Tate Modern expansion,
designed by Herzog & de Meuron
The turn of the millennium saw a number of important architectural developments, but none had as large and lasting an impact as Tate Modern, which was located in a revitalized power station on the banks of the Thames in London. Opened in May 2000, the museum introduced an innovative approach to adapting existing buildings, setting a new direction in architecture. The project not only enriched London's cultural offerings, but also contributed to the international recognition of the Swiss studio Herzog & de Meuron. Tate Modern revolutionized the way museum spaces, particularly contemporary art galleries, are designed. Today, many institutions around the world seek to transform former industrial buildings into unique exhibition spaces.
The Tate Modern gallery in London - the architects retained many of the original features of the power plant, including the powerful spaciousness of the main hall, which has been adapted into a huge exhibition space
Photo Margherita Spiluttini © Architekturzentrum Wien, Sammlung, Herzog & de Meuron
The transformation of the Thames River power plant:
contrast and integration with the urban landscape
The museum is located on the south bank of the Thames River, close to other major London landmarks such as the Globe Theatre and Millennium Bridge. The building originally served as the main hall of Bankside Power Station, which was decommissioned in 1981. Instead of falling into disrepair, the building has been given new life thanks to the design of Herzog & de Meuron, who have transformed it into one of the most important and recognizable contemporary art centers in the world. The gallery stands out not only for its size - nearly 10,000 square meters of space - but also for its extensive collections, which attract art lovers from all over the world.
From an industrial complex
to the home of Tate Modern
Prior to the redevelopment, Bankside Power Station was a 200-meter-tall building with a steel structure and brick facade, with a central chimney 99 meters high. The building's structure was divided into three main zones extending in an east-west direction: the spacious main turbine hall in the central section, the boiler room in the north and the switchyard in the south.
Tate Modern Gallery in London - the main change to the building's exterior structure was the addition of a two-story glass space on one half of the roof
Photo Margherita Spiluttini © Architekturzentrum Wien, Sammlung, Herzog & de Meuron
After the Bankside power plant closed, the building was long under threat of demolition by developers. In response to these plans, numerous community groups campaigned for its preservation and proposed various possible scenarios for the use of the space. In 1994, the Tate Gallery announced that Bankside would become the home of the newly built Tate Modern. In July of the same year, an international architectural competition was held to design the gallery, and in 1995 it was announced that Jacques Herzog and Pierre de Meuron of the Herzog & de Meuron studio were the winners.
Changes to the exterior structure
and preservation of historic interior elements
The architects' design preserved many of the power plant's original features, including the powerful spaciousness of the main hall, which was adapted into a huge exhibition space. The main change to the building's exterior structure was the addition of a two-story glass space on one half of the roof. The interior of the building retained many of the original structural elements, including the extensive turbine hall, which still contains a crane that moves across the ceiling.
The Tate Modern Gallery in London - building plan
© Herzog & de Meuron
turbine hall transformation
The building's hallmark is the monumental Turbine Hall, a three-story high space whose austere industrial finish harmonizes with modernist interventions. The former Turbine Hall, with its distinctive windows reminiscent of cathedral rosettes, has been transformed into an urban space with an open character, playing the role of a meeting and integration place. It is also a kind of "small town" within a larger structure, with space adapted to various functions. Access to the hall is via a ramp, which facilitates smooth entry into the interior.
The Tate Modern Gallery in London - the Turbine Hall is a three-story high space whose raw, industrial finish harmonizes with modernist interventions
Photo Margherita Spiluttini © Architekturzentrum Wien, Sammlung, Herzog & de Meuron
spaciousness and light: a two-level exhibition space
with a unique lighting system
The exhibition space has been planned on two levels, allowing visitors to get a sense of the building's impressive scale. Narrow glazing emphasizes the vastness of the interior, while natural light streaming in through the windows sets a special mood. The design uses a lighting system inspired by the work of architect Rémy Zaugg, whose studio served as a prototype for this solution at Tate Modern.
The Tate Modern gallery in London
Photo Margherita Spiluttini © Architekturzentrum Wien, Sammlung, Herzog & de Meuron
facade reconstruction:
maintaining rhythm and reducing massiveness
The architects minimized the massiveness of the facade by introducing elongated windows on the second floor. This solution is particularly evident on both sides of the chimney, where vertical windows in dark stone allude to the historic window strips present on the original facade. In addition, the rhythm of the existing facade has been preserved by partially closing some of the window openings.
The building is an example of the successful integration of industrial heritage with a modern approach to the design of public spaces. The transformation process not only allowed the reuse of the former power plant, but also made Tate Modern one of the most recognizable architectural structures in the world.
Compiled by Anastazja Dżupina
Illustrations provided courtesy of Herzog & de Meuron studio.
