Drawing Architecture Studio has completed a large-scale, site-specific rolling ball installation in Chengdu, China, commissioned by Taikoo Li Chengdu, an open-air, low-rise commercial and cultural district in the city center. Installed for the holiday season in a central plaza facing a thousand-year-old temple, the installation titled Fun Palace transforms the site into an immersive landscape of movement, combining five looping ball-track systems with five sculptural architectural forms. Drawing on Aldo Rossi’s ideas of architecture as a repository of collective memory and echoing the spirit of Luna Luna, the 1987 Hamburg art amusement park that turned works by artists such as Keith Haring and Salvador Dalí into playful public experiences, the public installation frames architecture as a tool for joy, participation, and everyday wonder.

2025 winter public art installation at Taikoo Li Chengdu | all images © Arch-Exist Photography unless stated otherwise

‘fun Palace’ Weaves Kinetic Landscape into Chengdu plaza

The Fun Palace installation occupies a plaza framed by ginkgo trees and a shallow reflecting pool, a space that becomes the setting for a temporary artwork each holiday season. Drawing Architecture Studio fills the site with overlapping tracks that weave around five miniature buildings, creating a layered environment that visitors can walk through, observe, and inhabit. Each building functions both as an independent sculpture and as a key node within the kinetic system, redirecting the rolling balls and altering their speed as they pass through.

At ground level, the curved outline of the installation echoes the fluid geometry of the tracks above, while parts of the system extend into the surrounding tree clusters, visually integrating architecture and landscape. Colorful metal balls and custom benches are scattered throughout the plaza, encouraging visitors to pause and watch the choreography of movement unfold.

the Stage, echoing the forms of Sichuan opera headpieces

Everyday Rituals Transformed into Playful Architectural Forms

The five sculptural forms reinterpret familiar local activities, eating hotpot, visiting teahouses, playing mahjong, watching Sichuan opera, and skiing in nearby mountains, into fictional ‘architectural sculptures.’ These memories shape both the appearance of the structures and the specific routes of the rolling balls, turning cultural references into spatial and kinetic experiences.

Constructed from ordinary corrugated PVC panels, the installation maintains an everyday material language while achieving a precise and carefully crafted finish. Fun Palace ultimately proposes a lighter, more playful role for architecture in public space, one that invites curiosity and shared experience within the contemporary urban fabric. 

the Mahjong Building, referencing both mahjong tables and the zigzag staircases of the locally well-known Yuanyang Building

the Teahouse | image © UNIQ Energy

the Hotpot City, drawn from the image of a hotpot

the Teahouse, inspired by Sichuan’s long-neck teapots

the Ski Tower, reinterpreting the watchtowers of Qiang villages outside Chengdu

the Hotpot City within the track network | image © UNIQ Energy

the rolling ball track network | image © UNIQ Energy

the installation titled Fun Palace transforms the site into an immersive landscape of movement

the Stage interwoven with the track network

the installation combines five looping ball-track systems with five sculptural architectural forms | image © UNIQ Energy

project info: 

name: Fun Palace
architects: Drawing Architecture Studio | @drawingarchitecturestudio
design team: Li Han, Hu Yan, Zhang Xintong

curation & track structure design: UNIQ Energy

location: Chengdu, China

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A House in Xueshan Village is a 350-sqm self-developed residential project designed by DL Atelier in Xueshan Village, Changping District, Beijing. Located at the urban-rural fringe, approximately 30 minutes from the city’s Second Ring Road, the building operates simultaneously as a private residence, a design office, and a space for community-oriented activities. The project explores how multiple programs can coexist within a single architectural framework while remaining adaptable to future change.

The site occupies a rectangular plot at the northeastern edge of the village, bordered by village roads to the north and west and neighboring courtyards to the east and south. Initially undeveloped, the plot was activated through a design process that addressed three potential uses: residential living, office operation, and rental or commercial activity. Rather than fixing a single function, the project was conceived as a flexible spatial system capable of supporting these different scenarios over time.

The architectural strategy reverses the typical rural housing model in which buildings enclose a central courtyard. Instead, the building volume is placed at the center of the site, allowing courtyards of varying sizes to surround it on all sides. This arrangement ensures that each room has direct outdoor access while improving daylight, ventilation, and spatial flexibility. Perimeter walls are raised to maintain privacy, and the building mass steps back at upper levels to form terraces for second-floor bedrooms. A three-car garage occupies the side of the site facing the village road, responding to both functional requirements and street conditions. A large sliding door allows the garage to open fully to the street, enabling its use for outward-facing programs while visually extending the street into the site. The garage is integrated with a workshop used for fabrication and prototyping, separating noisy or dusty activities from the living areas while maintaining operational efficiency.

all images by ©Zhu Yumeng – Coppak Studio

A Hybrid Interior Framework for Public and Private Activities

Interior spaces are organized as open, fluid zones that can shift between residential, office, exhibition, and commercial uses. On the ground floor, public interior spaces connect directly to the courtyard, allowing indoor and outdoor activities to overlap. The second floor combines private living areas with open workspaces accommodating over ten people. An independent office entrance, staircase, and restroom on the street-facing side allow work functions to operate separately from the residence or be connected as needed.

The building, developed by DL Atelier design studio, also incorporates exhibition and community functions. A former living room has been converted into a display space, while a ground-floor room currently operates as a small community library accessible from the street. The building itself serves as a demonstrative platform for rainwater harvesting and recycling systems, while ground-level and rooftop gardens are used for ongoing landscape and planting experiments. Anticipating future changes in village infrastructure, the east facade was designed with increased glazing to support potential street-facing commercial use once the adjacent road is widened. Throughout the project, architectural expression was intentionally kept neutral, prioritizing economical construction, standard materials, and ease of replication over individualized formal gestures.

House in Xueshan Village is a hybrid residence designed by DL Atelier in Beijing’s urban-rural fringe

Hybrid Program and Passive Design at the Urban-Rural Edge

The project employs a passive energy-saving approach aimed at reducing long-term operational costs and improving environmental performance. Building form, insulation, and orientation were carefully calibrated, alongside detailed studies of window placement, courtyard wall heights, and seasonal ventilation patterns. Courtyard walls help promote cross-ventilation in summer while shielding the building from cold winds in winter. Landscape and water systems were developed in collaboration with the homeowner, whose professional background informed the rainwater management strategy. Permeable paving, planted courtyards, and a partially soil-covered green roof work together as an integrated rainwater collection, infiltration, and reuse system. These elements support both environmental performance and ongoing research into water-efficient landscape design.

By accommodating residential, work, exhibition, and income-generating functions within a single structure, A House in Xueshan Village proposes a hybrid lifestyle model suited to the urban-rural fringe. The project positions architecture as a tool for flexible living and small-scale development, responding to changing professional patterns and housing needs. Rather than presenting a fixed solution, the building functions as a prototype for adaptable, self-developed housing. Its design supports phased growth, potential connections with neighboring plots, and the gradual formation of a small, mixed-use community. As such, the project frames architecture not as an isolated object, but as a scalable framework for future rural development at the edge of the city.

the project combines living, working, and community programs within a single adaptable structure

the building volume is positioned at the center of the site rather than enclosing a single courtyard

multiple courtyards of varying sizes surround the building on all sides

every room connects directly to an outdoor space for daylight and ventilation

raised perimeter walls provide privacy from neighboring properties

upper floors step back to form terraces for second-floor bedrooms

architectural expression is intentionally kept neutral, prioritizing economical construction and standard materials

a separate office entrance and staircase allow work functions to operate independently

ground-floor public spaces connect directly to the courtyard

the garage is combined with a workshop for fabrication and prototyping

courtyards and a partially soil-covered roof support passive cooling and water management

a ground-floor room functions as a community library accessible from the street

project info:

name: A House in Xueshan Village

architect: DL Atelier
lead architects: Liu Yang, Cai Zhuoqun

location: Beijing, Changping, China

area: 350 sqm

client: Mr.Zhao

structure: Gao Xuemei

HVAC: Guo Haifeng

landscape & rainwater energy conservation design: Beijing Yuren Runke Ecological Technology Co., Ltd.

photographer: Zhu Yumeng – Coppak Studio | @Yumeng_Zhu_coppakstudio

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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MVRDV completes Pujiang Platform, a timber event pavilion and viewing structure embedded into the hills east of Pujiang, southwest of Chengdu, China. Conceived as an architectural extension of the terrain itself, the 414-square-meter pavilion uses earth-covered timber arches to reconstruct the silhouette of a hill that was previously flattened, while framing panoramic views toward the growing town below and the Qionglai Mountains beyond.

Set within a landscape that is rapidly transforming as Pujiang develops into a new sustainable town, the project aims to offer residents and visitors a place for gatherings, ceremonies, and civic use, and to do so with minimal visual and environmental impact. MVRDV shapes the building as a telescopic form that appears almost geological when seen from afar, while becoming legible as a civic structure through its large viewing window and projecting balcony. At night, light spilling from this opening turns the pavilion into a landmark, visible from the plains below without dominating the landscape.‘The hills of this region are truly a spectacular sight, so one of the challenges we faced was to make the most of those views while reducing the impact on the landscape. By adding a hill-shaped pavilion with a green roof we not only minimise our own impact, but we recreated the hill that was there before,’ MVRDV founding partner Jacob van Rijs notes. ‘This act of preserving and respecting nature is the essence of the design, which is continued in the construction approach, using bio-based materials such as wood that are more sustainable and thus have less impact on natural environments such as this one.’

all images © Arch-Exist

rebuilding a flattened hill in Chengdu, China

MVRDV’s design originates from a site-specific observation. The original viewpoint had required cutting into the hill, erasing part of its natural profile. The architects’ response was to reverse that by recreating the missing mass as architecture. An arched timber structure is wrapped in an earth berm and planted roof, restoring the hill while housing an interior space beneath. The pavilion is entered discreetly through a glazed facade embedded into the berm, leading into an interior that slopes with the terrain. The floor descends as the ceiling rises, forming a stepped tribune oriented toward a 10-meter-tall glass facade. Oversized sliding doors allow the interior to open fully onto the balcony, enabling the space to shift between enclosed events and open-air gatherings.

Circulation and landscape are treated as integral parts of the architectural experience. The team retains and extends existing paths on the site, forming a loop that leads visitors through multiple approaches to the viewpoint. A twisting staircase connects these routes and culminates in a secondary circular viewing platform, offering 360-degree views across both the distant mountain range and the immediate hillside environment. Planting strategies reinforce continuity with the surrounding ecology, using species that reflect the existing biodiversity.

MVRDV completes Pujiang Platform in China

timber construction and passive environmental strategies

The green roof, with a soil depth of approximately 10 centimeters, supports grasses, flowers, and small shrubs, while existing waterways are incorporated into rainwater collection and irrigation systems. Material choice plays a critical role in both the environmental and cultural positioning of the project. The timber structure is intended to reduce embodied carbon and also to act as a built demonstration within a context where wood construction remains underutilized. Operational performance is supported through a combination of passive and active strategies. The earth berm provides insulation and thermal mass, layered ceilings enable natural ventilation, and the north-facing orientation of the main façade minimizes unwanted solar gain. Additional energy demands are partially met by a geothermal heat pump, contributing to the project’s China Green Building Label 2-star certification. 

a timber event pavilion and viewing structure

embedded into the hills east of Pujiang, southwest of Chengdu

conceived as an architectural extension of the terrain itself

uses earth-covered timber arches form the pavilion

reconstructing the silhouette of a hill that was previously flattened

set within a landscape that is rapidly transforming

framing panoramic views toward the growing town below and the Qionglai Mountains beyond

the project aims to offer residents and visitors a place for gathering

MVRDV shapes the building as a telescopic form that appears almost geological when seen from afar

a twisting staircase connects routes and culminates in a secondary circular viewing platform

offering 360-degree views

the team retains and extends existing paths on the site

planting strategies reinforce continuity with the surrounding ecology

oversized sliding doors allow the interior to open fully onto the balcony

an arched timber structure wrapped in an earth berm and planted roof

project info:

name: Pujiang Platform

architect: MVRDV | @mvrdv

co-architect: Sichuan Provincial Architectural Design and Research Institute Co., Ltd. – SADI

location: Pujiang, China

area: 414 sqm

client: Pujiang County Planning and Resources Bureau

sustainability certification: China Green Building Label – 2 Stars

contractor: Chengdu Third Construction Engineering of CDCEG

founding partner in charge: Jacob van Rijs

partner: Wenchian Shi

director MVRDV Shanghai: Peter Chang

design team: Kyo Suk Lee, Olga Marelja, Geert Folmer, Guido Boeters, Cai Zheli, Shanshan Wu, Alexander Forsch, Ilaria Furbetta, Yihong Chen, Jiamen Li, Shing Yat Tam, Yifei Zhang, Cai Huang, Seunghan Yeum, Gioele Colombo, Xinyuan Zhang

MVRDV climate: Alexander Forsch

photographer: © Arch-Exist| @archexist

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Fuzhou ESUO Future Kindergarten by Dika Architectural Design Center in Fuzhou, China, reimagines early childhood education through a playful, irregularly shaped building crowned with a rooftop astronaut sculpture. The structure transforms traditional kindergarten layouts into a three-dimensional exploration system that spans from ground level to corridors and rooftops. Corridors function as all-weather adventure paths, while each floor becomes

an interactive playground. The astronaut sculpture atop the building serves as a visual and conceptual anchor, inviting children to imagine themselves as cosmic explorers while reinforcing the theme of ‘exploring the universe.’ 

all images by Fuzhou MOMENT VISION Photography Studio and Gao Xin

Fuzhou ESUO Future Kindergarten serves as a ‘Third Teacher’

Rejecting conventional layouts where toys and activities are secondary, the team at Dika Architectural Design Center emphasizes child-friendliness: respecting natural curiosity without indulgence, encouraging imagination without flamboyance, and ensuring safety without restriction. Circulation routes, interactive zones, and flexible spaces allow children to explore intuitively, developing a sense of self and engagement with the unknown. The architecture itself functions as a ‘third teacher,’ guiding movement, perception, and imaginative play.

The building’s irregular geometry presented construction challenges. Arched outdoor spaces and curved ramps required precise casting, careful surface polishing, and close collaboration between design and construction teams. Fuzhou’s rainy climate added further complexity, yet the team successfully maintained playful forms while meeting strict safety standards. Key features include corridors designed as narrative ‘interstellar plank roads,’ fluid spatial arrangements that integrate classrooms with activity zones, and the rooftop astronaut sculpture that transforms every upward glance into a moment of imaginative engagement.

the playful shaped building is crowned with a rooftop astronaut sculpture

the structure transforms traditional kindergarten layouts into a three-dimensional exploration system

each floor becomes an interactive playground

circulation routes, interactive zones, and flexible spaces allow children to explore intuitively

the design respects natural curiosity and encourages imagination

stairs, ramps, platforms and slides complete the playful project

the architecture itself functions as a ‘third teacher’

arched outdoor spaces and curved ramps required precise casting

colorful zones enhance the vibrant character of the project

the building’s irregular geometry presented construction challenges

the rooftop astronaut sculpture that transforms every upward glance into a moment of imaginative engagement

project info:

name: Fuzhou ESUO Future Kindergarten

architects: Dika Architectural Design Center

chief architect: Wang Junbao Chief
designers: Tan Huimin, Tian Jiabin, Ou Jiyong, Fu Huiming, Chen Jian

participating designers: Yang Ming, Lu Qingyin, Kuang Wensheng, Gao Xin, Wang Bingxi, Wan Lisha, Ma Lu, Ji Xiaorui, Tang Shengyan, Wang Mudan, Yang Xinrong, Cui Yingnan, Huo Liangyue, Liu Xiaoyu

location: Fuzhou, Fujian

area: 9,646 sqm

brand design: Jianshan studio, Hou Geng

construction drawing deepening: Wang Peng, Li Jing, Chen Guanyu, Tao Hexin, Shi Wenlan, Gao Juan Structural design: Fujian Xumuli Construction Engineering Co., Ltd.

photography team: Fuzhou MOMENT VISION Photography Studio, Gao Xin

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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Beside a natural habitat for thousands of herons, Shunde Yunlu Wetland Museum by Link-Arc rises within the dense vegetation of a wetland park in China.

The museum sits just beyond a line of sequoia trees, set back from nearby paths and waterways to maintain a quiet edge within the park. A central water channel divides the site, and the surrounding trees create both enclosure and filtered views. Fitting the building within this context, Link-Arc orients each level toward openings in the canopy and toward the heron nesting areas across the water.

Within this protected landscape, the structure brings together a bird-watching tower and a wetland education center. Tall vegetation and reflective water surfaces form a layered background that absorbs the stepped concrete volumes which allow the museum to settle into the park’s natural density.

images © Tian Fangfang

a stack of tubes to frame unique views

The Shunde Yunlu Wetland Museum is composed of four vertically-stacked concrete ‘tubes,’ each of which is rotated by the team at Link-Arc to align with a different level of the forest. Lower floors face root and trunk level, while the upper floors frame the crowns and treetops. These precise rotations gives the massing a sense of movement as each volume shifts to frame a specific view.

Each tube functions as a box structure, with sidewalls, roofs, and floors working together to support the cantilevered sections. This structural clarity gives the museum a stable presence above the wetland edge, where water comes close to the base of the building.

the museum sits within the Sequoia edge of the wetland park in Shunde

terraced rooftop lotus ponds

Cast-in-place concrete shaped by Link-Arc with pine formwork gives the Shunde Museum’s exterior a fine, wood-derived grain. The texture softens the building’s profile and ties it visually to the vertical lines of the surrounding trees. The concrete’s pale surface reflects shifting daylight, allowing the museum to sit quietly within the changing tones of the forest.

A lotus pond on the roof introduces another layer of water into the composition. This surface blends with the wetland below, easing the building’s vertical impact when seen from nearby paths or across the pond. The gesture aligns with Link-Arc’s broader approach to shaping a museum that remains sensitive to the habits of the birds nearby.

each level is rotated by Link-Arc to frame a distinct layer of the forest

complex, angled interiors

Inside, a tall triangular atrium connects all four levels. Sunlight filters through high skylights and passes through deep concrete beams, entering the interior as a soft, even glow. This quality of light supports the neutral finishes and reinforces the sense of calm throughout the circulation spaces.

Stairs and landings trace the perimeter of the atrium, offering layered views across multiple floors. From the mid-levels, three distinct framed openings are visible at once, each directing attention to a different part of the forest canopy. Along the glazed edges, the interior hovers slightly above the water, creating a continuous visual link to the surroundings.

Paths around the museum weave through dense plantings and tall tree clusters, reinforcing the sense of immersion within the wetland. Portions of the building lift above the ground plane to allow water to pass beneath, while cantilevered volumes frame moments of reflection.

the concrete tubes create vantage points for observing herons

pine-textured formwork gives the exterior a soft grain

a tall triangular atrium brings filtered daylight deep into the interior

large windows keep the interior closely tied to the wetland edge

a lotus pond on the roof folds the building into the surrounding water

project info:

name: Shunde Yunlu Wetland Museum

architect: Studio Link-Arc | @studiolinkarc

location: Shunde, China

photography: © Tian Fangfang | @tianfangfang2019 

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Alaïa steps into China with the opening of its first flagship store, located in Taikoo Li Sanlitun, Beijing. The two-floor boutique, designed through a close collaboration between Creative Director Pieter Mulier and Halleroed, translates sensuality, radical minimalism, and sculptural form, core principles of the brand, into architecture.

From the street, the facade, a solid plane of Carrara marble, is punctuated by circular and rounded windows inspired by Alaïa’s signature perforated motifs. This rhythmic patterning lightens the mass of the stone while preserving a sense of gravity and calm. Monumental yet restrained, the exterior introduces a new architectural expression for the Maison, one that merges couture detail with urban presence.

all images by Jonathan Leijonhufvud

Curves and Geometry in a Sculpted Retail Landscape

Curved, organic lines are set against sharp geometric forms, mirroring the dualities that define the Parisian fashion house’s approach to fashion. On the ground floor, a sweeping marble shelving unit anchors the space, while sculptural podiums rise from the floor like carved extensions of the architecture. The layout treats display furniture as part of the spatial composition.

Two large cubic chairs, designed by French fashion designer Paul Poiret, are placed within the space, their bold geometry amplifying the tension between softness and structural clarity. Upstairs, the atmosphere becomes more subdued, offering a setting for the full Alaïa wardrobe, from ready-to-wear to accessories and essentials. Seating by Philippe Malouin frames views toward the rounded openings of the facade by Swedish architecture studio Halleroed, allowing the geometry of the windows to shape the rhythm inside the room. Throughout the boutique, the emphasis remains on craftsmanship, whether expressed in stone, furniture, or the spatial interplay of curves and planes.

a solid plane of Carrara marble

the facade is punctuated by circular and rounded windows

the geometry of the windows shape the rhythm inside the room

the emphasis remains on craftsmanship

the layout treats display furniture as part of the spatial composition

designed through a close collaboration between Creative Director Pieter Mulier and Halleroed

a sweeping marble shelving unit anchors the space

sculptural podiums rise from the floor like carved extensions of the architecture

translating the core principles of the brand into architecture

project info:

name: Alaïa Beijing Flagship Store

brand: Alaïa | @maisonalaia

architect: Halleroed | @halleroed

location: Taikoo Li Sanlitun, Beijing, China

creative direction: Pieter Mulier | @pieter_mulier

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A new project dubbed Laoyuting Pavilion has been completed by Atelier Deshaus and rises among a wetland park in China. Standing on the southern side of the Water-Forest Art Zone, the project served as the entryway to the 2024 Dianchi Art Season before remaining in place as a permanent waypoint for visitors arriving to the wetland.

The pavilion sits among a grove of cypress trees which filter water before it reaches Dianchi Lake, and the area is frequented by residents who come to catch small fish among the reeds. Atelier Deshaus builds the pavilion as a space for pause in this setting, mediating between the movement of people and the slow work of the wetland.

The structure creates an artificial ‘forest’ of slender steel columns that marks the transition from city to waterborne woodland. A fragmented roof hovers above these dense vertical elements, shaping shade and framing slivers of sky. From inside, the staggered columns open two subtle paths that draw visitors toward deeper areas of the park.

images © WangCe

atelier deshaus’ fragmented rooftop

While the Laoyuting Pavilion’s roof appears irregular at close range, its overall silhouette by Atelier Deshaus recalls the four-sloped hipped forms found in traditional Chinese architecture. The team‘s fragmentation of the steel plates shifts the reading of the material, giving them a softened presence and allowing the pavilion to settle into its surroundings with restraint. Light filters through the gaps in shifting patterns, producing a quiet sense of enclosure.

Environmental requirements shaped the project’s assembly. The wetland surface could remain untouched, so the foundation was conceived as a steel plate placed directly on the ground, with each column perched on a ten-centimeter steel block. These small bases act as micro-foundations, lifting the structure above the terrain and signaling an effort to protect the site.

Laoyuting Pavilion stands at the edge of a lake as a permanent threshold to a wetland

the modular logic of the Laoyuting Pavilion

Atelier Deshaus composes its Laoyuting Pavilion as an array of repeated modules that combine six columns with flat or sloped steel plates. As modules overlap, some columns are removed, and loads shift to short, thin elements that rise between roof plates. This produces varying densities of vertical supports and a spatial rhythm that feels carefully calibrated. Ninety-three cantilevered steel columns meet the ground, while an additional network of smaller round bars supports the upper layers of the roof.

These structural decisions give the pavilion a measured lightness. Atelier Deshaus explores the relationship between trees and columns so that the project might echo the earliest forms of shelter through a contemporary lens. This way, the space gives visitors a place to pause within the filtered light of the roof and the ambient sounds of the wetland.

Atelier Deshaus organizes the pavilion as a field of slender steel columns

fragmented roof plates filter daylight and shape a calm, shaded interior

prefabricated components reduce disturbance to the sensitive wetland terrain

structural modules overlap to create varied densities of vertical elements

micro foundations lift each column above the ground surface

two gentle paths extend from the interior toward deeper areas of the park

project info:

name: Laoyuting Pavilion

architect: Atelier Deshaus | @atelierdeshaus

location: Dianchi Laoyu River Wetland Park, Kunming, Yunnan Province, China

design team: Liu Yichun, Shi Yujie, Ji Hongliang
collaborator: Zhang Zhun, Pan Jun (AND Office); RoboticPlus

photography: © WangCe

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GOA (Group of Architects) completes the Earth Valley Theater in Yixing, Jiangsu, China, a rare performance venue conceived as a shared system for birds and people. Built for Dancing with the Birds, a Sino-French ecological narrative show directed by Fan Yue, the 9,200-square-meter open-air theater sinks into a valley at the edge of Yaohu Town and treats architecture, landscape, avian behavior, and performance as a single intertwined project. ‘The Earth Valley Theater is an adventure of humans, nature, and the mind,’ says lead architect Xu Qi. ‘Space is no longer a shelter, but a question: how far are we from nature, and how close are we to ourselves?’

Materiality carries symbolic weight in Yixing, a region known for its pottery and situated near dense bamboo forests. GOA translated these two local elements, clay and bamboo, into contemporary, weather-resistant architectural forms. For the ‘clay’ volumes shaping the land-art geometry, carved concrete was CNC-processed to control its massing before craftsmen sculpted the surfaces by hand on site. ‘Bamboo’ appears in the central stage installation and in the aviaries’ facades. Instead of natural fiber, the team used high-density polyethylene to simulate woven bamboo textures, combining components in three tones to form softly mottled surfaces.

The sloped audience terrain hides a network of cast-in drainage channels that merge with the valley’s natural flood pathways. The sculpted ‘clay’ landforms contain cavities for acoustic equipment supporting the multimedia effects of the show. For efficiency and precision, the aviaries use prefabricated light-steel components combined from three standardized panel types.

all images © CHEN Xi Studio

Earth Valley Theater: architecture as land art

The design began with the topography of the site, a soft, branching valley that shaped the form of the theater long before any structure appeared. Instead of placing mass above ground, the Chinese architects at GOA let the building dissolve into the terrain, using the slopes as a natural container. A stepped plinth faces the road and concentrates the public program, creating a visual barrier between everyday life and the immersive environment beyond. Passing through one of three entrance halls, visitors leave the town behind and enter a space that functions almost as a constructed dreamscape for the performance.

Behind the plinth, the 2,000-seat auditorium opens toward the surrounding hills. The team aimed to use as much level ground as possible, allowing the edges of the theater to trace the land’s natural contours. Once the show begins, the hills, already part of the birds’ familiar environment, double as the theatrical backdrop. A second, perpendicular valley is given over to the aviaries, where quieter terrain creates a sheltered corridor from which flocks of white storks emerge at the climactic moment of the performance.

GOA completes the Earth Valley Theater in China

designing from the performers’ point of view

Because birds are the lead performers, Earth Valley Theater required a type of planning, unfamiliar to most theater architecture, that begins with flight paths, species-specific habits, and sensory thresholds. Avian consultants guided the process from the outset. Birds travel from their aviaries to ‘zero-level’ boxes above the auditorium before sweeping across the open space, sometimes gliding just above visitors’ heads. To achieve this, seating slopes and height differences were calibrated with precision, balancing immersion with safety and comfort for both species.

This bird-oriented design extended into the micro-scale. Dot stickers applied to glass prevent collisions. Thermally treated timber lines the aviaries to avoid paint toxicity while remaining durable outdoors. Ground gravel, mesh size, and enclosure partitions vary by species, reflecting differences in body size and behavior. 

The studio’s multidisciplinary team participated continuously from concept to fabrication, aligning technical systems with performance needs.

a rare performance venue conceived as a shared system for birds and people

built for a Sino-French ecological narrative show directed by Fan Yue

the 9,200-square-meter open-air theater sinks into a valley at the edge of Yaohu Town

architecture, landscape, avian behavior, and performance become a single intertwined project

the team used high-density polyethylene to simulate woven bamboo textures

GOA translates clay and bamboo into weather-resistant architectural forms

the sloped audience terrain hides a network of cast-in drainage channels

the ‘clay’ volumes shape the land-art geometry

craftsmen sculpted the surfaces by hand on site

GOA let the building dissolve into the terrain

creating a visual barrier between everyday life and the immersive environment beyond

visitors leave the town behind and enter a space that functions almost as a constructed dreamscape

carved concrete was CNC-processed to control its massing

project info:

name: The Earth Valley Theater

architects: GOA (Group of Architects) | @goa_arch_design

location: Yixing, Wuxi, Jiangsu Province, China

client: Jiangsu Mingling Yaohu Town Tourism Co., Ltd.

floor area: 9,200 square meters

director (dancing with the birds): Yueshang Studio

acoustic consultant: EZPro

environmental visual consultant: ToThree

aviary management: Puy du Fou

photographer: CHEN Xi Studio

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The Xinchang Globular Center in Zhejiang Province, China, designed by Dr. Zhu Peidong and the team at line+ studio, has been completed and opened to the public. As one of the province’s key ‘4+1’ major projects, the facility is conceived not only as a conventional event-driven stadium but as a mixed-use ‘sports mall’ that combines athletic, commercial, and public programs within a single operational framework. The building meets professional standards for international competitions while functioning as a year-round activity center for local residents.

Positioned along Xinchang’s northern development axis near the new high-speed rail station, the project occupies a site previously reserved for infrastructure and surrounded by former industrial buildings. The design reactivates this area by introducing a 120,000 sqm complex that supports both professional events and daily community use. Given the scale of the project, comparable to major-city sports venues, the design strategy extends beyond hosting competitions to establishing a sustainable operational model for the city.

The ‘sports mall’ model addresses common challenges in venue utilization, particularly in county-level cities where irregular event cycles can lead to high operating pressures. The design integrates dining, retail, entertainment, hospitality, and exhibition functions around sports as the primary program. This allows the facility to support large-scale events while maintaining consistent foot traffic and public engagement throughout the day.

all images by Chen Xi Studio, line+

Functional stacking and flexible planning define the layout

The architectural team at line+ studio organized the spatial layout following three interconnected principles. First, the design prioritizes normalization, ensuring that spaces support daily fitness, leisure, and regular public use rather than relying solely on major events. This is reinforced by a functional mix in which commercial and social programs complement athletic facilities and address gaps in the surrounding urban amenities. Finally, these strategies enable a high degree of operational flexibility, allowing the building to shift between professional competitions, large public events, performances, and everyday civic activities.

The compact site required dense functional stacking. The facility includes a 5,000-seat gymnasium, multiple small-ball training halls, commercial spaces, a ballroom, and a 19-story athlete hotel. A new vehicular ramp links the national highway directly to the site, while internal circulation separates hotel, logistics, event, and public flows. The main public arrival zone on the north connects directly to the gymnasium, training halls, and plaza; the hotel occupies the quieter south edge facing the river. Five major volumes, the main gymnasium, small-ball halls, training halls, and hotel, are connected by a central atrium functioning as an interior urban street. Retail and dining elements line this axis, linking the north and south entries and ensuring consistent activity.

Because different sports demand distinct, clear heights and floor layouts, the design adopts an ‘elastic grid’ system that enables each hall to be reconfigured for multiple event types. The main gymnasium, measuring roughly 16,000 sqm, can transform to host 12 badminton courts, three basketball courts, 14 table tennis courts, or a single tennis court, and includes 5,000 retractable seats. The 7,900-sqm training hall accommodates 24 badminton courts or two tennis courts and incorporates a basement-level gym and four-lane pool. A dedicated 6,100-square-meter table tennis hall offers dual-height spaces suitable for both table tennis and badminton training. Tying the entire complex together, a continuous rooftop spans all volumes and is programmed with a soccer field, running track, and viewing platform, remaining accessible at all hours through a network of external ramps.

Xinchang Globular Center introduces a mixed-use ‘sports mall’ model in Zhejiang Province

Landscape-Inspired Architecture Anchors Xinchang’s Sports Hub

The architectural expression references the landscape character of the region, drawing from mountain contours and water movement. A continuous massing strategy and horizontal rhythm define the waterfront interface, while the hotel tower forms a new vertical marker on the city’s northern skyline. Perforated aluminum panels and metal grilles generate varied light conditions by day and create an illuminated presence at night. Large-span trusses and a frame-core-tube structural system allow flexible interior volumes while maintaining construction efficiency. The main gymnasium spans 75.9 meters; training halls span 30–36.5 meters, depending on program requirements.

Since opening, the Xinchang Globular Center has hosted major domestic competitions, including the China Badminton Masters and National Table Tennis Championships, and will host an international snooker event in 2025. The center supports a regular schedule of weekly and monthly events, with attendance surpassing 220,000 and significant economic impact reported. By combining sports, leisure, and commercial functions under one roof, the project operates as a continuous urban system rather than an event-specific venue. It demonstrates a scalable model for cities seeking to integrate competitive sports infrastructure with broader urban development goals.

positioned near Xinchang’s high-speed rail station, the project activates a former industrial zone

the rooftop hosts a soccer field, running track, and viewing platform

flexible programming enables smooth transitions between competitions and civic events

dense functional stacking accommodates athletic halls, commercial areas, and a hotel

commercial and social amenities fill gaps in the surrounding urban fabric

the architectural form references local mountain contours and flowing water

perforated panels create shifting daylight patterns and a luminous night presence

large-span structures support flexible interior volumes across the complex

the center hosts major national competitions and contributes to local economic growth

project info:

name: Xinchang Globular Center

architect: line+ studio | @lineplus_studio

location: Xinchang, Shaoxing, Zhejiang Province, China
gross floor area: 121,132 sqm

chief architect/project principal: Zhu Peidong

conceptual/competition phase project leader: Xing Mingquan
conceptual/competition phase design team: Bao Wangtao, Liang Shiqiu, Zhou Wenyu, Liu Xiangjun, Sun Jiahao
competition/implementation phase project leader: Hu Runzhi, Xing Mingquan
competition/implementation phase design team: Bian Qian, Zhao Censen, Bao Wangtao, Duan Xiajing, Xu Zifeng, Zhang Daozheng, Tao Xufeng, Guo Zhenghao
interior conceptual design team: Jin Yuting, Ye Xin, Yu Jun, Zheng Liu, Zhu Yingyue, Mao Ling
landscape conceptual design team: Li Shangyang, Rao Feier
client: Xinchang Public Service Group Co., Ltd.
collaborating design institute: Huahui Engineering Design Group Co., Ltd.
curtain wall design: Zhongnan Curtain Wall

photographer: Chen Xi Studio | @xichen_photo, line+

The post line+’s sports mall draws from waterflow and mountainous contours in china appeared first on designboom | architecture & design magazine.

FAR Workshop’s Folio Bridge in Huzhou, China, draws its concept from the structural behaviour of a folded sheet of A4 paper. The project examines how a simple crease can reinforce a lightweight material while retaining its inherent thinness and visual delicacy. After testing multiple folding configurations, the design team focused on a single-crease strategy to achieve the required span. The bridge form was defined by fitting three construction curves and one construction point to the crease line. Working closely with Zhang Zhun’s Structural Research Institute, the team iteratively adjusted the curvature of these lines and the position of the construction point to optimise force distribution across the structure.

Because the resulting form created a steeply sloped bridge surface, the design no longer accommodated direct pedestrian circulation along the primary structure. Instead, the curved surface was treated as a landscape-like element. A narrow elevated path was introduced, allowing users to cross the bridge as if traversing a mountain ridge, contrasting the bridge’s substantial presence with its paper-inspired thinness.

all images by ©Biosphere unless stated otherwise

FAR Workshop’s elevated steel path curves like a mountain ridge

To minimise the visual impact of this secondary circulation element, FAR Workshop’s design team constructed the path from slender, high-strength threaded steel bars, used consistently for the support, treads, and handrail. This single-material approach maintains the clarity of the overall form. The bridge spans 15.825 meters. Given the complexity of its curved geometry, the construction team produced a full positioning frame based on sectional drawings. The bridge was fabricated from multiple steel plates, each with a distinct curvature, manually bent and adjusted using a press machine. These components were then spatially positioned within the frame and welded into a single continuous structure, followed by installation of the steel-bar pathway.

The project explores the spatial experience generated by an extreme structural gesture, folding a thin ‘sheet’ into a substantial architectural volume and introducing a narrow path across it. The contrast between mass and lightness defines the bridge’s visual identity and shapes the way users perceive and inhabit the structure.

Folio Bridge takes its concept from the fold of an A4 sheet

the design studies how a single crease can create structural strength

a thin, paper-like form becomes a load-bearing span

three construction curves and one control point define the bridge geometry

the main structure is treated as a landscape element rather than a walkway

a narrow elevated path follows the curve like a mountain ridge

a single-material strategy preserves visual clarity

the design transforms a folded ‘sheet’ into a substantial architectural volume

the walkway contrasts with the thin, folded form beneath it

threaded steel bars form the support, steps, and handrail of the path

mass and lightness are juxtaposed through form and material

project info:

name: Folio Bridge
architect: Far Workshop
location: Huzhou, China

lead architects: Mangyuan Wang
design team: Mangyuan Wang, Yang Yang, Rui Li
structure designer: Zhun Zhang, Chongchong Zhang, Xiaojie Hu
project planning: urbaneer
design manager: ConCom

photographer: Biosphere

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 paper folding informs folio bridge’s steel span over water path in china appeared first on designboom | architecture & design magazine.