Previous modern spaces have turned into the favored leads for contemporary craftsmanship exhibition halls and displays far and wide. There’s the Tate Modern, once a London power station; the Nabisco industrial facility turned Dia: Beacon, in New York; and, all the more as of late, Fondazione Prada, in Milan, which OMA changed from a mid twentieth century refinery into a worldwide place for contemporary workmanship.
For an undertaking only outside of Shanghai, in close-by Wuxi, draftsman Kengo Kuma has given a turn on this project, changing a previous cotton plant, which was first implicit 1961, into a craftsmanship focus and strip mall—a perplexing now known as Wuxi Vanke. The old factory gives the sort of boundless, open inside spaces that workmanship customers have come to need.
As a way to animate the exterior, and provide a separate exhibition gallery, Kuma also devised a new amoeba-shaped pavilion just outside the mill.
The design, the architect explains, was inspired by a local reference.
“We got the idea from the shape of a Taihu stone.”
He says a porous rock that can be found at the foothills of the Dongting Mountain. Kuma adapted this form into perforated aluminum panels to create a kind of dappled light on the pavilion’s interior. What’s more, a small reflecting pool encircles the pavilion, providing a kind of moat for the structure.
Kuma, who recently unveiled a wood-ribbon-wrapped building for a new development in Sydney, is known for his explorations of architectural materials and his use of contrasts between opaque and transparent, solid and void. These trademark approaches are made manifest in Wuxi Vanke.