Powerhouse Parramatta opened its doors to the public on Saturday, 7 November, positioning itself as a new cultural hub in Western Sydney.
Opening draws massive crowds
More than 26,000 visitors registered for the inaugural weekend, filling the riverside venue with families, students and tourists from a wide range of backgrounds.
The institution deliberately omitted the word “museum” from its title, a decision that sparked debate but aligns with its multi-purpose layout.
Beyond five galleries, the complex houses around 30 residential studios, the Lang Walker Family Academy, a 200-seat demonstration kitchen, a rooftop garden with an observatory, and a retail space that doubles as an incubator for emerging designers.
Architecture blends industry heritage with public space
Located on Dharug land beside the Parramatta River, the building results from a 2019 international competition won by Paris-based Moreau Kusunoki, executed with local architect Genton and engineered by Arup.
Spanning roughly 30,000 sq m, the structure comprises two cubic volumes aligned with the city grid, linked at upper levels, and anchored by a porous ground plane that connects the Civic Link to the waterfront.
Both blocks feature a lattice exoskeleton of over 1,300 pieces, referencing the area’s industrial past while offering a tactile experience through quartz-flecked GRC panels, water-glass-finished concrete floors and a hand-applied render embedded with mineral and seashell aggregates.
At night the façade glows from behind, creating a lantern-like presence on the skyline.
Read Also: Antwerp office space showcases unique materials
Inside, long, light-filled corridors draw on the Japanese concept of “Ma,” providing intervals that frame views of the river and allow the interior to breathe.
The flagship exhibition, “Task Eternal,” curated by Li Hu and Huang Wenjing of Open Architecture, interprets Ted Chiang’s short story “Tower of Babylon.” It presents over 850 objects, including a Burramattagal bumarang on loan from the British Museum, pages from Leonardo’s Codex Atlanticus, an F-1 rocket engine, and James Turrell’s “Shangri La (Over the Hump).”
Other debut shows include “The Mall,” designed by OMA’s David Gianotten, which references Western Sydney’s industrial heritage; “The Dark,” an interactive adventure for children; “Overflow,” a First Nations-led exploration of water country featuring a film by Ivan Sen; and “Es Devlin: The Turning,” the British artist’s first major Australian exhibition.
Design contributions extend to interior and environment teams: Fiona Lynch shaped the academy, YSG designed the residential units, George Livissianis oversaw hospitality interiors, and McGregor Coxall with Tyrrell Studio crafted the surrounding environment.
The Powerhouse Store, a brushed stainless-steel cylinder illuminated from within, launched with the “Powerhouse Made” collection, featuring collaborations such as Maison Balzac’s reinterpretation of Denise Larcombe’s 1970s Crown Crystal design and Mud Australia’s refillable porcelain candles scented after the rooftop garden.
Ticket pricing reinforces the accessibility goal: entry is free, as are four of the five exhibitions, and children under 16 are admitted at no cost.
Exhibitions and programs
The Mall, designed by OMA / David Gianotten, takes on the shopping centre and Western Sydney’s industry and innovation, Parramall neon sign and all. The Dark is an interactive adventure built for kids. Overflow is a First Nations-led exhibition about water Country, with a film by Ivan Sen and a design made with Country by Tyrrell Studio. And Es Devlin: The Turning is the British artist’s first major exhibition in Australia.
