In September 1995 I was invited by Herzog & de Meuron architects in Basel to join the team that was to develop their competition winning scheme selected at the beginning of 1995.
Following some months of uncertainty awaiting for Lottery funding, the transformation of the Bankside Power Station into the new TATE Gallery of Modern Art was secured in December 1995. From this time onwards the project gradually gathered momentum until December 1996 when the TATE team at H&deM in Basel moved to the site office at Bankside to complete the production information stage and monitor the construction work.
The area of responsibility that I was given to research and develop was the Art Galleries.
The level 3 on the west side is the location of the permanent XX century art collection and the temporary exhibition galleries on the east side.
The layouts were gradually developed in a continuous process of discussion with the directors of the TATE Gallery and the team of engineers from Ove Arup & Partners to find the right balance between permanent and provisional spaces that allows the maximum degree of flexibility for the different curatorial strategies that contemporary galleries require.
Herzog & de Meuron previous experience in the resolution of contemporary spaces for art determined the generic concept of a mute box, where all the necessary technology should be reduced to its minimum expression in order to let the space be activated by the works of art and not by the architectural elements.
TATE Gallery of Modern Art, Bankside Power Station