The RA's Head of Exhibitions Management, Idoya Beitia, shares more behind-the-scenes secrets:

• 

  Installation of Antony Gormley's 'Host'

  Courtesy Beatrice Moran

  Host

  Once complete, Host (2019) features an expansive pool of water. But before we poured approximately 33 tons of Atlantic seawater from the Isle of Portland into the gallery space, a team of roofers covered the floor and skirting with a waterproof lining. After this, we laid out 25 tons of Buckinghamshire clay.

  The colour of the clay was important to Antony – the work is made to be seen in natural light, so as the day fades and the light changes, so does the colour of the water. It was vital that the method was watertight, so before set-up we made a replica of the gallery in Antony’s studio, using the same method of installation, filled it with water and then left it for a fortnight until we were confident that it worked.

  As told to RA Magazine

• 

  Installation of Antony Gormley's 'Body and Fruit'

  Courtesy Beatrice Moran

  Body and Fruit

  These two works, from 1991-93, which are designed to be suspended from the ceiling, are displayed in Gallery IX, which ironically has the strongest floors. If you look up, you can see there are two steel cables running up into the glass dome. In between this dome and the external dome of the building are two, custom-made cranes which support the 2.5-ton weight of Fruit and the 5-ton Body.

  As told to RA Magazine

• 

  Installation of Antony Gormley's 'Lost Horizon'

  Courtesy Beatrice Moran

  Lost Horizon

  The Perspex false ceiling in the room housing Lost Horizon I (2008) hides a system of six iron beams, onto which each of the 629kg cast-iron figures is attached by plates with rods threaded to their feet. We designed a lighting system to provide even light during the dark hours of the day. It was crucial that the beams and plates did not cast shadows as it would have spoiled the magic.

  As told to RA Magazine