head. 5. Where can I take a break? If your head is spinning from some of the more eye-boggling installations, or you are simply suffering from cultural overload, there are several excellent places to take a break or rest your eyes. For refreshments, the main restaurant on the sixth floor of the Natalie Bell Building has brilliant views across the Thames to St Pauls and the City, as does the Level 10 café at the top of the Blavatnik. On the ground floor, the Corner bar and café, accessed from the riverside gardens, stays open after the museum closes. There are also two 'quiet' rooms furnished with armchairs and coffee tables – on levels 2 and 4 of the Natalie Bell Building, where there are easy chairs overlooking the Turbine Hall. There are several shops, including the main bookstore on Level 1, which is one of the best art bookshops in the country. 6. Avoiding the crowds Tate Modern absorbs its visitors quite successfully, but how crowded it feels depends a good deal on, for example, whether there is a popular installation in the Turbine Hall, or a big-name exhibition. Data from Google suggests that the first two hours of opening are the quietest on all days (1pm-4pm is peak time) and that Saturday is by far the busiest day overall, followed by Sunday. Monday-Wednesday are the quietest. You can call (020 7887 8888) to find out how busy the gallery will be. This weekend (May 9-12; with late opening til 11.30pm on Friday and Saturday) is likely to be especially popular, with a whole programme of events, live music, performances, talks and tours to mark the 25th anniversary. 7. When is it open? Daily, 10am-6pm, admission free, though there is a charge for most temporary exhibitions. Annual membership includes admission to these, to those at Tate Britain and other privileges, such as members' rooms. Full details at 10 unmissable highlights at the Tate Modern For its 25th anniversary, Tate curators have picked a selection of 25 highlight works which will be signed in the galleries. Here is my own, with an emphasis on the historic strengths of the collection. Be aware that most do not have a permanent location in the museum and individual works are not always on display (click here to check). 1. The Three Dancers, Pablo Picasso (1925) Begun as a depiction of ballet dancers in rehearsal, the death of a friend transformed Picasso's mood. The result is a distorted, macabre image infused with violence and distress. Its importance in the history of modern art will be emphasised in a special exhibition to mark its centenary (from Sept 17-April 13 2026). 2. Eine Kleine Nachtmusik, Dorothea Tanning (1943) One of the most evocative of all dream paintings - a surreal hotel corridor is peopled by sleep-walking, gravity-defying figures, while a door opens mysteriously and a giant sunflower is bathed in light. According to the artist, the flower represents the 'never-ending battle we wage with unknown forces'. 3. Man Pointing, Alberto Giacometti (1949) An incredibly poised and poignant sculpture exploring the fragility of life and the human form itself. Currently being shown to wonderful effect along with other works by Giacometti in the Tanks (until November 30). 4. Seagram Murals, Mark Rothko (1950s) Designed as a group to be an immersive, meditative experience, these huge canvases were originally commissioned for the Four Seasons restaurant in the Seagram Building, New York. But as the contemplative mood he was creating became apparent, Rothko withdrew from the commission and donated them instead to Tate, as a mark of his esteem for JMW Turner. 5. Whaam!, Roy Lichtenstein (1963) One of the great anti-war paintings – a brilliant pastiche exposing comic book strip cartoons which trivialise war and, by inference, the role that art and artists have sometimes played in that process. The pastiche extends further – this is an aggressively sexualised account of the missile being fired. 6. A Bigger Splash, David Hockney (1967) A landmark work in Hockney's career. He explained the painting himself: 'When you photograph a splash, you're freezing a moment and it becomes something else. I realise that a splash could never be seen this way in real life, it happens too quickly. And I was amused by this, so I painted it in a very, very slow way.' 7. Late Morning, Bridget Riley (1967–8) Riley is the master of the disorienting optical effects produced by the simplest of patterns. This was one of her first experiments with colour and how different chromatic sequences produce unexpected results – in this case, a strange yellow glow. 8. Do Women Have To Be Naked To Get Into the Met. Museum?, Guerrilla Girls (1989) Art as activism, humour as a political weapon – Tate's selection of protest posters by the Guerrilla Girls (an anonymous group of female artists) reveals their direct, sardonic and brutally effective approach to satire. 9. Maman, Louise Bourgeois (1999) This giant stalking spider, its title (meaning 'mummy') belying its menacing presence, was the first work to be seen by visitors when Tate Modern opened in 2000. It is currently installed on the upper bridge spanning the Turbine Hall. 10. War, Paula Rego (2003) Of all Rego's many disturbing works featuring imagery from the world of children's toys and fairy tales, this is one of the most powerful. It was inspired by a photograph of a screaming girl running from an explosion taken during the Iraq war. Rego said: 'I thought I would do a picture about these children getting hurt, but I turned them into rabbits' heads, like masks. It's very difficult to do it with humans, it doesn't get the same kind of feel at all.'
Telegraph
29-01-2025
- Business
- Telegraph
25 years on: The best and worst of Britain's Millennium architecture
It's hard for anyone who was not then alive to know how full the 1990s were with hope. Britain's economic decline had reversed. Martial prowess had been rediscovered in the Falklands War. Communism had failed. Investment was inward. Wallets had more money in them. The long shadow of industrial decline was brightening with new jobs in shopping malls, distribution hubs and call centres. After harsh medicine under the Tories, the country even had the confidence to vote for Labour and smiley Mr Blair who would lavish the largesse of economic growth upon the people. The millennium was coming. And Mr Major's voluntary tax fund, known as the National Lottery, was marshalling resources for a storm of Millennium-related expenditure. It was going to be fun. One quarter of a century on, where are we now? What has happened to the Millennium projects? It is rare for a national moment to generate edifices whose original intent endures in the public consciousness. The 1851 Great Exhibition created the Crystal Palace, until it burnt down. Queen Victoria's 1897 Diamond Jubilee incited a bazaar of Jubilee clock towers, fountains, civic halls and statues across the empire. Most still stand gathering moss but few are noticed. Their celebratory origins are forgotten. Only the Royal Festival Hall remains from the 1951 Festival of Britain, though its original façade was peeled off and lost in a 1964 reconstruction. The 1918 Armistice is the only moment whose architectural consequences are still part of contemporary Britain. Only a handful of British parishes (the 53 so-termed Thankful Villages) lost none of their sons to the First World War's slaughter. Every other village, suburb, town and neighbourhood across the land has a war memorial whose prominent location, design and sacerdotal purpose is still widely understood and even sanctified by prayer once a year. How do the Millennium projects measure in comparison? Which did best? Which are duds? The most successful are the curvaceous, the natural and those which serve the citizenry's everyday needs. The least successful are the pompous, the aggressively architectural (Millennium Modern anyone?) or those which attempted to effect a regenerative transformation beyond their capabilities. The Eden Project Cornwall's Eden Project caught the millennium's environment-embracing zeitgeist best. Its nature-packed domes, or biomes, are colonial Martian pods outside (has Elon Musk visited?) and immersive celebrations of gardens and rainforest inside. 'High-tech' meets 'tree hugger'. A million visited every year, contributing a billion pounds to Cornwall's economy. No Millennium project has had such benign regional consequences. It is being emulated from Dundee to China. But will it weather current economic challenges? It has just announced job cuts due to rising costs. Rating: 9/10 The Millennium Bridge The second most positive millennium contribution to modern Britain was, once, the most mocked. London's Millennium Bridge is splendidly located, linking the south bank to the City. It creates a perfect urban vista to St Paul's divine dome. Around 80,000 cross every day. By helping us get about the city it regenerates, enriches and revives. It's not my normal cup of architectural tea but the clean and sheeny low-cut metal bridge is rather splendid against St Paul's, like an Aston Martin in a Baroque town square. The Millennium Bridge uniquely engendered a scientific discovery: synchronous lateral excitation whereby the instinctive sway of people crossing a bridge creates sideways oscillations, encouraging those crossing to sway in step which in turn increases the oscillations. This is why, to much ribaldry, the bridge initially wobbled until dampeners were added. Rating: 8/10. (Would be more without the early wobble). Tate Modern This forms the southern end of the Millennium Bridge's new path to St Paul's. Unlike Battersea Power Station, the Tate was able to regenerate Giles Gilbert Scott's brick beauty without ruining the surrounding neighbourhood with elephantine architectural excrescence. I was lucky enough to visit before they cluttered it up with modern art. It was intoxicating, the bizarre love child of steam-powered Britain and Pharaonic Egypt. It's a shame about the junk inside. But tourists flock. Rating: 7/10 The London Eye I want to dislike the London Eye but cannot. It is tawdry. It infests the South Bank with a pottage of tourists. It interposes utilitarian vulgarity between the sublime Palace of Westminster and steadfast County Hall. And yet I revel in its Top-of-the-Pops cheeriness. It is London not being too pompous. It passes the Eiffel Tower test of being instantly recognisable and is now on Underground seat covers. The God-like view from the top is a 'here is one I made earlier' answer to the 'what to do with visiting foreigners' question. Buy tickets online first to scythe the queues. Rating: 7/10 The Millennium Dome London's Millennium Dome is less happy. It was obscene to celebrate a millennium with a lightweight PVC tent designed to last 25 years. Throw away architecture to fete a throwaway age. The initial 'Millenium Experience' was awful. I visited and recall only the ennui. Against the odds, the Dome has survived – though a storm ripped off six segments in 2022. It has metastasised into a successful sports and music venue, the O2, which is more than the 1951's Dome of Discovery achieved. The wide, low and pale Thames Estuary needed a building which was not wide, low and pale. Rating: 5/10. Points awarded for surviving and for happy punters. The National Centre for Popular Music The upturned cauldrons that were Sheffield's National Centre for Popular Music might have been fun in a different location but were classically millennial in their arrogant contempt for surrounding historic streets. The museum failed within a year and the cauldrons have since housed a students' union until the union decided to vacate. The future is uncertain and demolition is, apparently, a possibility. Rating: 4/10. Points for hutzpah. The Deep In a tough race, Hull's The Deep is probably the Millennium's ugliest concoction. Thanks to the study of neuroscience, we now understand that most of us dislike, and find unnerving, buildings that are too sharp and slicing. The Deep looks as if part of Darth Vader's Star Destroyer has crashed to earth. There are fish inside. It has only attracted a fraction of the visitors of Cornwall's Eden Project. I love historic Hull. It deserved better. Rating: 3/10 Nicholas Boys Smith is the founding chairman of Create Streets. His history of London's streets is available from Bonnier books.
