The Finnish Association of Architects (SAFA) collaborated with the City of Turku to organise an open international architectural competition for the visualisation of The Museum of History and Future in Turku, Finland. The competition’s goal was to create an exemplary cultural destination in the city whose design offers a synergy between function, sustainability, technical economic solutions and aesthetics. The museum’s concept is part of the city's plans to celebrate its 800^th anniversary in 2029. The preferred location is situated in the coastal setting on the banks of river Aurajoki, in Linnanniemi, the tip of Turku Cape, close to the medieval Turku Castle. As part of the city's plans for redevelopment, this light-industrial zone is meant to become Turku's first arts quarter. The Museum of History and the Future is anticipated to boldly investigate history from the viewpoint of the future and to use history to explore potential futures.

Among the 402 concept entries submitted for the project, Morger Partner Architekten’s proposal was one of them. Morger Partner Architekten (MPA), a Frankfurt-based practice, marks its expertise in a concoction of Swiss design philosophies and German design prowess. With a broad spectrum of typologies reflected in their portfolio, MPA’s roots lie in residential and commercial design while recent works illustrate distinguished success in the realms of cultural and institutional architecture. Their designs, replete with clean lines and geometric shapes that exude a timeless finish, are entrenched in a deep understanding of context, climate and user needs. In uniting the 800 years of Turku’s history and the climate-neutral vision of the museum's future, the firm embraced these contrasting themes in its design, “interweaving and interpreting them on various levels of observation and detailing”. As per the design team, “this approach transforms the museum into an identity-establishing architectural catalyst, radiating its influence far beyond the city limits.”

MPA planned the foundation of the museum in the shape of an asymmetrical hexagon with two parallel sides that would underline its presence as a public building in the landscape of Turku while maintaining its intrinsic objectivity. The structure is anchored in the neighbourhood and immediate setting through its north and south facades that run parallel to Toinen Linja Street and the coastline. A comprehensive axis of orientation is established by the deliberate folding of the two facades, northeast towards the castle and southwest towards the harbour basin. This orientation is replicated in the internal floor plan organisation through the articulation of the public lobby.

Designed to withstand flooding, the museum is placed on an elevated platform that doubles as a multipurpose space for recreational activities, hosting events, exhibitions and art installations. It also incorporates a tree-lined zone, a stage and a motorised water feature. These components work together with the main entrance and the restaurant terrace to create an engaging environment for visitors. The southwest section is where the museum's main entrance and dining area are situated. Office spaces are easily accessible from the street to the north. Parking for bicycles and e-scooters is envisioned along the promenade on the south side and Toinen Linja Street on the north side. Furthermore, all supply and disposal activities are expected to be managed internally through a central loading platform in the northeast with direct access to Satamakatu, the area where Turku Castle is located.

The museum’s urban form is transformed into an exquisite multifaceted statement by the design of its forefront. By spreading outward, the facade gives the impression of depth between the internal volume and the exterior cladding and also creates open corners. This design highlights the public and audience-focused nature of the museum while also creating a weather-protected entrance space. The building's power is generated by reflective silver-grey photovoltaic modules arranged rhythmically on the exterior of the wooden clamp construction. In addition to assisting with the museum's self-sufficiency, this traditional architecture mixed with contemporary technology lets natural light flood the structure and provides transparency for gallery views.

The museum building involves three floors with no basement. The public areas, audience-centric uses and facilities are housed on the ground floor. The forecourt on the ground floor also provides the flexibility of performing independently or interconnectedly. Spiral staircases are strategically placed to complement the spatial flow at various gallery levels. The inner zone contains the technological areas and functional ancillary uses. The lobby, which can be reached from the entry area by a vessel-like staircase, is the main attraction. Moreover, the foyer at the centre of the structure is where the DIY rooms and auditorium split off, making it possible to join them into a sizable event space as needed. An extra staircase goes up to the upper display level, capturing breathtaking views of the city and castle on one side and the port area on the other. Since the exhibition spaces are made to be flexible halls, these can be altered as needed. A variety of accessibility situations for both temporary and permanent exhibitions are made possible by conceptualising the gallery and staircases as shortcuts. Additionally, cooling towers and other disruptive rooftop features are hidden in a lowered roof section in the middle of the building, providing an unobstructed panoramic vista from the castle over the museum to the archipelago.

The museum's architectural strategy places a strong emphasis on sustainability from an ecological, social and economic standpoint. The building is envisioned to include integrated ground floor areas with partner facilities, that are socially barrier-free and inclusive of all ages. In terms of ecology, the design avoids the need for a basement to use less concrete, makes use of adjacent parking and public transportation, integrates a photovoltaic facade for electricity and uses local materials and natural shade. Alongside utilising heat recovery and geothermal heating.

With 200,000 visitors expected annually, the project hopes to become a major national and worldwide cultural tourist attraction. By the end of 2030, the museum—one of the first new structures in the Linnanniemi neighbourhood—is expected to be available to the public. Although, among the 402 proposals, Morger Partner Architekten’s proposal for the museum did not secure a win at the competition, it stood out for its future-forward vision while being rooted in the present.

(Text by Navya Khurania, intern at STIR)