Award-winning Swiss-French architect Bernard Tschumi has completed the Tianjin Binhai Exploratorium, a massive new museum that will be joining MVRDV's futuristic library as one of five main attractions in the northern Chinese city of Tianjin's growing recreational district.
Set to open in Fall 2019, the Exploratorium will celebrate the historical and contemporary industrial achievements of the region through the use of cutting-edge, interactive technology such as VR. Considered the birthplace of the Chinese industrial revolution, exhibitions will explore the city's role as a center for manufacturing, space research, and widespread urbanization. In addition, the project will hold facilities for events, as well as galleries, offices, restaurants and retail.
Tschumi designed the Exploratorium, "as a building for the past, present, and the future of Tianjin," the architect describes. Conceived as a series of seven conical cylinders, the unique structure relates to the region's rich industrial history, creates major spaces throughout the museum, and provides even, natural light throughout.
Reminiscent of the Guggenheim's landmarked swoop—but double the height—the building's focal point is the grand lobby and surrounding spiral ramp that allows visitors to circle through exhibition halls and peak through the façade's distinctive portholes. A massive rocket fills the space as a spectacular centerpiece.
The now completed project is the office's first built work in China, and the latest addition to the Binhai Cultural Center, a major sprawling project initiated by the Tianjin government to boost tourism. The four other cultural buildings—the Binhai Modern Art Musum, the Binhai Performing Arts Center, the Binhai Public Activity Center, and the Binhai Library—have all been designed by famed firms including Revery Architecture, HH Design, and MVRDV.
5 Comments
"conical cylinders" formerly known as truncated cones.
Archibabble at it's finest.
Cylinders are not conical.
I love it. though I hope they buy some real art .... VR sounds like a fad
From paper architect via paperless studio to artless art museum.
It is massive, and the small portholes only serve to intensify its massiveness, its imposing character, its aloofness. I would have thought Tschumi would have done something to break the masses up. Is he backtracking here?
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