New images document the Snøhetta–led Shanghai Grand Opera House as it approaches completion along the Huangpu River, with an opening anticipated in the second half of 2026. Following its winning proposal in the 2017 international competition, Snøhetta joined forces with East China Architectural Design & Research Institute, Theatre Projects, and Nagata Acoustics in 2019 to deliver the project as a consortium from concept through construction.

Positioned on the convex bank of the river, the opera house occupies a prominent site within Shanghai’s emerging cultural masterplan. Its spiraling, climbable rooftop traces a continuous sweep around the perimeter, rising from the ground in a broad arc that draws visitors upward. The gesture echoes the movement of water along the Huangpu while establishing a civic presence visible from across the waterfront.

images © Tian Fangfang, Honne Dang

snøhetta’s contextual design motifs

The roof is conceived by the architects at Snøhetta as an accessible public landscape. A helical stair links plaza and skyline to guide visitors along a steady ascent toward elevated platforms overlooking the city and riverbanks. Open throughout the day and night across the year, the roof operates as an urban stage and gathering ground, and extends the institution’s reach beyond ticketed events.

Inside, the building pairs monumentality with motion. Glazed facades introduce daylight deep into the public halls, while sculptural volumes finished in deep red curve through the interior. These forms define circulation routes and shape the sequence of arrival, framing views between foyers, stairs, and auditoriums. The experience begins well before any performance, with the dynamic architecture setting the tempo.

the Shanghai Grand Opera House rises along the bank of the Huangpu River as construction nears completion

a translucent and white material palette

The program accommodates a wide spectrum of productions, from traditional opera and orchestral repertoire to contemporary and experimental work. Multiple auditoriums of varying scale allow the institution to address different audiences and formats, reinforcing its ambition as a cultural destination across genres.

Landscape design mirrors the building’s geometry. A radial layout radiates outward from the opera house, reinforcing visual continuity between structure and site. Planting and surface treatments align with broader ecological goals within the district, contributing to a low-carbon development strategy that supports Shanghai’s long-term urban ambitions.

a spiraling roofline sweeps around the site as a continuous public promenade above the waterfront

the helical stair connects plaza and skyline to guide visitors toward elevated river views

a radial landscape layout mirrors the building’s geometry and supports low carbon goals

deep, red sculptural volumes shape circulation routes through the interior

soaring glazed facades draw daylight deep into the public halls

multiple auditoriums accommodate opera, orchestral, and experimental performances

project info:

name: Shanghai Grand Opera Hall

architect: Snøhetta | @snohetta

location: Shanghai, China
collaborators: East China Architectural Design & Research Institute (ECADI), Theatre Projects, Nagata Acoustics, schlaich bergermann partner, Meiss Architecture & Engineering Office
area: 146,786 square meters

previous coverage: April 2019, November 2023, July 2025

photography: © Tian Fangfang, © Honne Dang

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dongqi Design has transformed three existing structures in downtown Shanghai’s Jing’an District into a mixed-use complex integrating retail, exhibition, food and beverage, and office programs. The project reconfigures a three-story brick–concrete building facing the street to the north, an 8-meter-high former factory building, and a single-story brick-concrete structure to the south into an interconnected yet functionally distinct ensemble.

The northern three-story building accommodates a leisure area on the ground floor, with office spaces on the second and third levels. A dark gray external sunshade curtain system has been added to the facade, with its tracks and electromechanical components enclosed in horizontal stainless steel tubes. These tubular elements unify the elevation and establish a consistent proportional order. The upper-floor window openings have been reconfigured with operable steel plates on the interior side and fixed glazing on the exterior, allowing the windows to function as display surfaces. Integrated lighting enhances their visibility. The varying positions of curtains and illuminated openings generate shifting facade compositions and alter the building’s presence along the street.

The ground-floor leisure space is organized around tall elm tables designed for standing use, encouraging circulation and informal interaction. Existing wall textures are retained, while a hot-rolled steel counter serves both interior and exterior areas. Large hopper windows along the street lift upward toward the ceiling, integrating the interior with the public realm when open. Their tracks are concealed within stainless steel wall and ceiling surfaces, reinforcing material continuity.

external tracks and electromechanical equipment are wrapped in steel tubes | all images courtesy of dongqi Design

Integrated Steel Systems Shape the Retail Hall by dongqi Design

The central factory building houses the primary retail and exhibition functions, along with an independent VIP room. Within the double-height volume, eleven cross-shaped display racks and a suspended overpass structure define the spatial organization. The overpass employs an ultra-thin, beamless steel system composed of a single 12-millimeter-thick stainless steel plate. It is suspended from the central columns of selected display racks using stainless steel stay cables. The cable connection fittings are folded extensions of the steel plate itself, forming an integrated structural assembly.

Each cross-shaped display rack consists of four metal frames arranged orthogonally around a central axis. Shelving elements are inserted within the frames, and in some cases, a secondary upper layer is supported by steel cables. The bases of the racks are aligned flush with the floor and connected to embedded structural beams. Together, the display racks, stay cables, and suspended overpass operate as a unified structural system. Stairs, platforms, racks, and connection fittings are designed to appear as if cut and folded from continuous steel plates, reinforcing a cohesive tectonic language.

The designers at dongqi Design select materials that emphasize exposed metal surfaces, including stainless steel plates, hot-dip galvanized finishes, and metal mesh. The partition between exhibition and bar areas is formed by a double-layer dark metal mesh that allows visual permeability while maintaining spatial separation. The mesh produces a moiré effect that changes with movement and light conditions. Doors are assembled from galvanized plates fastened with visible straight-head screws, with stainless steel inserts applied at high-contact areas for durability.

when the sunshade curtains are lowered, the building facade is enveloped in a dark veil

the design introduces Structural Rhythm and Material Contrast

Detailing reinforces structural clarity and user comfort. Wider vertical joints on the finished metal plates of the display racks establish a measured rhythm, while beveled undersides and recessed flanges of shelving components refine their profiles. Stainless steel strips are embedded along accessible mesh edges to prevent abrasion and accentuate linear continuity within the space. The overpass railing is formed from stainless steel round bars that interlock with the steel plate edges, while similar round elements are used in the suspension system and lighting supports. Linear lamp tubes are mounted to metal plates using stainless steel straps and arranged across racks and ceilings, contributing to the industrial spatial character.

The southern single-story building contains the food and beverage area. Auxiliary spaces are concealed behind metal sliding doors treated with oxidized metal powder patterns referencing traditional landscape imagery. The enclosed bar counter is constructed from hot-rolled steel plates, and seating booths are upholstered in orange fabric, introducing contrast within the predominantly metallic interior.

the oversized hopper windows along the street can be lifted upwards to be nearly flush with the ceiling

a dark gray external sunshade curtain system is added to the three-story building facade

the enclosed bar counter is made of hot-rolled steel plates, while the booths are upholstered in bright orange

the overpass adopts an ultra-thin beamless steel structure system, which is the result of precise calculation

the overpass is made of one piece of solid stainless steel plate, which is suspended from display racks’ columns

the stairs, the overpass, the display racks and the steel cable connection fittings are seamlessly integrated

the lamp tubes, with round elements as well, are fixed to metal plates with stainless steel straps

the stairs, the overpass, the display racks appear cut and folded from a single solid steel plate

straight-head screws assemble metal plates, installed at the front of the overpass steps for anti-slip purposes

the cable connection fittings on the edges of the overpass are an integral part of the overpass steel plates

metals define the material language, with stainless steel plates, hot-dip galvanized finishes, and metal mesh

racks of different heights spread out on both sides, while diagonal lamps flare like mechanical wings

project info:

name: Architectural Renovation Project in Jing’an District, Shanghai
architect: dongqi Design | @dongqi_design
location: Jing’an District, Shanghai, China

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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In the heart of Shanghai, along the most iconic pedestrian corridor of the city, Benedetta Tagliabue – EMBT completes the renewal of Century Square on East Nanjing Road (find designboom’s previous coverage here). The architects reimagine this civic and commercial landmark as an ecological and interactive public space, anchored by a central kaleidoscopic structure that reframes the cityscape. Long associated with large-scale events and luminous commercial displays, the square operates as a green urban living room that links People’s Square to The Bund, a protected historical district, while foregrounding climate responsiveness and public life.

The project draws on the literal meaning of Shanghai, ‘upon the sea,’ translating this origin into spatial and material metaphors. The design imagines the square as a shell opening to reveal a pearl, the central Kaleidoscope, which reflects and reframes fragments of the city like shifting water surfaces. Underfoot, a new paving pattern evokes an undersea world. By night, integrated lighting transforms the ground into a glittering field, reinforcing the maritime narrative while maintaining the historic association of the square with luminous display. 

all images by Runzi Zhu, unless stated otherwise

maintaining spectacle, expanding use

Century Square has always occupied a strategic position in Shanghai’s urban sequence, acting as a hinge between major civic and waterfront destinations. Historically characterized by night lights, shows, and commercial presentations, the site demanded a redesign that could maintain its performative identity while broadening its social and environmental role. The proposal by the team at EMBT retains the capacity of the square for spectacle but shifts its emphasis toward flexibility and daily use.

Event zones, exhibition areas, and generous public seating coexist within a more permeable landscape. The space is conceived to accommodate large gatherings as well as moments of pause, extending its relevance beyond programmed events into the rhythms of everyday urban life.

Benedetta Tagliabue – EMBT completes the renewal of Century Square on East Nanjing Road

the kaleidoscope as environmental device

Beyond its visual impact, the Kaleidoscope incorporates advanced ecological systems that filter air and contribute to microclimate regulation, positioning the architectural centerpiece as both symbolic and performative. The renewal introduces substantial green areas into what was previously a predominantly hard-surfaced urban plaza. Vegetated gradients, shadow roofs, and rain protection elements buffer the open space from surrounding high-rise buildings, softening the edge conditions and mitigating heat. This strategy aligns the transformation of the square with broader ecological awareness in dense city centers, where open public ground must increasingly balance social intensity with environmental responsibility.

Lights and audiovisual systems continue to support performances and seasonal programming, yet they now operate within a greener and more climate-conscious framework. In one of Shanghai’s most trafficked corridors, EMBT’s intervention reframes the square as a cultural and ecological landmark.

the square operates as a green urban living room that links People’s Square to The Bund

the expansive plaza accommodates daily pedestrian flow along East Nanjing Road

a planted pedestrian path introduces greenery and shaded seating into Century Square

brick paving and geometric inserts define a flexible surface for events and everyday use

the Kaleidoscope pavilion reflects the cityscape in faceted mirrored surfaces

creating an immersive viewing chamber at the heart of the square

the design imagines the square as a shell opening to reveal a pearl

Integrated lighting transforms the ground into a glittering field

maintaining the historic association of the square with luminous display

the Kaleidoscope incorporates advanced ecological systems that filter air and contribute to microclimate regulation

detail of the blue-toned paving pattern | image by Liu Songkai 

linear grooves and tonal variation produce a shimmering, water-like effect | image by Liu Songkai

project info:

name: Renewal of Century Square in East Nanjing Road

architect: Benedetta Tagliabue – EMBT | @embtarchitects

location: Shanghai, China

client: New World Group

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YEARLY PLAN showroom, designed by SHISUO Design Office, is located on Yongyuan Road in Shanghai and occupies an irregular existing interior. The project is structured around a single continuous hanging rail that extends for nearly 100 meters, serving as both the primary display system and the organizing element of the space.

In response to the constraints of the site, the design reconsiders the hanging rail as a spatial device rather than a fixed retail fixture. The rail adapts to existing walls, columns, and building services, bending, rising, and shifting in section as needed to navigate obstacles. This continuous line traces the perimeter and interior conditions of the space, transforming site irregularities into an active spatial sequence. Suspended above the floor, the rail maximizes display capacity while defining circulation and visual continuity throughout the showroom.

The rail functions as a linear framework that establishes relationships between architecture, garments, and movement. Rather than operating as an isolated object, it responds directly to its surroundings, framing the interaction between displayed clothing and the existing building fabric. Through this strategy, the showroom emphasizes spatial continuity and adaptability over conventional zoning or compartmentalization.

all images courtesy of SHISUO Design Office

YEARLY PLAN merges fashion, architecture and material expression

Complementing the suspended rail system, the design team at SHISUO Design Office distributes a series of sculptural concrete display stands throughout the space. These elements are composed of cast-in-place concrete modules assembled into interlocking configurations. The stands reference the work of sculptor Eduardo Chillida through their mass, material presence, and emphasis on gravity and balance. Their rough textures and inherent imperfections are intentionally preserved, allowing them to function as spatial anchors within the showroom.

The contrast between the heavy concrete forms and the lightweight, suspended rail establishes a clear material and structural tension. This relationship is further reinforced by the surrounding surfaces, where hand-dyed white timber slats form a subdued backdrop. These vertical elements recede visually, allowing the displayed garments and primary spatial components to remain prominent while maintaining a neutral and consistent interior field.

As garments are introduced into the space, material contrasts become more pronounced. The softness and movement of textiles are set against the rigidity of concrete and steel, creating a layered reading of weight, texture, and motion. This interplay reinforces the showroom’s emphasis on spatial relationships rather than isolated product presentation.

YEARLY PLAN showroom occupies an irregular interior on Yongyuan Road, Shanghai

Custom design elements replace standard retail display systems

Stainless steel full-length mirrors are integrated throughout the interior as reflective elements. Rather than presenting a continuous reflective surface, each mirror is segmented into staggered geometric facets. These fragmented planes distort reflections and suggest movement, introducing temporal variation into the otherwise controlled spatial composition. The mirrors contribute to the perception of motion and bodily presence within the showroom without functioning as purely utilitarian fixtures.

The project avoids standard retail display systems in favor of custom-designed architectural and furniture elements developed specifically for the brand. These components are conceived as durable, long-term installations rather than seasonal commercial fixtures. Through the integration of architecture, display systems, and material articulation, the showroom establishes a spatial identity that aligns fashion presentation with architectural structure and contemporary art practices.

a single continuous hanging rail organizes the entire showroom layout

the rail adapts to walls, columns, and existing building services

bending and rising, the rail traces the interior conditions of the site

the hanging system functions as both display and spatial framework

circulation and visual continuity are defined by the suspended rail

sculptural concrete stands are positioned throughout the showroom

the display stands are formed from interlocking cast-in-place concrete modules

hand-dyed white timber slats form a neutral backdrop for the space

material contrasts emerge between concrete and soft textiles

the showroom integrates fashion, architecture, and material expression into a unified spatial sequence

stainless steel mirrors are segmented into geometric reflective facets

mirrors function as spatial elements rather than utilitarian fixtures

project info:

name: YEARLY PLAN Shanghai Showroom

architect: SHISUO Design Office | @shisuodesign
design team: Sanif, Changshan, Zhang Yichi, Lin Zihan

location: Shanghai, China

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Black Void presents its first solo exhibition, The Sky, Oscillating, at the historic Bund·City Hall as part of the 24th China Shanghai International Arts Festival. The interdisciplinary collective, founded and directed by Yixuan Cai, with partner Yuhan Xiao and core member Yun Hong, brings together practitioners from digital media, architecture, data science, and music. The exhibition gathers more than ten works developed across three years of research, using light, atmospheric data, and spatial installation to examine the relationship between natural systems and human-made infrastructures.

Set within the century-old building in Shanghai, the exhibition uses the existing architecture as an active framework. Daylight passing through the hall’s arched windows gradually shifts the atmosphere from gold to orange to blue, creating a temporal backdrop for three chapters: Stellar Solar Impulse, Extraterrestrial Life, and Atmospheric Echo. Moving shadows and projected visual layers interact with the stone surfaces, linking historical materiality with the exhibition’s focus on environmental change. The curatorial approach centers on clouds, carbon, light, and electricity, elements treated not as effects but as carriers of information. The works trace how these natural forces are reshaped by industrial production, digital networks, global energy systems, and conflict. Solar radiation becomes electrical output through silicon wafers; human activity contributes aerosols, emissions, micro-particles, and electromagnetic signals to the atmosphere; and speculative biological agents on Mars highlight future intersections between ecology and technology.

The Burning Iris, installation close-up, 2025 | all images courtesy of Black Void

Black Void Visualizes Hidden Energies Behind Our Technologies

One newly debuted work by creative studio Black Void examines the ‘politics of heat and light’ through a system that combines photovoltaic data, information-infrastructure records, and solar-activity measurements. Using ecological, energy, and computational data from Phoenix, Arizona (2014–2024), the installation presents a dual-ring structure: the inner ring responds to photovoltaic generation and data-center electricity consumption, while the outer ring visualizes sunspot activity and temperature. The system reflects the dependency of digital operations on environmental conditions, illustrating how solar power, heat waves, and sandstorms can affect energy supply and communication systems. Another work draws from glassblowing processes, likening the stress patterns within cooled glass to the distribution of heat and light in natural systems. Under optical devices, each piece refracts the tension generated between hot and cold states, suggesting parallels with cycles of energy dissipation in living organisms. A separate installation investigates Martian fungi through digital simulation, ecological modeling, and speculative archaeology. Using generative software, the team imagines fungal forms adapting to radiation, electromagnetic waves, and mineral substrates. The piece includes a digital growth system, 3D-printed sculptures, a Martian meteorite (Shergottite, provided by 4.5B Interstellar Lab), and a film set within an orange-red environment.

The Burning Iris, installation, 2025

Rendering Global Climate Shifts in Color, Motion, and Mist

The exhibition concludes with a chapter that shifts attention from outer space back to Earth’s atmosphere. Based on Copernicus satellite data, the work analyzes atmospheric changes during events such as the Amazon wildfires, the Russia-Ukraine war, and Los Angeles smog episodes. Using ten years of data from 300 global cities, including greenhouse-gas concentrations, aerosol levels, humidity, and geolocation, the design team generates digital cloud sculptures that translate atmospheric conditions into form, color, and motion. This final section also includes a multimedia theater piece combining indoor cloud-generation techniques, microclimate control, and audiovisual components. Thermal sensors and controlled airflow operate as spatial tools, producing clouds that accumulate and disperse in response to environmental parameters.

Throughout the exhibition, Black Void positions natural elements as information systems. Clouds register environmental change through condensation cycles; sunlight interacts with technological infrastructure via photovoltaic surfaces; and computational processes release heat back into the environment. By examining these exchanges, the collective highlights the interdependence between natural instability and technological regulation. Black Void’s research extends beyond the exhibition venue, involving fieldwork at solar-thermal facilities in Delingha (Qinghai), the Daya Bay Nuclear Power Station, and Shenzhen’s mangrove reserves, as well as collaborations with meteorological institutions, photovoltaic networks, and meteorite laboratories. This cross-disciplinary approach forms the foundation of The Sky, Oscillating, positioning the exhibition at the intersection of environmental data, spatial installation, and material research.

The Burning Iris, installation, close-up, 2025

‘Phoenix, Flowing into the Mouth of Computation’ Solarcene series, data-driven generative video installation, 2025

‘Phoenix, Flowing into the Mouth of Computation’ Solarcene series, data-driven generative video installation, 2025

‘Phoenix, Flowing into the Mouth of Computation’ Solarcene series, data-driven generative video still, 2025

Biosphere 3, Installation, The Sky, Oscillating exhibition, 2025

Biosphere 3, film, The Sky, Oscillating exhibition, 2025

Twin Cloud-London, Digital Art, Black Void, 2024

The Sky, Oscillating exhibition, Clouds Memoir, Video Poem Still, Black Void

Twin Cloud, Video Still, Black Void, 2022-2025

The Sky, Oscillating exhibition, Clouds Memoir, Video Poem Still, Black Void

Clouds Memoir, Video Poem Still, Black Void

project info:

name: The Sky, Oscillating / Solo Exhibition

artist: Black Void | @bv_blackvoid

event: The 24th China Shanghai International Arts Festival

venue: Bund Former City Hall, 223 Hankou Road, Shanghai, China

dates: October 31st – November 23rd, 2025

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post black void’s shanghai exhibition visualizes a planet in flux through digital cloud installations appeared first on designboom | architecture & design magazine.

Chanel and the Power Station of Art (PSA) museum unveil a major new cultural destination in Shanghai: the Espace Gabrielle Chanel, mainland China’s first public library dedicated entirely to contemporary art and design. The 1,700-square-meter space, located on the transformed third floor of PSA, anchors the latest phase of the maison’s long-term partnership with the museum. Conceived by Japanese architect Kazunari Sakamoto, the library turns reading into a spatial experience; its signature feature is a slow, ascending path that folds bookshelves directly into a continuous ramp, encouraging visitors to wander, pause, and discover at their own rhythm.

all images courtesy of Power Station of Art (PSA)

PSA expands with a new center for art, design, and research 

The Power Station of Art (PSA) opens the library with more than 10,000 publicly accessible books and media drawn from a wider 50,000-item collection. Focused on contemporary art, design, architecture, culture, and the social sciences, the new resource emphasizes cross-disciplinary research and exchange between local and global perspectives. Above the reading space sits the Chinese Contemporary Art Documentation Center, which consolidates archival materials and research initiatives in collaboration with artists, curators, and scholars. Through exhibitions, talks, workshops, and publishing, the center, supported through Chanel’s partnership with the Shanghai-based museum, treats documentation as an active, evolving tool rather than a static record. For the French fashion maison, the project reinforces its long-term investment in cultural production and knowledge-sharing in China.

PSA’s wider third-floor renewal introduces three additional public functions. A redesigned 300-seat theater creates a flexible setting for film, performance, sound work, and hybrid formats that extend beyond conventional stage boundaries, connecting time-based practices with exhibition areas across the institution. Nearby, the updated hall for the Power Station of Design expands the museum’s long-standing engagement with design as cultural inquiry, providing an enhanced environment for larger exhibitions and cross-disciplinary collaborations examining urban life. Completing the transformation is a new 300-square-meter terrace backed by Chanel’s collaboration, offering a riverside café, family-friendly seating, and open views of the Huangpu River, a moment of calm carved into the former power plant’s industrial frame.

the 1,700-square-meter space is located on the transformed third floor of PSA

the Power Station of Art (PSA) opens the library with more than 10,000 publicly accessible books

the library turns reading into a spatial experience

PSA’s wider third-floor renewal introduces additional public functions

a redesigned 300-seat theater creates a flexible setting for film, performance, sound work

the Espace Gabrielle Chanel is mainland China’s first public library dedicated entirely to contemporary art and design

the art library serves as a major new cultural destination in Shanghai

project info: 

name: Espace Gabrielle Chanel 
brand: Chanel | @chanelofficial
architect: Kazunari Sakamoto
location: Power Station of Art (PSA) | @powerstationofart in Shanghai 

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Osmanthus Moon is a temporary public art installation by HCCH Studio, created to mark the traditional Chinese Mid-Autumn Festival. The project references the osmanthus flower, an emblematic plant associated with the season, and establishes a dialogue with the action paintings of a folk Zao Hua (stove flower) artist, a practice recognized as an element of intangible cultural heritage.

Located on the semicircular lawn of Century Park in Shanghai, the pavilion takes the form of a translucent dome reminiscent of a full moon. Its structural framework integrates stylized osmanthus motifs into a bronze lattice resembling intertwined vines. A lightweight, elastic fabric is stretched across the framework, forming a continuous, illuminated surface. The resulting form explores the intersection of traditional patterning and contemporary construction methods.

all images by Guowei Liu, PSA

Osmanthus Moon explores geometry, illumination, and heritage

The design references the ornamental language of the Vienna Secession while drawing on the geometric clarity of Buckminster Fuller’s domes. On the ground, the Zao Hua artist’s painted osmanthus patterns correspond to the bronze framework above, establishing a spatial and visual relationship between movement and structure, craftsmanship and fabrication.

Visitors enter through two irregular openings that lead to an enclosed interior space. During the day, filtered daylight produces a diffused glow across the fabric surface, creating a soft, evenly lit environment. At night, internal illumination transforms the pavilion into a semi-transparent volume defined by shifting shadows and gradients of light. Commissioned to Shanghai-based practice HCCH Studio by the Power Station of Art in Shanghai, Osmanthus Moon was presented as a twelve-day installation, serving as both a seasonal observance and an exploration of the relationship between natural motifs, material technology, and cultural continuity.

Osmanthus Moon by HCCH Studio celebrates the Mid-Autumn Festival through architecture and light

the installation reinterprets the osmanthus flower, a seasonal symbol of autumn in Chinese culture

the pavilion’s translucent form evokes the appearance of a glowing full moon

a bronze lattice weaves stylized osmanthus motifs into an intricate structural framework

interlaced patterns resemble vines, merging organic imagery with architectural geometry

lightweight elastic fabric stretches over the bronze frame to form a luminous surface

by day, filtered sunlight produces a soft, evenly diffused interior glow

painted osmanthus motifs on the ground echo the bronze framework above

located in Century Park, Shanghai, the dome rests on a semicircular lawn like a descending moon

by night, internal lighting transforms the dome into a semi-transparent sphere of light

shadows and gradients animate the fabric surface as the light conditions shift

the project reflects HCCH Studio’s exploration of cultural continuity through material and form

Osmanthus Moon connects contemporary design with the heritage of Zao Hua, or stove flower painting

project info:

name: Osmanthus Moon

architect: HCCH Studio | @hcchstudio

design team: Hao Chen, Chenchen Hu, Feng Qi

client: Power Station of Art Shanghai

light consultant: ADA Lighting

contractor: Art ZHOU

dimensions: D7.2m; H3.6m

location: Century Park, Shanghai, China

photographer: Guowei Liu, PSA

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Located in Fengcheng Town, Fengxian District, approximately 30 kilometers from central Shanghai, Joyful Community by GN Architects reimagines the typology of retirement living in China. Occupying 120,000 sqm on a former industrial site, the project transforms the area into a mixed-use urban hub integrating residential, medical, cultural, and recreational programs. Rather than creating an isolated senior community, the design positions the development as an inclusive environment for multiple generations, encouraging interaction between residents and the surrounding neighborhood.

Over the past decade, China has seen the rapid development of suburban retirement communities often characterized by social isolation and inward-facing layouts. Joyful Community responds to this trend by proposing a model of integration instead of separation. The design reframes senior living as part of a broader urban ecosystem, an accessible and open ‘village’ rather than a gated enclave. This shift was reflected even in naming: the project evolved from Joyful Community to Joyful Village, aligning with the operational concept of urban public service rather than community-based management. The architectural and planning approach emphasizes diversity and openness, encouraging flexible use and shared activity across different age groups.

all images by Liang Wenjun

GN Architects designs Elevated Pathways and Activity Loops

To foster connectivity, GN Architects studio employed an ‘inside–out’ spatial strategy. The community facilities are organized in a T-shaped configuration, extending toward the city while also penetrating the residential clusters within. This dual orientation maximizes both external visibility and internal accessibility, promoting interaction between public visitors and residents. The layout ensures that each residential cluster maintains independence while benefiting from shared amenities. Over time, the boundaries between ‘public’ and ‘private’ areas are designed to become more fluid, allowing parts of the site to gradually open to the wider community.

The masterplan integrates 22 independent architectural volumes, linked through a system of elevated and ground-level pathways. Three distinct circulation routes, an Activity Loop, Interest Loop, and Exploration Loop, connect these zones. Each loop serves as both a spatial connector and a social corridor, accommodating movement, recreation, and informal gathering. The Sports Complex at the main urban interface acts as a key public gateway. Transparent corridors span across its structures, creating the Activity Loop that visually and physically connects the facility. Within the central area, glass corridors and balcony bridges form a continuous elevated path among the 22 building clusters, while covered ground-level walkways weave through courtyards to form the Exploration Loop.

Joyful Community by GN Architects redefines the model of retirement living in China

Adaptive Spaces and Evolving Uses Define the Inclusive Urban Hub

Adaptability was a key objective of the design. The plan incorporates undefined and reprogrammable spaces across the site, including first-floor studios, transparent street-facing boxes, and wide corridors within the Sports Complex. These spaces are designed to accommodate a variety of future uses, such as cafés, workshops, or galleries, allowing the community to evolve through participation and reinterpretation. Recent updates demonstrate this flexibility: the nearby family farm has opened for community engagement, and upcoming exhibitions and artist residencies are planned within the library and studio spaces. This ongoing activation illustrates how Joyful Community continues to function as an open framework for collective use and renewal.

What began as an alternative to conventional ‘utopian’ senior housing has evolved into a prototype for inclusive urban living. Through open circulation, adaptive programming, and gradual integration with its context, Joyful Community blurs the boundaries between retirement residence and neighborhood center. The result is a development that accommodates aging while simultaneously contributing to the city’s social and spatial fabric.

22 architectural volumes are connected through elevated and ground-level paths

the masterplan integrates residential, medical, cultural, and recreational functions

the planning approach emphasizes flexibility, diversity, and shared activity

courtyards and covered walkways weave through the central clusters to form gathering spaces

transparent bridges and corridors connect the Sports Complex at the site’s entrance

the plan maximizes external visibility and internal accessibility across the site

an activity track expands on the roof of the Sports Complex

project info:

name: Joyful Community, Shanghai

architect: GN Architects

chief architects: Guan Yiqun, Shi Liang

design team: Cong Yanfei, Shi Zhenglei, Yuan Chengxiang, Yin Guilin

client: New Development Group

location: Fengxian District, Shanghai, China

photographer: Liang Wenjun

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Located within Shanghai’s Xuhui district, Moreprk Skyline skatepark by AAN Architects introduces a new typology for urban sports spaces. Described as a ‘three-dimensional theater open to the city,’ the project expands the role of the skatepark beyond recreation, positioning it as an active social and architectural interface.

Elevated 20 meters above ground, the structure appears as a floating glass volume attached to a building facade overlooking the city’s highway. This suspended configuration reinterprets the skatepark as part of the vertical cityscape rather than its ground-level infrastructure.

all images by Lv Xiaobin

AAN Architects reimagines Shanghai’s skyline as skate contours

For the design, studio AAN Architects takes formal cues from Shanghai’s skyline, translating its contours into a series of curved banks, rolling slopes, and continuous surfaces that accommodate movement and flow. Fluidity forms the project’s main design language, expressed through fluid transitions between planes and edges that support various trajectories of skate and pedestrian activity.

Through this integration of form, structure, and movement, Moreprk Skyline explores how architectural design can transform urban sports facilities into spatial frameworks for interaction, visibility, and community engagement.

the project by AAN Architects redefines the skatepark as a vertical public space

located in Shanghai’s Xuhui district, the structure integrates sport and city life

the skatepark is described as a ‘three-dimensional theater open to the city’

the skatepark attaches to a building facade overlooking the city’s highway

suspended 20 meters above ground, the structure forms a floating glass volume

the design takes inspiration from the contours of Shanghai’s cityscape

curved banks and rolling slopes define the space’s movement-driven geometry

continuous surfaces create fluid transitions between skate zones

Moreprk Skyline introduces a new typology for urban sports architecture

project info:

name: Moreprk Skyline

architects: AAN Architects
lead architects: Junjie Yan, Yuxing Yi

location: Xuhui, Shanghai, China

photographer: Lv Xiaobin 

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post curved urban skatepark set within floating glass volume overlooks shanghai’s skyline appeared first on designboom | architecture & design magazine.

At Baoshan No. 2 Central Primary School in Shanghai, OLA Shanghai collaborated with LEGO China and NIKE to create a playground that integrates movement and creativity. The design takes inspiration from the form and logic of a simple 2×3 LEGO brick, translating its modularity into spatial and athletic functions.

Developed as part of NIKE’s Move to Zero initiative, the project aims to merge the concepts of play and physical activity. Modular elements derived from LEGO bricks are reinterpreted as adaptable structures for climbing, balancing, and exploration, encouraging children to construct their own routes and redefine how play spaces can support movement.

all images courtesy of LEGO China and NIKE

Modular components reconfigure into various play structures

The design also connects to LEGO China’s Build the Change workshop, where children used LEGO bricks to express ideas about play and design. Insights from the workshop informed the project’s emphasis on open-ended interaction, allowing students to experiment, collaborate, and transform even short breaks into moments of creative movement.

Through this collaboration between companies NIKE and LEGO China, the playground becomes both a learning environment and a flexible platform for exploration, reflecting how design can support the intersection of education, sustainability, and play.

the playground at Baoshan No. 2 Central Primary School redefines the relationship between play and movement

OLA Shanghai designed the space in collaboration with LEGO China and NIKE

modular design principles guide both the spatial layout and the play structures

the design translates LEGO’s modularity into physical, scalable play experiences

each element encourages climbing, balancing, and active exploration

the project draws inspiration from the simple geometry of a 2×3 LEGO brick

children can create their own routes and patterns of movement

play and physical activity merge through flexible, open-ended structures

the playground promotes experimentation and collective play

open-ended interaction encourages creativity and problem-solving

modular components can be rearranged to support different play activities

the space adapts to both structured games and spontaneous exploration

LEGO x NIKE playground serves as a model for rethinking school-based play spaces

project info:

name: LEGO x NIKE Sports as Play in Shanghai Primary School

designer: Our LEGO Agency Shanghai (In-house Agency at the LEGO Group)

workshop: Build the Change by LEGO China

program: Move to Zero by NIKE

companies: LEGO | @lego x NIKE | @nike

school: Baoshan No. 2 Central Primary School

location: Shanghai, China

head of LEGO Agency Asia: Annie Boo
creative director: Guo Jun
creative specialist: Bebe Wang
senior copywriter: Beck Deng
senior art director: Jace Wang
senior project manager: Karen Lin
project manager: Venice Choy

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post LEGO and NIKE team up to reimagine shanghai primary school as modular sports playground appeared first on designboom | architecture & design magazine.