Herzog & de Meuron’s extension to London’s Tate Modern completes a project that the architects outlined in 1995 when they won the competition to create an art museum out of a decommissioned power plant. And while the result is remarkably coherent, the new work is a sequel, not a repeat. The firm returned “as a team whose experience and way of thinking had grown immensely,” says Tate director Nicholas Serota, while the museum itself faced fresh challenges: how to show new art forms and build on its role as a public forum.
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