Anadu Pine Villa is situated in a secluded valley a two-hour drive from Shanghai, China, enveloped by pine forests and shielded by a mountain draped in bamboo. This boutique resort by Studio8 Architects comprises three elegantly designed guest suites, complemented by a refined wine and cigar bar. In line with Anadu’s philosophy of ‘Find yourself in nature,’ the practice’s objective — from planning to architectural design — was to showcase and harmonize with the unique beauty of the forests.

The buildings are thoughtfully positioned along the valley’s contours, each oriented to capture unique views. At the entrance, a bamboo-textured, concrete and charred black wood L-shaped gate harmoniously merges with the landscape, welcoming guests with open arms while embracing the greenery on one side.

Anadu Pine Villa is enveloped by pine forests and shielded by a mountain draped in bamboo

studio8 architects’ design echoes the old structure’s character

Originally, an abandoned old house stood where Anadu Pine Villa’s wine house now sits. To honor the site’s history, Shanghai-based Studio8 Architects’ new building echoes the old structure’s gabled roof, redesigned into a four-sloped form that creates a harmonious, tranquil scale from every angle. In pleasant weather, glass doors can be fully opened to integrate the plaza into the indoor space. The walls are entirely glass, maximizing the views, while the northeast dining area faces a quieter hillside, and the semi-enclosed lounge provides a more private atmosphere.

A curved bamboo-textured wall leads guests from the wine house to the guest area, where the hard ground transitions into soft gravel paths, evoking a vacation atmosphere. At the path’s end, a small plaza provides a moment of pause before entering the guest area, enhancing the sense of seclusion. The three minimal standalone structures sit quietly in the valley, surrounded by the forest. Facing staggered walls that obscure the rear of the space, guests are invited to imagine what lies beyond.

two concrete slabs face the valley with no obstructions

the concrete villas frame views of the valley

As guests walk through the courtyard and winding paths, they experience a series of mysterious moments before reaching the guest rooms. Upon entering, the view dramatically opens up — two concrete slabs face the valley with no obstructions. The interior flows seamlessly with 270-degree panoramic views, offering a fully immersive experience. The rooms are embraced by nature on three sides, each framing its own unique view. To keep the structure minimal, Studio8 Architects cast the buildings from exposed concrete with integrated beams and embedded piping, ensuring no visible ceiling beams, lighting fixtures, or suspended structures. The clean concrete slabs unify the space. The floor slab floats above the valley, respecting and connecting with the terrain, while appearing to hover above it.

Through the glass doors, each room opens onto a private backyard in the pine forest — a floating outdoor deck, offering a further connection to the valley. The eaves extend into a shaded area, blending the indoors with nature. Further, the landscape design softens the boundaries between the estate and its surroundings, using native valley plants to integrate seamlessly into the environment. Discreet lighting, resembling fireflies, dots the pathways and grounds, enhancing the serene, secluded atmosphere.

the boutique resort comprises three elegantly designed guest suites, complemented by a refined wine and cigar bar

Much of the woodwork is crafted from reclaimed wood sourced from local markets, with 80% of the pieces handcrafted by skilled artisans. This repurposed wood is meticulously shaped to harmonize with the scale and spirit of its surroundings, subtly enhancing the preservation and continuation of local craftsmanship. The estate’s design balances privacy with openness, providing a joyful and surprising spatial experience. With just one valley and three exclusive retreats, whether for a gathering with friends or a solo escape, the serene power of the pine forest and the architectural simplicity create a harmonious connection. The buildings quietly retreat into the landscape, offering a peaceful, secluded getaway.

to honor the site’s history, the new building echoes the old structure’s elements

Studio8 Architects thoughtfully positions each building along the valley’s contours

much of the woodwork is crafted from reclaimed wood sourced from local markets

the interior flows seamlessly with 270-degree panoramic views, offering a fully immersive experience

through the glass doors, each room opens onto a private backyard in the pine forest

the estate’s design balances privacy with openness

discreet lighting, resembling fireflies, dots the pathways and grounds, enhancing the secluded atmosphere

situated in a secluded valley a two-hour drive from Shanghai, China

project info:

name: Anadu Pine Villa
architect: Studio8 Architects | @studio8.architects

location: 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.

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Positioned at Chongqing’s Liberation Monument Pedestrian Street, the CURIEL CASA Flagship Store marks the Chinese expansion of the century-old Italian fashion house CURIEL. The project, led by Liang Architecture Studio and debuting in midsummer 2024, operates as both a commercial space and a spatial interpretation of the brand’s ethos, merging Italian heritage with the cultural and topographic context of Chongqing’s mountainous landscape. The architectural concept establishes a dialogue between the refined codes of Milanese fashion and the geological narratives embedded in Chongqing’s built environment. Through a careful layering of symbolic references and material articulation, the project translates CURIEL’s philosophy of ‘feminine elegance and empowerment’ into a site-specific spatial framework. The result is an immersive sequence of architectural expressions that align brand identity with localized cultural cues.

Drawing upon the performative traditions of Italian opera, particularly the influence of Teatro alla Scala, the spatial layout follows an operatic progression, from overture to crescendo to climax. The entrance, central spiral staircase, exhibition zones, and the concluding salon are composed as sequential stages within a choreographed visitor journey. Architectural elements such as curtain-inspired drapy surfaces, theatrical lighting, and scenographic partitions reinforce this temporal and spatial structure, transforming spatial circulation into a narrative experience. Referencing Milan’s historic streetscapes and architectural vocabulary, the design integrates ornamental restraint with tectonic clarity. A deep understanding of ‘Made in Italy’ craftsmanship, particularly the tactile interplay of surface textures, structural precision, and detail-driven execution, guides the material choices. Within this framework, classical and contemporary elements are brought into balance, while Western and Eastern aesthetics are bridged through material and formal strategies.

all images by Hanmo (Hangzhou) Photography Co., LTD

Liang Architecture’s CURIEL CASA references Scenographic Spaces

From the exterior, the facade introduces the store’s narrative intent. A crimson architectural veil, designed through parametric modeling, forms a pleated surface reminiscent of an opera curtain. Made from anodized aluminum, the facade modulates shadow and reflection throughout the day, acting as both a visual overture and a spatial threshold. Inside, the spiral staircase serves as the structural and symbolic core, its tiered geometry softened by diffused light, evoking silk drapery in motion. The juxtaposition of this kinetic form with the surrounding stone elements sets up a dialogue between movement and mass, impermanence and solidity. Cultural localization continues in the VIP lounge, where parametric reinterpretation of traditional bamboo weaving techniques articulates partitions and wall surfaces. These interventions, constructed through a logic of digital deconstruction and rhythmic sequencing, embed the intangible heritage of Chongqing into the architectural language. As light interacts with the translucent bamboo matrix, the space evokes a calibrated sense of depth and material memory.

The design team at Liang Architecture Studio extends scenographic control to the selection of furnishings and environmental elements throughout the project. Referencing the iconography of La Traviata, the CURIEL Salon is designed as an immersive theatrical interior. Furniture arrangements, lighting compositions, and sensory cues, including scent, work together to construct a spatial mise-en-scène where historical narratives are recontextualized within contemporary retail experience. At a conceptual level, the flagship operates as a synthesis of cultural semiotics and spatial narrative. Through material symbolism, spatial sequencing, and local references, the architecture serves as a medium for brand expression and emotional engagement. It reconstructs the relationship between user, space, and identity, using architectural form to translate heritage into contemporary resonance.

CURIEL CASA lands in Chongqing’s Liberation Monument Street as its first flagship in China

the store merges Milanese design language with Chongqing’s mountainous urban context

a spiral staircase anchors the interior choreography of the visitor’s journey

curtain-like surfaces echo the stagecraft of Teatro alla Scala

the design draws upon operatic structure: overture, crescendo, climax

the architecture performs as much as it shelters, each element is part of a sequence

parametric pleats catch shadow and light, shifting with the time of day

tactile contrasts define the space such as stone, metal, bamboo, and silk-like forms

interior volumes balance softness and structure, lightness and mass

the project recontextualizes Milanese motifs through localized cultural expression

every detail, from furnishings to lighting, contributes to a scenographic whole

the CURIEL Salon evokes La Traviata, reimagined through a contemporary lens

architecture becomes a vessel for brand identity and emotional resonance

CURIEL CASA Chongqing blends spatial narrative with cultural continuity

project info:

name: CURIEL CASA Chongqing Flagship Store
architect: Liang Architecture Studio

location: No. 188, Minzu Road, Jiefangbei Pedestrian Street, Yuzhong District, Chongqing, China

area: 899 sqm

design director: Xu Liang

design team: Zhou Zesi, Yu Jianzhi, Ze Man, Hu Xinping, Lu Xin, Chen Weixin, Zhang Xuan, Xu Liang

construction company: Shanghai Fuji Construction Engineering Co., LTD

soft furnishing design: Hangzhou Liang Architecture Studio

photographer: Hanmo (Hangzhou) Photography Co., LTD

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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The dubbed world’s biggest LEGOLAND resort opens in Shanghai, China, with building models made of blocks. Located in Fengjing Town, Jinshan District, the first LEGOLAND resort in the country covers 318,000 square meters, with eight themed areas, more than 75 rides, shows, and attractions, plus thousands of LEGO models made from over 85 million LEGO bricks. The grand opening week spans between July 5th and 13th, 2025, and visitors during this period can watch the live daily shows that the resort hosts.

A theme park with cultural architecture, the LEGOLAND resort in Shanghai, China, demonstrates buildings and motifs referring to the Chinese culture, like the boat ride that shows the LEGO versions of old Chinese water towns and modern Shanghai. Everything in the scenery is made from LEGO bricks, and it is 25 times smaller than the real buildings. There’s also a LEGO Monkie Kid live show exhibiting the dubbed world’s largest LEGO minifigure, as well as two new areas built just for the LEGOLAND resort in Shanghai, China: the Brick Street and the Bricktopia.

all images courtesy of Merlin Entertainments

world’s biggest LEGOLAND resort in shanghai, china

Throughout the LEGOLAND resort and theme park in Shanghai, China, there are six large restaurants, lots of smaller food stands, and around ten retail stores, spread across the entire area. Each location follows the brick theme, with places like Pigsy’s Food Court, CITY Restaurant, and Bricks Family Restaurant serving meals on LEGO-themed plates and cups. The food stands around the park also offer LEGO-themed snacks, such as LEGO brick-shaped ice cream. Aside from being the world’s largest LEGOLAND resort at the time of publishing, this theme park in Shanghai, China, houses The BIG Shop, which is also considered the largest LEGO store in Asia.

Inside the store, visitors can go through and own the brand’s toys, sets, clothing, and souvenirs, as well as limited-edition items that can only be found in Shanghai. The design team also constructed the LEGOLAND Hotel next to the theme park in case they want to stay on-site. The grand opening of this resort in Shanghai, China, came after years of collaborative work between the LEGO Group, Merlin Entertainments, and local government and businesses. The LEGOLAND resort and theme park in Shanghai, China, is now open, and it also hosted the start of the 36th Shanghai Tourism Festival during the opening, which is a summer tourism initiative by the local government, running from July 5th, the same opening date of the theme park, until August 31st, 2025.

the dubbed world’s biggest LEGOLAND resort opens in Shanghai, China

the resort covers 318,000 square meters, with eight themed areas and more than 75 rides

view of the opening on July 5th, 2025

the grand opening week spans between July 5th and 13th, 2025

project info:

name: LEGOLAND Resort 

location: Fengjing Town, Jinshan District, Shanghai, China

companies: LEGO Group, Merlin Entertainments | @lego

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In Xiamen, China, OMA completes a new headquarters for JOMOO, the country’s largest sanitaryware manufacturer. Marking the transition of the company from national supplier to global brand, the project redefines the conventional office typology through a sculptural volume that bridges city and nature. On one side, dense high-rises of the emerging central business district press in, while on the other, forested hills rise above the coast. Responding to these contrasts, OMA’s design combines a multi-functional base with a 230-meter tower, anchoring JOMOO’s identity. White vertical ceramic stripes compose the facade, a detail that references both the company’s industrial roots in ceramics and traditional window patterns found in Fujian’s vernacular houses. These stripes shift orientation across the surface of the building, creating a pattern that gives the headquarters a distinct presence. 

Led by OMA partner Chris van Duijn, with project architects Chen Lu and Lingxiao Zhang, the building is the firm’s first realized high-rise in China, a precursor to several ongoing commissions in Hangzhou, Shenzhen, and beyond. ‘Located in rapidly growing cities,’ van Duijn notes, ‘these projects explore new connections to their immediate urban context, reinterpreting the prevailing tower typology that has shaped much of China’s recent urban expansion.’

images courtesy of OMA

rocky topography inspires the irregular form of the tower

The OMA-designed structure houses JOMOO’s offices and showroom, along with public-facing spaces like a lobby, multipurpose hall, and recruitment and conference rooms. The design team embeds all these areas within a monolithic base volume, whose irregular form draws from the rocky topography of the surrounding landscape. This base anchors the campus in its natural setting, while establishing a civic presence along the urban front.

The system of the facade eliminates the need for interior columns, allowing flexible and open floor plans throughout the tower, an architectural choice aligned with JOMOO’s modular, future-oriented production ethos. The project is the result of a close collaboration between OMA and local architect Huayi Design, which also handled structural and mechanical engineering. 

OMA completes a new headquarters for JOMOO

the project redefines the conventional office typology through a bold sculptural volume

OMA’s design combines a multi-functional base with a 230-meter tower

vertical ceramic stripes compose the facade

the detail references the material expertise of the company and traditional window patterns

these stripes shift orientation across the surface of the building

the OMA-designed structure houses JOMOO’s offices and showroom

project info:

name: JOMOO Headquarters

architect: OMA | @omanewyork

location: Xiamen, China

client: JOMOO | @jomoointer

partner-in-charge: Chris van Duijn

project architects: Chen Lu, Lingxiao Zhang

design team: Mark Bavoso, Slava Savova, Sebastian Schulte, Ricky Suen, Gabriele Ubareviciute, Yue Wu, Adisak Yavilas, Pu Hsien Chan, Alan Lau, Cecilia Lei, Kevin Mak, Connor Sullivan

local architect: Huayi Design

structural & mechanical engineering: Huayi Design

facade consultant: VS-A

photographer: Xia Zhi, Chen Hao

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Heimat Architects (previously Atelier Heimat) unveils Under the Same Eaves, a demountable timber pavilion designed for the 2025 Aranya Theatre Festival in Qinhuangdao, China. Completed in just 14 days — 7 days for design and 7 for construction — the project serves as the festival’s main baijiu tasting station and a key node in Migratory Birds 300, a 300-hour continuous art experiment on the beach. Both intimate and open, the pavilion becomes a social anchor amid a landscape of ephemeral installations, celebrating fleeting encounters through architecture built to vanish.

bird’s eye view of the site | all images © Lv Xiaobin, unless stated otherwise

HEIMAT ARCHITECTS CREATES TIMBER COURTYARD OF SHARED MOMENTS

Situated in the Sand City zone of the festival, Under the Same Eaves by Heimat Architects forms a quiet courtyard composed of three tasting corridors and a compact bar unit. Each corridor is made of modular timber platforms arranged under repeating eaves that suggest both rhythm and rest. Through this design, the architecture team encourages spontaneous social interaction, offering visitors a variety of ways to sit, recline, or simply linger — all under a canopy that frames the sea breeze and passing conversations.

More than just a tasting station, the pavilion acts as a spatial ritual for enjoying baijiu, China’s traditional spirit. The architecture invites visitors to move slowly: entering low eaves, stooping gently, then emerging into a central space of light and laughter. Its sculpted sections offer moments of openness for mingling and pockets of seclusion for reflection.

Under the Same Eaves: a demountable timber pavilion for the 2025 Aranya Theatre Festival

MODULAR DESIGN ENABLES ZERO-WASTE CONSTRUCTION

Simplicity and sustainability guided every decision. The entire structure uses just two sizes of locally sourced timber in a modular ‘sandwich truss’ system. These repeating units offered both structural strength and rapid assembly. The pavilion’s hipped roof shelters a service bar and storage space, while waterproof polyester fabric wraps the timber eaves, providing light shelter and visual softness against the coastal backdrop.

Part of the Migratory Birds 300 series, Heimat Architects’ pavilion is built with impermanence in mind. Like the performance art it accompanies, the structure is made to be disassembled, reused, and ultimately disappear — a poetic parallel to the transient nature of festival encounters. As the designers return ‘like migratory birds’ each year, the act of building becomes both a rehearsal and a ritual: a meditation on time, place, and the emotional weight of temporary space.

the pavilion forms a quiet courtyard composed of three corridors

each corridor is made of modular timber platforms

the entire structure uses just two sizes of locally sourced timber

waterproof polyester fabric wraps the timber eaves | image © Bai Rubing

the structure is made to be disassembled, reused, and ultimately disappear

the design offers pockets of seclusion for reflection

the pavilion is both intimate and open | image © Liu Guowei

Under the Same Eaves becomes a social anchor amid a landscape of ephemeral installations | image © Bai Rubing

the architecture team encourages spontaneous social interaction | image © Bai Rubing

project info:

name: Under the Same Eaves
architects: Heimat Architects
design team: Zhang Dong Guang, Liu Wenjuan, Ma Tianyang, Zhang Wenjing
site support: Sun Zhiwei
construction team: Yan Chuanwei, Yan Xuli, et al. Curators: Liu Chang, Zhu Sha

location: Qinhuangdao, China 
client: GUOJIAO 1573, Aranya Theatre Festival 

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: myrto katsikopoulou | designboom

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At 2,300 meters above sea level in the highlands of Wuliang Mountain, a delicate steel pavilion, designed by Kong Xiangwei Studio, shimmers above a tea garden. The open-air Camellia Theater in Dali, Yunnan, China, emerges from the mists of Fenghuang Mountain as a weightless structure that frames the land and sky. Its purpose is to host cultural performances, quiet contemplation, and everything in between as part of a larger transformation of this historic tea estate into a tea-tourism destination.

Inspired by the form of a camellia flower, the structure was not conceived through formal drawings but emerged on-site through hand-weaving steel bars, an approach developed by the studio in close collaboration with local workers. The initial form, determined in a single day, takes shape through seven slender steel arcs that resemble petals, streamers, or even celestial tassels. ‘They are both petals and streamers,’ the designers explain, ‘like silver tassels shaken down from the sky.’

all images by Archi-translator Photography and Kong Xiangwei Studio

Kong Xiangwei Studio create petal-like canopy for performance

Part of a wider homestay renovation and cultural upgrade of the estate, the Camellia Theater sits on a natural platform recommended by the head of Huilong Village, an already beloved scenic overlook between Fenghuang Mountain and the Lancang River. The architects at Kong Xiangwei Studio opt for an intuitive intervention that blends almost invisibly with its surroundings. ‘The tea garden is a wordless poem,’ they share. ‘Human intervention should be as light as dewdrops on leaves.’

Beneath its delicate, petal-like canopy, the structure curves into the shape of a circular bench that wraps around a central clearing. It avoids disturbing the surrounding tea trees, creating a space that functions as a stage and audience seating. When a singer or storyteller stands in the middle, they’re performing to a crowd, and at the same time they’re enveloped by the landscape itself. 

a delicate steel pavilion, designed by Kong Xiangwei Studio, shimmers above a tea garden

the form of the structure reflects local legend

That immersive effect is constantly in flux, thanks to the mountain’s unpredictable microclimate. At times, the theater floats in clear sunlight; at others, it disappears into mist. These conditions are part of the experience. When the sun sets, the sky often fills with glowing cloud formations, transforming the entire scene into a quiet spectacle. Even when there’s no scheduled performance, the environment itself puts on a show.

And seen from the other side of the forest, something interesting happens: the theater’s form, those seven petal-like arcs, begins to resemble a crown. Whether coincidence or subconscious intuition, the image connects to local legend, evoking the mythical queen of Caowang Mountain, weaving folklore into the architectural gesture. 

a weightless structure that frames the land and sky

its purpose is to host cultural performances

inspired by the form of a camellia flower

the structure emerged on-site through hand-weaving steel bars

the initial form was determined in a single day

the seven slender steel arcs resemble petals, streamers, or even celestial tassels

Kong Xiangwei Studio opts for an intuitive intervention

beneath its delicate, petal-like canopy, the structure gently curves into the shape of a circular bench

the structure avoids disturbing the surrounding tea trees

a space that functions as a stage and audience seating

the immersive effect is constantly in flux, thanks to the mountain’s unpredictable microclimate

at times the theater floats in clear sunlight, while at others, it disappears in the mist

project info:

name: Camellia Theater

architect: Kong Xiangwei Studio

location: Fenghuang Mountain Tea Estate, Bixi Township, Nanjian County, Dali Prefecture, Yunnan Province, China

design team: Kong Xiangwei, Cui Jun, Gao Zhuojian

photographer: Archi-translator Photography, Kong Xiangwei Studio

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In Guiyang, China, Atelier Xi designs its AYDC Public Art Center to unfold as a series of sculptural pavilions embedded into the landscape. Completed in multiple phases since its 2022 groundbreaking, the project reimagines how architecture can animate culture-driven communities at the foot of Guizhou’s karst mountains.

Initially envisioned as a single building, the center evolved into a constellation of distinct yet interconnected spaces: the Xima Library, Ginkgo Chapel, and Dali Stage. This disaggregation allows the architects to integrate each volume into its own environmental niche, creating flexible platforms for reading, performance, and quiet contemplation.

images © Zhang Chao

a carved-out travertine mass

Atelier Xi’s Xima Library sits beside a reflective pool within the Art Center plaza, its travertine mass carved out with a luminous metallic dome within. On a still morning, the dome’s silhouette drifts across the water, darkening and brightening in concert with passing clouds. The library’s inner chamber, assembled from curved stainless-steel plates, softens daylight into a muted glow.

A short walk uphill leads to the Ginkgo Chapel. Here, the architects organize four massive stone volumes, inspired by ginkgo leaves, support a vaulted interior void. Visitors approach along a narrow canyon formed by the curved exteriors, then emerge into a chamber open to the sky. In spring, filtered sunlight dances through fresh leaves; in autumn, the canopy burns gold.

the AYDC Public Art Center in Guiyang is designed by Atelier Xi as a series of sculptural pavilions

scattered pavilions share a unified language

Facing the public square of the Art Center, Atelier Xi’s Dali Stage creates a sculptural threshold between architecture and performance. Its shell is shaped by the negative imprint of an invisible arch, as though space itself has been scooped away. At night, fiber optic lights embedded in the floor illuminate the stage in shifting constellations. During festivals, crowds gather under this canopy of stars, their movements reflected in the polished, mirror-finish steel.

Though each pavilion serves a different function, they share a unified language. The square travertine exteriors are subtly perforated, inviting wind and daylight to pass through. This porous quality lends the buildings a quiet permeability, reinforcing the sense that architecture here is less about enclosure and more about framing the experience of place.

the project transforms a single-building plan into three distinct spaces integrated with the landscape

Throughout the year, the surrounding landscape becomes an active participant in the composition. In summer, dense green foliage crowds the chapel’s thresholds. By late autumn, the ginkgo forest has turned a layered amber, mingling with the pale stone facades. Even in winter, when the trees are bare, the structures stand in dialogue with the sky and low-angled light.

The architects describe the project as an attempt to activate the site’s inherent vitality with minimal formal gestures. In practice, these sculptural interventions have created spaces where local artists and residents can gather informally, adding new layers of memory and association to the land.

More than a series of objects, the AYDC Public Art Center proposes architecture as a vessel for imagination and collective expression. Each pavilion extends the ethos of ‘Ayunduocang,’ whose name, derived from the Yi language of Guizhou, means ‘our land of dreams.’

Xima Library sits by a reflective pool is carved out with a luminous metallic dome

the Ginkgo Chapel is supported by four massive stone volumes

the design celebrates Guizhou’s cycles of seasonal change in the surrounding forest

each pavilion combines porous travertine exteriors and stainless steel interiors that filter light and air

architecture here acts as a vessel for community gathering and cultural memory

project info:

name: AYDC Public Art Center

architect: Atelier Xi | @atelier_xi

location: Guiyang, Guizhou Province, China

design team: Zhu Zhu, Huang Zhenfeng, He Xiansen, Zhang Manjia, Huang Fangbai, Zhan Kaichao
client: SEEKING GROUP
landscape design: So boring company, Zhao Xiong
photography: © Zhang Chao

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With construction advancing toward its planned opening in 2025, fresh photographs by StudioSZ document the evolving presence of Snøhetta‘s Shanghai Grand Opera House in the city’s Expo Houtan neighborhood. Designed in collaboration with ECADI, the project introduces a monumental cultural landmark along the Huangpu River, where its spiraling roofline rises in a steady gesture above the waterfront.

The opera house takes shape as a broad, gently rotating form, expressed in layered terraces and sweeping contours that convey a sense of movement anchored in place. At ground level, the structure meets its surroundings through a generous plaza and landscaped edges, drawing visitors toward a continuous, climbable roof that functions as a civic promenade. This rooftop, which will be open throughout the year, establishes a public destination as much as an architectural feature, creating varied vantage points over the river and the city skyline.

images © StudioSZ

snøhetta designs with contextual motifs

The design by Snøhetta references the image of a traditional folding fan, a motif repeated across the project’s interiors and circulation spaces. The architects have described this gesture as evoking the dynamic energy of dance while underscoring a commitment to public ownership. Inside, the composition unfolds in a sequence of overlapping volumes, where lobbies and halls merge with interstitial gathering areas to promote fluid movement among audiences.

Three auditoriums of different capacities are positioned to accommodate a spectrum of performances, ranging from traditional Chinese opera to contemporary experimental productions. The main hall, configured for opera and symphonic work, is complemented by smaller venues for recitals and immersive shows. Warm finishes and measured lighting define the interior palette, supporting an atmosphere that balances clarity with intimacy.

the Shanghai Grand Opera House is nearing completion along the Huangpu River in the Expo Houtan neighborhood

materiality: translucent, smooth and white

Snøhetta’s scope encompasses architecture, landscape, interior, and graphic design, reinforcing coherence across scales throughout the Shanghai Grand Opera Hall. The building envelope combines smooth white surfaces with translucent panels that modulate daylight and reveal activity within. A network of terraces and roof pathways extends the public realm vertically, encouraging engagement beyond the primary performance spaces.

The project incorporates a range of supporting amenities. Libraries, rehearsal studios, restaurants, and small cinemas are distributed through the perimeter, broadening the building’s reach beyond evening performances. Each program element has been configured to share visual connections with the larger circulation system, maintaining the clarity of the fan-shaped plan.

The recent images by StudioSZ emphasize the Opera House’s advancing material finishes and landscape integration. Concrete and glass are layered with precision, and the rooftop paths already convey the spatial openness that will characterize the completed project.

Snøhetta designed the project in partnership with ECADI as a major landmark for Shanghai

the building’s spiraling roofline forms a climbable public promenade overlooking the river and skyline

a folding fan motif shapes the interiors, symbolizing dance and civic openness

three auditoriums support traditional opera, contemporary performances, and smaller recitals

the rooftop terraces and pathways extend public space into the vertical dimension

warm materials and controlled lighting define the atmosphere within the performance halls

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

photography: © StudioSZ | @studiosz_photo

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432 small robotic movers have lifted off and relocated an entire Shikumen complex in Shanghai, China, to make way for the construction of a three-story underground development. Temporarily moved from its original site, the cluster of brick buildings’ location allows the developers to build commercial and cultural facilities, underground parking, and connections to three metro lines (Lines 2, 12, and 13) across more than 53,000 square meters.

To move the buildings, the engineers used 432 small robotic movers, which slowly transported the 7,500-ton complex around 10 meters per day starting May 19th, 2025. It was not a rapid relocation to reduce the structural stress and damage to the historic architecture during transit, and on June 7th, 2025, the complex was already brought back to the original site. The Shikumen complex in Shanghai, China, that was moved by the developers is the Zhangyuan block. The construction of the spaces, parking lots, and Metro connections under it has begun.

image stills via Shanghai Municipal People’s Government

Bringing back Shikumen complex in Shanghai, China

For the relocation and underground project, the engineers use mini robots designed to work in confined spaces. The first set is for drilling: a series of remote-controlled robots that can move through narrow corridors and doorways within the Shikumen complex in Shanghai, China. The next set is the one for the soil excavation, equipped with folding mechanical arms so these robots can operate in narrow passages. These robots use deep learning algorithms to identify the soil types and detect any underground and earth obstacles during the excavation process.

The construction company of Shanghai Construction No. 2 (Group), the one leading the underground development as well as the relocation of the complex, uses point-cloud scanning to capture a 3D model of the site. These scans were then integrated into Building Information Modeling software, and in return, it gave detailed blueprints that showed them any possible problems with the relocation. Bringing back the Shikumen complex in Shanghai, China, to its original site was completed on June 7th, 2025, and the engineers have now begun the construction of the underground project. So far, there’s no news yet on its completion date.

the mini robots under the Shikumen complex in Shanghai, China move the entire cluster of buildings

view of the original site of the block

relocated site of the complex | photo provided to chinadaily.com.cn

project info:

developer: Shanghai Construction Group (SCG)

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Louis Vuitton unveils The Louis, a monumental structure moored in Shanghai’s central business district. Resembling a modernist ship at anchor, the boat-like building brings together a multi-story flagship store, Le Café Louis Vuitton, and the brand’s Visionary Journeys exhibition, housed within a surreal facade of metallic Monogram hulls and stacked trunks. Located on Wujiang Road, The Louis honors Louis Vuitton’s maritime roots while anchoring itself in Shanghai’s historic identity as a port city.

Visionary Journeys, the multi-room exhibition spanning two floors, is conceived by Shohei Shigematsu of OMA. It opens with Trunkscape, an installation composed of Monogram canvas trunks that curve into an archway, evoking architecture and dreamscape. Originally shown in Bangkok and Osaka (find designboom’s previous coverage here), this iteration draws visitors into a cinematic voyage through Louis Vuitton’s intertwined history with design, innovation, and travel, from the 1859 workshop in Asnières to high-seas regattas and couture-bound steamer trunks. ‘Our installation uses iconic Louis Vuitton trunks in a playful display that intuitively and instantly communicates the Maison’s heritage and spirit of innovation,’ shares Shohei Shigematsu. ‘Conceived to fit the central atrium of the temporary store, the four trunk towers are part structural and part sculptural, familiar in materiality yet foreign in shape, height, and slenderness, created by their distinctly stacked forms. Together, they become a spatial amplifier that feels surreal yet rooted to Louis Vuitton’s origins.’

all images courtesy of Louis Vuitton

Louis Vuitton draws from transoceanic journeys

The Louis is a space created by Louis Vuitton that encapsulates the spirit of travel and the deep connection of the french house to movement, craftsmanship, and culture. Its design draws inspiration from transoceanic journeys, the kind once made by ocean liners, combining the shape of a ship’s prow with the form of a classic Louis Vuitton steamer trunk. The outside is covered in shimmering metallic Monogram patterns that reflect light like the surface of the sea, making the structure itself a symbol of travel and timeless design.

Inside, visitors are taken on a journey that includes food, shopping, and storytelling through exhibition. Each room is themed to reflect a different chapter in Louis Vuitton’s evolution through historic pieces and creativity.

Louis Vuitton unveils The Louis, a monumental structure moored in Shanghai’s central business district

an oma-designed journey through objects

This journey begins with Origins, a space that features the early designs of the house, reimagined with a contemporary touch. This room sets the tone for the rest of the experience, one that honors tradition while embracing innovation. Next is Voyage, which explores the more whimsical and personal aspects of travel through archival patents, stories from famous clients, and custom-made items. Olfactive Exploration focuses on fragrance and puts on display rare perfume bottles from as far back as 1927 alongside scents crafted by in-house perfumer Jacques Cavallier-Belletrud.

Moving on, Books and Sport shows how the brand functions as both storyteller and companion across many worlds. From Gaston-Louis Vuitton’s love of literature and publishing to its role in creating elegant trophy trunks for global events like Formula 1 and the Olympics. In Fashion & Leather Goods, the house’s creative metamorphosis takes center stage, spotlighting classic bags reinterpreted by artistic directors including Marc Jacobs, Virgil Abloh, and Pharrell Williams. Workshop and Testing pull visitors into the behind-the-scenes world of Louis Vuitton craftsmanship, where tools nicknamed Louise and Louisette help make sure that each piece meets rigorous standards. Perched on the third floor, Le Café Louis Vuitton brings a refined take on Shanghai-style dining, a fusion of East and West shaped by chefs Leonardo Zambrino and Zoe Zhou.

The opening of The Louis in Shanghai ties Louis Vuitton’s roots in travel to the role of the city as a longtime port of exchange, reflecting on how objects carry meaning over time.

resembling a modernist ship at anchor, the boat-like building brings together multiple uses

a surreal facade of metallic Monogram hulls

The Louis honors Louis Vuitton’s maritime roots

the project anchors itself in Shanghai’s historic identity as a port city

the design draws inspiration from transoceanic journeys, the kind once made by ocean liners

Visionary Journeys is the multi-room exhibition spanning two floors

the exhibition’s design is conceived by Shohei Shigematsu of OMA

Trunkscape is composed of Monogram canvas trunks that curve into an archway

Olfactive Exploration puts on display rare perfume bottles

Books and Sport shows how the brand functions as both storyteller and companion across many worlds

Origins features the early designs of the house

the behind-the-scenes world of Louis Vuitton craftsmanship

Origins sets the tone for the rest of the experience

project info:

name: The Louis

brand: Louis Vuitton | @louisvuitton

architect: Shohei Shigematsu / OMA | @omanewyork, @shohei_shigematsu

location: Wujiang Road, Jing’an district, Shanghai, China

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