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New plans for King's Cross in London show the massive scale of the venture.
And the smart money - including that of New York art tycoon Larry Gagosian -
is already moving in. By Jonathan Glancey
Monday June 7, 2004
The Guardian
http://www.guardian.co.uk/arts/features/story/0,11710,1232857,00.html
The hype surrounding the opening of the Gagosian Gallery in King's Cross,
London, has been so great and the plaudits have been so glittering that I
expected to find something very special indeed. Not, perhaps, a riposte to
the Bilbao Guggenheim by Frank Gehry but a landmark building; an artistic
adventure.
The Gagosian Gallery proves to be a modest creation, housed in a former
garage in Britannia Street, a rats' alley smelling of diesel and urine,
scuttling across the Metropolitan and Circle underground lines as they
rattle between Farringdon and King's Cross-St Pancras. Behind the gaunt
facade, Larry Gagosian's architects, Caruso St John, best known for their
New Art Gallery, in Walsall, which opened in 2000, have opened up bright,
cavernous, concrete-floored, top-lit white spaces. These are particularly
refined white spaces; they have something of a religious air about them, not
least because on a weekday afternoon this private gallery is as quiet as an
abandoned city church. A security guard sits like a piece of isolated
artwork by the locked door, while bright young things potter about at a vast
reception desk faced with important catalogues. A solitary, studious looking
fellow surveys the brown and white Cy Twombly abstracts, which hang from the
spotless white walls with a degree of respect owed to icons and statues
elsewhere.
None of this is a criticism of this new London art space, which is one of
the best of its kind since Charles Saatchi's original gallery in St John's
Wood, designed by the late Max Gordon. Caruso St John are among our most
thoughtful architects, as careful with the process of building as they are
with design. And, yet, for all its graceful substance, the gallery has
something of a temporary air about it. Should the top end of the art market
take a tumble between now and the completion of the Eurostar terminal at St
Pancras in 2007, it would make a particularly fine restaurant, office or
nightclub.
The area will certainly want these as its redevelopment gathers pace over
the next five years. Seedy for decades, King's Cross is fast-becoming a
blue-chip investment for property developers. Quite how the promethean
building works promised here will pan out is anyone's guess. For every
impressive new civil engineering achievement, there will be routine chain
stores; for every art gallery, a fast-food joint. Expect, in time-honoured
English tradition, a mix of the sublime and the banal: the Gormenghast glory
of St Pancras raised to fresh, pinnacled heights as Eurostar trains snake in
and out on their three-mile-a-minute race to and from Paris with its cafes,
restaurants, shops and art galleries. Penny-plain King's Cross station
stripped of 1970s tat. Both stations are attended by millions of square feet
of gleaming new offices, some 1,800 flats, dozens of shops, washed and
brushed public spaces, three new footbridges over the Regent's Canal,
restored historic buildings and, so the developers say, more art galleries.
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Please Help Feed These Children
For the past 8 years I have ministered to the children and...
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This leviathan plan, announced last week, for the 67-acre area north of the
Gagosian Gallery, has been prepared by a property consortium comprising
Argent St George, Exel, London and Continental Railways. Allies and
Morrison, immaculate Moderns, and Demetri Porphyrios, the most convincing of
the Prince of Wales's school of classicists, have been appointed architects
in charge of a development that, in scale at least, matches the heroic urban
projects that shaped Victorian London. The £2bn project will take at least
15 years to complete. It may yet be rejected by the mayor of London, who
will surely find its tallest 19-storey towers too modest and its plan not
sufficiently dedicated to the concerns of big business. It may yet be called
in for public inquiry by the government, and either held up, heavily edited
or abandoned while lawyers rack up prodigious fees.
Whatever the process - the rise and fall of commercial and professional
reputations, the jaw-dropping fees, the performance bonuses, pension
top-ups, the gongs awarded and brown envelopes exchanged - King's Cross will
surely be redeveloped on a titanic scale within the next 10 and 20 years.
The dodgy young men, working-class street-walkers and middle-class
kerb-crawlers will move on, along with the purveyors of kebabs, tattoos and
grubby mags. Spick and span corporate offices, big-brand shops, chain cafes
and relentless street furniture interspersed with well-meant public art will
take their place.
Architects of the calibre of Allies and Morrison and Demetri Porphyrios will
do their best to raise the standards of St Pancras but they cannot hope to
control the quality of the tenants who will flock here in coming years.
There will be something like 30,000 new jobs here, while millions of
passengers travelling to and from London and the Continent, and looking for
diversion, will mill around King's Cross. A committed few might waft down
New Britannia Street to pick up a canvas by Cy Twombly or a pickled lamb by
Damien Hirst.
Gagosian, however, ought to know what most people will want. This sharp,
silver-haired Armenian-American, nicknamed "Go-Go", began making money in
Santa Monica in the 1970s. "I would buy prints for $2-$3, put them in
aluminium frames and sell them for $15," says the Donald Trump of the art
world. If Gagosian likes art, he likes nothing better than closing deals. He
opened a small gallery behind Regent Street a few years ago, also a
conversion by Caruso St John, before homing in on King's Cross, which offers
an optimum deal: a place to show big, headline-stealing artworks - tens of
tons of Serra - in a handsome setting in the sort of grubby street that
makes the art world trill with excitement, while making a quiet future
killing on the property market.
Gagosian likes art, and knows that this, with all its high society
connections, brings kudos, glamour and outlandishly big bucks. Should you
happen to be a wheeler-dealer who builds a fashionable gallery showing
fashionable artists in one of the most fashionable up-and-coming parts of
London, how can you possibly go wrong?
Gagosian's gung-ho, yet outwardly, highly refined, venture into the London
art world and King's Cross is, perhaps, to be preferred to the
run-of-the-mill development that could take place here if we fail to keep a
sharp eye on the area and the hugely ambitious "masterplans" dreamed up by
one developer after the other over the past 15 years. No one should doubt
that the real artwork here is the arrival of the high-speed Eurostar line.
This, like the Midland Railway's grand Gothic entry into St Pancras some 140
years ago, will change the face of the surrounding area, including Britannia
Street, for ever.
New plans for King's Cross in London show the massive scale of the venture.
And the smart money - including that of New York art tycoon Larry Gagosian -
is already moving in. By Jonathan Glancey
Monday June 7, 2004
The Guardian
http://www.guardian.co.uk/arts/features/story/0,11710,1232857,00.html
The hype surrounding the opening of the Gagosian Gallery in King's Cross,
London, has been so great and the plaudits have been so glittering that I
expected to find something very special indeed. Not, perhaps, a riposte to
the Bilbao Guggenheim by Frank Gehry but a landmark building; an artistic
adventure.
The Gagosian Gallery proves to be a modest creation, housed in a former
garage in Britannia Street, a rats' alley smelling of diesel and urine,
scuttling across the Metropolitan and Circle underground lines as they
rattle between Farringdon and King's Cross-St Pancras. Behind the gaunt
facade, Larry Gagosian's architects, Caruso St John, best known for their
New Art Gallery, in Walsall, which opened in 2000, have opened up bright,
cavernous, concrete-floored, top-lit white spaces. These are particularly
refined white spaces; they have something of a religious air about them, not
least because on a weekday afternoon this private gallery is as quiet as an
abandoned city church. A security guard sits like a piece of isolated
artwork by the locked door, while bright young things potter about at a vast
reception desk faced with important catalogues. A solitary, studious looking
fellow surveys the brown and white Cy Twombly abstracts, which hang from the
spotless white walls with a degree of respect owed to icons and statues
elsewhere.
None of this is a criticism of this new London art space, which is one of
the best of its kind since Charles Saatchi's original gallery in St John's
Wood, designed by the late Max Gordon. Caruso St John are among our most
thoughtful architects, as careful with the process of building as they are
with design. And, yet, for all its graceful substance, the gallery has
something of a temporary air about it. Should the top end of the art market
take a tumble between now and the completion of the Eurostar terminal at St
Pancras in 2007, it would make a particularly fine restaurant, office or
nightclub.
The area will certainly want these as its redevelopment gathers pace over
the next five years. Seedy for decades, King's Cross is fast-becoming a
blue-chip investment for property developers. Quite how the promethean
building works promised here will pan out is anyone's guess. For every
impressive new civil engineering achievement, there will be routine chain
stores; for every art gallery, a fast-food joint. Expect, in time-honoured
English tradition, a mix of the sublime and the banal: the Gormenghast glory
of St Pancras raised to fresh, pinnacled heights as Eurostar trains snake in
and out on their three-mile-a-minute race to and from Paris with its cafes,
restaurants, shops and art galleries. Penny-plain King's Cross station
stripped of 1970s tat. Both stations are attended by millions of square feet
of gleaming new offices, some 1,800 flats, dozens of shops, washed and
brushed public spaces, three new footbridges over the Regent's Canal,
restored historic buildings and, so the developers say, more art galleries.
Advertiser links
We Are The Future - Child Charities
Raising funds to benefit boys and girls in war-torn cities....
wearethefuture.com
Children International - Sponsor a Child
For only $18 a month, you can make a difference in the life...
children.org
Please Help Feed These Children
For the past 8 years I have ministered to the children and...
godslivingwordsministries.org
This leviathan plan, announced last week, for the 67-acre area north of the
Gagosian Gallery, has been prepared by a property consortium comprising
Argent St George, Exel, London and Continental Railways. Allies and
Morrison, immaculate Moderns, and Demetri Porphyrios, the most convincing of
the Prince of Wales's school of classicists, have been appointed architects
in charge of a development that, in scale at least, matches the heroic urban
projects that shaped Victorian London. The £2bn project will take at least
15 years to complete. It may yet be rejected by the mayor of London, who
will surely find its tallest 19-storey towers too modest and its plan not
sufficiently dedicated to the concerns of big business. It may yet be called
in for public inquiry by the government, and either held up, heavily edited
or abandoned while lawyers rack up prodigious fees.
Whatever the process - the rise and fall of commercial and professional
reputations, the jaw-dropping fees, the performance bonuses, pension
top-ups, the gongs awarded and brown envelopes exchanged - King's Cross will
surely be redeveloped on a titanic scale within the next 10 and 20 years.
The dodgy young men, working-class street-walkers and middle-class
kerb-crawlers will move on, along with the purveyors of kebabs, tattoos and
grubby mags. Spick and span corporate offices, big-brand shops, chain cafes
and relentless street furniture interspersed with well-meant public art will
take their place.
Architects of the calibre of Allies and Morrison and Demetri Porphyrios will
do their best to raise the standards of St Pancras but they cannot hope to
control the quality of the tenants who will flock here in coming years.
There will be something like 30,000 new jobs here, while millions of
passengers travelling to and from London and the Continent, and looking for
diversion, will mill around King's Cross. A committed few might waft down
New Britannia Street to pick up a canvas by Cy Twombly or a pickled lamb by
Damien Hirst.
Gagosian, however, ought to know what most people will want. This sharp,
silver-haired Armenian-American, nicknamed "Go-Go", began making money in
Santa Monica in the 1970s. "I would buy prints for $2-$3, put them in
aluminium frames and sell them for $15," says the Donald Trump of the art
world. If Gagosian likes art, he likes nothing better than closing deals. He
opened a small gallery behind Regent Street a few years ago, also a
conversion by Caruso St John, before homing in on King's Cross, which offers
an optimum deal: a place to show big, headline-stealing artworks - tens of
tons of Serra - in a handsome setting in the sort of grubby street that
makes the art world trill with excitement, while making a quiet future
killing on the property market.
Gagosian likes art, and knows that this, with all its high society
connections, brings kudos, glamour and outlandishly big bucks. Should you
happen to be a wheeler-dealer who builds a fashionable gallery showing
fashionable artists in one of the most fashionable up-and-coming parts of
London, how can you possibly go wrong?
Gagosian's gung-ho, yet outwardly, highly refined, venture into the London
art world and King's Cross is, perhaps, to be preferred to the
run-of-the-mill development that could take place here if we fail to keep a
sharp eye on the area and the hugely ambitious "masterplans" dreamed up by
one developer after the other over the past 15 years. No one should doubt
that the real artwork here is the arrival of the high-speed Eurostar line.
This, like the Midland Railway's grand Gothic entry into St Pancras some 140
years ago, will change the face of the surrounding area, including Britannia
Street, for ever.