Inside Powerhouse Parramatta, Sydney’s $641 Million Museum

Powerhouse Parramatta, the largest museum ever built in New South Wales, opens its doors to the public on November 7 along the banks of the Parramatta River in Sydney’s western suburbs. Designed by Moreau Kusunoki and Genton, the new institution stands out for its white steel exoskeleton, forming a lattice that encloses over 18,000 square meters of exhibition and public space across two vast, column-free volumes. The building’s distinctive structure, engineered by Arup, leaves the interior open and adaptable, with ceilings that reach up to 18 meters and circulation spaces shaped by the Japanese principle of ‘ma’, or the space between. Beyond the galleries, the museum introduces a rooftop terrace, garden, an observatory, and educational spaces, as well as a landscaped square that connects the site to the river.

The museum’s opening marks a significant investment by the New South Wales government, which describes the $641 million project as its largest cultural outlay since the Sydney Opera House. The Powerhouse forms part of the broader Museum of Applied Arts and Sciences, joining sites at Ultimo, Castle Hill, and the Sydney Observatory. The new building arrives amid controversy, with former chief executive Lisa Havilah stepping down in August following allegations of misconduct, and interim leadership now held by Abbie Galvin. The opening also follows debate over the closure and future of the Ultimo site and the storage of collection highlights off-site.

The Building and Its Designers

Architect Nicolas Moreau of Moreau Kusunoki describes the Powerhouse’s structure as “a dissolving lattice exoskeleton” that moves the support to the exterior and enables expansive, flexible galleries. Hiroko Kusunoki, also of Moreau Kusunoki, notes that “generous circulation spaces offer places to linger, designed around the Japanese concept of ‘ma’.” Steven Toia of Genton, the collaborating local firm, emphasizes the building’s role as “an open canvas” for the diverse communities of Parramatta. The museum’s construction required 12,000 tonnes of steel across seven levels and involved more than 50 local designers.

The Art and Exhibitions

Five major exhibitions launch the inaugural program. Task Eternal, developed with the Smithsonian and the British Museum, traces the history of aviation and space exploration and includes James Turrell’s Shangri La (Over The Hump), a Ganzfeld light installation that immerses visitors in shifting color and altered perception. Entry to Turrell’s work is ticketed from A$10. British artist and stage designer Es Devlin presents her first Australian exhibition, The Turning, with five large-scale works. Among them, Forest of Us creates a mirrored labyrinth echoing the branching of lungs and trees, while Memory Palace maps moments from 75,000 years of human history. In Collective Portrait, visitors draw each other, contributing to an evolving installation.

The Mall, an exhibition designed with OMA/AMO, examines the development and cultural significance of shopping centers in western Sydney. Overflow is a First Nations-led exploration of Australia’s salt and freshwater ecosystems. The fifth, The Dark, is an interactive children’s show that transforms darkness into a space for play and curiosity through storytelling, a crystal tunnel, and objects drawn from childhood.

Opening Festival and Access

The public opening initiates a 23-day festival with 179 events, including talks, workshops, performances, and screenings. More than 3,000 objects from the Powerhouse collection are on display across the opening exhibitions, though many key items remain stored off-site. General admission to the museum is free, with tickets to Task Eternal for over-16s priced at A$30 and access to Turrell’s installation from A$10. Most festival events are free to attend.

A previous story in the magazine covered Elena Von Kohn’s Paris opening.