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When Morris’ cubes were remade and placed inside the Tate
Modern’s Turbine Hall in 2009, the work became far less effective, just like
Graham’s Two V’s Entrance-Way. The
neutral white cube gallery space that is reflected in the mirrors does not
create the originally desired effect of the viewer’s space moved into the art
object’s space. The gallery space is not representative of an ordinary space,
as it is out of the context of a person’s usual surroundings or habitat. In
this case, the plain white walls appear like an invasive background, rather
than a recurring space. Traditionally, the white cube gallery space intended to
create a stronger focus on the artwork itself without any distractions. However,
in this and other works commenting on the spatial limitations of architecture
through reflective surfaces, ‘the wall becomes a torment’ (Neumeyer, 1999, p.
246). The importance of the viewer’s surroundings as a part of the work is
diminished and the focus becomes separate, flat images of the viewer in the
individual reflective façades of the cubes.

Graham and Morris have both explored the
placement of artwork in interior and exterior spaces. In Two Adjacent Pavilions and the original presentation of Untitled in the garden of the Tate
Britain, they have allowed space to appear as infinite and immeasurable through
reflections of the viewer among an exterior landscape. However, by placing the
works within an interior space, the important dialogue between architectural
space and the exterior landscape is lost, making the works less effective in
providing a vision of recurring space with reduced spatial limitations. As
quantified by Venturi: ‘Contrast between the inside and the outside can be a
major manifestation of contradiction in architecture’ (1977, p. 70). The complexities
and contradictions described in this statement are also presented to us in the dividing
walls of contemporary glass skyscrapers in these following ways. Firstly, while
attempting to appear as invisible forms that defy spatial limitations, these
buildings remain as physical structures that restrict our movement and public
access. Secondly, while attempting to appear as transparent, honest and open buildings,
the surrounding environment is reflected in their façades, preventing the
viewer from seeing into the interior from the outside. Thirdly, while originally
attempting to ignore the functionality of architecture and focus on materiality,
glass has become a metaphor of destructive power that promotes human
insignificance amongst the dominance of the cityscape:

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