Anish Kapoor met with Heidi Reitmaier to talk about the third in the Unilever series of commissions for the Turbine Hall at the Tate Modern. As they walked through his studio, they talked about this new work and other sculptural discoveries. Here are some extracts from that conversation in expectation of the forthcoming installation. The Turbine Hall is an enormously difficult space, mostly because it's unclear about whether it's an art space or not. It is more difficult to look at art there than in the Duveen Gallery at Tate Britain, or in any other space in London. The Turbine Hall is somewhere in between a gallery and a station. The great problem with the space is that it demands verticality. This, is contrary to every notion about sculpture that I've ever engendered in my work. So I felt that the only way to deal with the vertical is in fact to deal with the full horizontal, to take on it's glorious hundred and sixty metres. What I have done for the space is to make a work, which is in three distinct volumes. These are connected to each other by a linking hose (pipe). The forms, as one experiences them in the space transmute into each other through the medium of this hose. I made a drawing about thirty years ago which relates to this. It is a computer drawing of a circle changing into a square. I determined the two ends; the computer 'imagined' the rest. It is