The Hushan Sports Park Swimming Center in Jiangshan, China, designed by LYCS Architecture, introduces the city’s first professional-grade facility capable of hosting national Class B swimming competitions. With a floor area of 14,244 sqm, the project integrates a competition pool and a training pool, serving both professional events and daily public use. Located at the foot of Hushan (Tiger Mountain) and facing Jiangshan Port, the center forms part of a broader sports infrastructure that includes a 4,000-seat gymnasium and a 3,000-seat stadium. Together, these elements establish a ‘one stadium, two arenas’ system that positions Jiangshan as the first county-level city in Quzhou to achieve this benchmark in public sports development.

The design takes inspiration from the city’s cultural and geographic context, using the theme of ‘river and mountain’ to inform its architectural language. The form responds to the surrounding terrain with fluid, undulating surfaces, while its spatial program combines competition facilities with civic functions. The preserved base includes a lobby, auditorium, and rooftop garden, reinforcing the building’s role as a public anchor. The center houses two 50-meter pools: an eight-lane competition pool and a six-lane training pool, each with a depth of two meters. Circulation is organized through a dual-ground-level system, separating athletes and spectators during daily use and further dividing audiences, athletes, media, and VIPs during competitions. This approach optimizes operational efficiency and user experience.

all images by Shan-Jian images unless stated otherwise

Parametric Facade Defines Hushan Sports Park Swimming Center

The building’s massing avoids symmetrical composition, instead employing transitions between horizontal, sloped, and vertical surfaces. A continuous roof structure links the two primary halls, creating a semi-open interstitial space that functions as a public threshold. The main spectator entrance is marked by an inward-folding roof form and elevated platform, emphasizing the arrival sequence and expanding opportunities for public gathering. Externally, the facade is composed of 2,943 uniquely fabricated metal panels arranged in a ‘scaly’ system. Each folded plate interacts with light and shadow to produce a dynamic surface, referencing flowing water and mountainous terrain. Parametric modeling guided the design and fabrication process, enabling digital-to-construction workflows from geometry coding to modular on-site assembly.

Inside, the exposed roof trusses span up to 48 meters, expressing structural logic and scale. Walls and ceilings use modular finishes, colored metal panels, and perforated surfaces to create a functional yet identifiable environment. Retractable partitions allow spatial flexibility, supporting both competition requirements and community activities. The design team at LYCS Architecture considers the project as both a sports facility and a civic space. By integrating competition infrastructure, educational amenities, and public functions, the swimming center establishes a framework for multifunctional development in mid-sized cities. Its architectural expression aligns closely with the surrounding landscape while addressing contemporary demands for adaptability, efficiency, and cultural resonance.

Hushan Sports Park Swimming Center introduces Jiangshan’s first national-standard swimming facility

the architectural form takes inspiration from the themes of river and mountain

fluid and undulating surfaces respond to the surrounding terrain

folded plates catch light and shadow, recalling water and terrain

the building massing avoids symmetry, favoring dynamic transitions

the inward-folding roof highlights the main spectator entrance

the center houses both a competition pool and a training pool | image by Zhang Jianjun

the competition pool measures 50 meters with eight lanes

dual-ground-level circulation separates athletes and spectators | image by LYCS Architecture

the swimming pool area features a modular ‘pixelated’ wall surface

a continuous roof structure links the two main halls

the scale-like roof illuminates at night atop the curtain wall

project info:

name: Hushan Sports Park Swimming Center
architect: LYCS Architecture | @lycsarchitecture
location: Jiangshan, China

photographer: Shan-Jian images, Zhang Jianjun, LYCS Architecture

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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Turin-based engineering firm Leva has developed a large-scale kinetic face installation for L’Épée du Roi Arthur, one of the performances at France’s Puy du Fou historical theme park. The permanent outdoor structure takes the form of a moving face, integrated into a tower, which animates during the show to represent the sorceress Morgane.

The installation combines mechanical precision with theatrical staging. Measuring 12 sqm, the sculpture is composed of 206 custom-designed modules, each driven by a linear actuator with a 70-cm travel range. These elements work together to create a continuously moving surface capable of fluid, lifelike expression while remaining durable under outdoor performance conditions.

all images courtesy of Leva

kinetic face demonstrates the role of motion in stage design

At the core of the project is Leva’s proprietary motion control system, which synchronizes the movements of every actuator. This allows the face to perform nuanced gestures and shifts that integrate into the show’s narrative. The design team optimized the arrangement of modules to maximize visual resolution, ensuring the sculpture’s geometry remains clear and legible from audience viewing distances.

The material and structural strategies emphasize both efficiency and long-term operability. Maintenance requirements were considered during the design phase, with modular construction simplifying future adjustments. The result is a dynamic wall sculpture that merges engineering with performance design, enhancing the immersive qualities of the Arthurian story. Leva’s kinetic face installation at Puy du Fou extends the company’s portfolio of large-scale kinetic works. Previous projects include the world’s largest kinetic wall for Aramco’s VIP innovation center and an interactive tunnel inspired by desert dunes in Diriyah, Saudi Arabia.

Leva designs a kinetic face for Puy du Fou’s L’Épée du Roi Arthur

the moving sculpture represents the sorceress Morgane on stage

a 12-square-meter surface animates within a stone tower

the installation merges engineering precision with live performance

206 custom modules form the expressive moving face

together, the modules create lifelike and fluid motion

optimized module layout ensures visual resolution and clarity

the kinetic face integrates into the show’s narrative

the dynamic sculpture enhances immersion in the Arthurian story

project info:

name: Kinetic Face
designer-engineer: Leva | @leva.io

location: Puy Du Fou, Les Epesses, France

client: Puy Du Fou

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In the heart of the Aegean, on the island of Leros, Greece, The Monk by a+ architects emerges as a sanctuary that redefines the meaning of hospitality through architectural simplicity and an atmosphere of serenity. The residence, carefully revived with respect for local tradition, blends elements of island modernism with clean, minimalist lines.

The interiors follow a restrained aesthetic, where white light, natural textures, and linen fabrics highlight the essence of the place: authenticity, calmness, and timelessness. The choice of materials, stone, wood, linen, and handcrafted objects, serves as a bridge between the island’s environment and a universal language of contemporary design. The space conveys a sense of ‘monastic’ simplicity, translated into a form of luxury that is rooted in experience rather than display.

all images by Vice Versa Photography

The Monk Blends Island Tradition with Contemporary Design

The architecture of The Monk is not just a shelter; it is a narrative. A story of light shifting through the day, of tactile sensations unfolding in linen, of silence embracing the guest. A house that reflects the dialogue between the island’s history and today’s quest for depth and essence. The design team at a+ architects considers The Monk as not a hotel, but a living organism of hospitality, an experience shaped by space and detail, ultimately leaving guests with the feeling of having stayed in a house with a soul.

a distinct bright blue color defines the exterior

The Monk by a+ architects stands on the island of Leros

island modernism is blended with minimalist lines

respectful revival of local tradition

white light enhances natural textures

linen fabrics emphasize authenticity and timelessness

stone, wood, and linen connect design to landscape

handcrafted objects anchor the space in tradition

monastic simplicity redefined as experiential luxury

a dialogue between island history and contemporary design

a house with the essence of soul and memory

project info:

name: The Monk Leros
architects: a+ architects | @alta_plus_architects

lead architect: Ioannis Zacharakis

location: Leros, Greece

photographer: Vice Versa Photography | @viceversa.gr

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Located in Dongnan Village near Shaxi Old Town in Dali, Yunnan, China, No. 8 House is a residential project by Xian Architects. The design engages with the region’s historic context, where traditional Bai settlements and community rituals continue to shape everyday life. The house references the Kuige Stage in nearby Sideng Street, a historic wooden structure with expansive eaves that define its spatial character. Drawing from this precedent, the architects introduced curving eaves on the residence’s terraces, corridors, and rooftop parapets. These elements provide shade in Dali’s sunlit basin while establishing a visual dialogue with the local architectural heritage.

The spatial organization is centered on a series of courtyards and sky-well volumes. Two vertical towers, a Sundial Tower and a Book Tower, anchor the composition, functioning as contemporary interpretations of traditional sky-wells that bring natural light, wind, and rain into the interior. These voids, combined with the house’s upturned eaves and open courtyards, create a dynamic interplay of shadow, air, and weather, integrating the rhythms of the environment into daily living.

all images by Liu Guowei, Xia Zhi

Open courtyards invite wind, rain, and shadow into daily routine

The ground-level courtyard connects the main living spaces, which include a living room, dining area, yoga and meditation room, master suite, and six guest rooms. The rear garden accommodates functional and recreational spaces such as storage, a wine cellar, a drying area, a woodworking workshop, and an outdoor campsite. Xian Architects’ team follows material and formal strategies that emphasize continuity between interior and exterior. The layout frames transitional conditions between open and enclosed zones, supporting both collective and individual activities. The design focuses on orchestrating relationships between time, space, and atmosphere, where architecture acts as a medium to engage with the surrounding landscape and climate.

Through its combination of sky-wells, courtyards, and shading elements, No. 8 House explores how architecture can mediate between traditional typologies and contemporary living requirements. The project reflects a design approach rooted in everyday life while situating the residence within a broader cultural and environmental continuum.

No. 8 House by Xian Architects stands in Dongnan Village near Shaxi Old Town

the residence engages with the historic traditions of Bai settlements

curved eaves reference the Kuige Stage in nearby Sideng Street

courtyards and sky-well volumes structure the organization of the house

expansive overhangs provide shade in Dali’s bright, highland basin

the Sundial Tower acts as a vertical sky-well for light and air

a Book Tower introduces natural elements into the interior spaces

natural light and ventilation shape the atmosphere of the interiors

design strategies mediate between tradition and contemporary living

No. 8 House reflects everyday life within a cultural and environmental continuum

project info:

name: No. 8 House in Dongnan Village
architect: Xian Architects | @xian.architects

location: Shaxi, Dali, Yunnan, China

land area: 990 sqm

gross built area: 733 sqm

lead architects: Wang Yanshi, Bai He

design team: Dong Zhiyuan, Liu Yifeng, Zhou Mengzheng

engineering: Gao Xuemei

structural designer: Li Ping

photographers: Liu Guowei, Xia Zhi

video: Liu Guowei

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 Madrid, ACCIONA and the Museo del Prado unveil ART MASTERS: A Virtual Reality Experience, a pioneering project merging classical art with immersive technology. The exhibition is redefining how the world encounters classical art, using cutting-edge virtual reality to bring five of the museum’s most celebrated masterpieces to life. Visitors step inside Velázquez’s Las Meninas, Bosch’s The Garden of Earthly Delights, Veronese’s Venus and Adonis, Brueghel and Rubens’s The Sense of Sight, and Goya’s Witches’ Sabbath, exploring them in ways never before possible. For the first time in the Prado’s history, works that have never, and will never, leave its walls are reaching global audiences through an immersive, narrative-driven experience.

Since its international debut, ART MASTERS has captivated audiences in two major cities. In Shanghai, where it opened on July 4, 2026, the exhibition drew over 10,000 visitors in just a few months – its run extended due to overwhelming public demand. In Buenos Aires, the experience launched on September 4 and will continue until December 4, already attracting more than 8,600 attendees. These milestones mark the beginning of a global journey, with new cities soon to be revealed, building anticipation for audiences eager to step inside the Prado’s masterpieces.

ACCIONA creates virtual reality experience with Prado Museum masterpieces | all images courtesy of ACCIONA 

ART MASTERS: A Virtual Reality Experience

ACCIONA’s initiative responds to a pressing question for museums in the digital age: how can a classical art institution evolve in a world dominated by entertainment, gaming, and immersive technology? By combining Museum Prado’s artistic treasures with the latest advances in artificial intelligence and virtual reality, the company‘s experience introduces a visual, interactive and deeply engaging kind of storytelling.

Curated under the direction of Alejandro Vergara, head of Conservation of Flemish Painting and Northern Schools at the Prado, ART MASTERS demonstrates how innovation can enhance cultural storytelling without replacing the physical museum experience. The experience blends artistic heritage with immersive media, appealing both to seasoned museum-goers and to new audiences familiar with gaming, film, and interactive design.

through ART MASTERS, visitors interact with some of the most representative works of the Prado Museum’s collection through virtual reality glasses

the museum guard takes visitors into imagined and real rooms

Unlike traditional tours, this immersive experience turns the visitor into a participant rather than a spectator. At the heart of ART MASTERS lies a powerful story: a fictional museum guard, on his last day of work, leads visitors through an imaginative 35-minute journey across real and dreamlike spaces. Doors creak open onto Bosch’s surreal landscapes, shadowy corridors lead to Goya’s haunted visions, and elevators rise toward Velázquez’s royal court. Each scene blends meticulous academic research with theatrical staging, sound design, and three-dimensional storytelling. Instead of standing before static canvases, visitors unlock secret passageways, interact with characters, and witness paintings transform into cinematic worlds unfolding around them.

Each painting is reinterpreted through narrative and technology while preserving its historical and artistic integrity. Visitors begin with the luminous The Sense of Sight (1617) by Brueghel and Rubens, before entering Las Meninas (1656), where the Infanta Margarita and her court seem to meet the viewer’s gaze. They then move into the mythological drama of Veronese’s Venus and Adonis (c. 1580), descend into the unsettling world of Goya’s Witches’ Sabbath (1820–23), and finally emerge into Bosch’s The Garden of Earthly Delights (1490–1500), a realm where paradises and nightmares come vividly to life.

through the headset, doors creak open onto Bosch’s surreal landscapes

the exhibition blends three-dimensional surroundings with an immersive narrative

ART MASTERS brings the paintings and their characters to life, allowing a deeper connection with their symbolism and meaning

visitors can also witness the mythological drama of Veronese’s Venus and Adonis

the exhibition is laid out by the academic curatorship of Alejandro Vergara, head of Conservation of Flemish Painting and Northern Schools at the Prado Museum

here, two physical spaces frame the virtual reality experience

ART MASTERS uses original material from the museum, guaranteeing maximum fidelity and quality in the representation of its valuable collection

project info:

name: ART MASTERS: A Virtual Reality Experience

company: ACCIONA | @accionacultura

partner: Museo Nacional del Prado | @museoprado

The post ACCIONA brings art masterpieces to life with interactive VR museum tour appeared first on designboom | architecture & design magazine.

Croatian furniture brand Prostoria has launched BONDS, a documentary-style film series exploring the people, ideas, and relationships shaping its creative world. Conceived in collaboration with emerging filmmakers, BONDS weaves together three episodes into a cohesive portrait of design as a collaborative, human-centered practice. Through personal stories, architectural ambition, and a commitment to craft, the series invites viewers to see furniture not as static objects, but as silent witnesses to life’s moments — and as connectors between people, places, and ideas.

with its film series BONDS, Prostoria explores the deep connections that surround furniture | image © Domagoj Blazevic, all images courtesy of Prostoria

each episode reveals how design extends beyond objects

The series features ‘BONDS with Polygon,’ ‘BONDS with MVA Architects,’ and ‘BONDS Manu – A House in Harmony with Nature,’ where each of the three episodes blends documentary storytelling with a cinematic aesthetic, reflecting Prostoria’s design ethos: functional yet emotionally resonant. By featuring voices from diverse disciplines, BONDS reveals how design extends beyond objects to form connections between people, places, and ideas. It underscores the collaborative spirit behind Prostoria’s collections while offering audiences a rare glimpse into the creative processes usually hidden from view.

the BONDS films reveal the trust and collaboration between architects and Prostoria

episode 1: BONDS WITH POLYGON

Each episode focuses on a different aspect of design, building a mosaic of voices connected by shared values of innovation, craftsmanship, and human connection. With Episode 1, ‘BONDS with Polygon,’ the series opens in Zagreb with celebrated creative director Davor Bruketa, co-founder of Bruketa&Žinić&Grey, who invites viewers into his home to explore his personal connection to design. At the center of his living room for over a decade is the Polygon easy chair, one of Prostoria’s most iconic pieces. Known for its striking geometry and comfort, Polygon has witnessed everyday life unfold — from quiet moments of reading to lively family gatherings.

The film gains emotional depth as Bruketa recounts how the chair was damaged during the 2020 Zagreb earthquake and later fully restored by Prostoria, a gesture that underscored the brand’s dedication to lasting quality and care. The episode captures how furniture can transcend functionality to become part of life’s narrative, carrying with it memories, emotions, and meaning.

Prostoria launches its debut episode of the BONDS video series with celebrated creative director Davor Bruketa, offering a glimpse into how design becomes woven into everyday life | image © Domagoj Blazevic

in his Zagreb home, Bruketa (co-founder of Bruketa&Žinić&Grey) describes his living space as an ongoing creative experiment | image © Domagoj Blazevic

episode 2: Manu – A House in Harmony with Nature

Set on the island of Vis, Croatia, the Episode 2 ‘Manu – A House in Harmony with Nature’  transports viewers to House Manu, a modern Mediterranean retreat designed by Biro Luksic for entrepreneur Zoran Sainovic. Perched in the hills above the island Vis in the Adriatic, the house balances privacy and openness, seamlessly merging indoor and outdoor living through architecture that embraces the local climate and landscape.

Prostoria’s furniture shapes the experience of this home: the Echo sofa and armchair create a serene living area, the Monk dining table and Bik chairs bring intimacy to shared meals, while the Osmo and Jugo outdoor pieces extend comfort into the natural surroundings. For Sainovic, the house represents more than shelter — it embodies a lifestyle where architecture, nature, and furniture coexist in quiet harmony. 

titled ‘Manu – A House in Harmony with Nature,’ the second episode explores the quiet elegance of House Manu on the island of Vis and the life of entrepreneur Zoran Sainovic | image © Maja Danica Pecanic

in this Mediterranean retreat designed by Biro Luksic, Prostoria’s furniture flow through the spaces with equal ease | image © Maja Danica Pecanic

episode 3: BONDS with MVA Architects

Episode 3 is titled ‘BONDS with MVA Architects’ and explores Prostoria’s collaboration with MVA Architects, led by Mikelic & Vres in Zagreb. Over the years, the architects have integrated Prostoria furniture into numerous projects, including the MDK, production and business facility, a landmark office building in Croatia. The film captures the synergy between architecture and design as the architects reflect on shared values: mid-20th-century modernist inspiration, simplicity, functionality, and an appreciation for materials. Their partnership with Prostoria exemplifies how thoughtful furniture can complement and elevate architectural space, creating environments that feel both contemporary and timeless.

‘We share the same passion for good design and quality. In our work, we often look for inspiration in mid-20th-century modernism – the 1950s and 1960s. Prostoria and we share values like simplicity, functionality, abstraction, and an approach how to treat materials, both in design and the creative process,’ explains Mikelic & Vres (MVA) Architects from Zagreb.

Episode 3 explores their relationship with Prostoria’s design through the MDK, production and business facility project | image © Jure Zivkovic

Prostoria’s designs complement the distinguished architecture of MDK’s Horizontal HQ, a building that has become a landmark of Croatian architecture

Prostoria’s designs complement the distinguished architecture of MDK’s Horizontal HQ, a building that has become a landmark of Croatian architecture | image © Jure Zivkovic

project info:

name: BONDS

brand: Prostoria | @prostoria

video creation: Oda Communications | @odacommunications

episode 1: Bonds with Polygon

episode 2: Manu – A House in Harmony with Nature
episode 3: BONDS with MVA Architects

location: Croatia

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At the recent AVEDA Congress runway show, designer and creative director Dany Vo introduced a stage environment shaped by motion graphics, typography, and visual storytelling. Acting as creative lead, Vo developed a motion-driven backdrop that interacted directly with the choreography, transforming the runway into a spatial narrative rather than a static presentation.

The visuals, composed of shifting typography and organic graphic forms, were synchronized with the movement of models and garments. This created an evolving atmosphere in which design elements mirrored the themes of the showcased collection, blending references to nature with futuristic forms. The result was a stage concept that redefined the relationship between fashion and graphic design, positioning motion and typography as integral components of the runway experience.

all images courtesy of Dany Vo

Dany Vo explores the convergence of fashion and graphic design

Dany Vo is a multidisciplinary designer working across illustration, fine art, motion, and branding. Born in Vietnam, raised in Antigua, and now based in New York, he has worked with studios such as Design Army, Hatch Design, and FutureBrand. His portfolio includes branding projects for Apple, PepsiCo, Campbell’s Soup, The Ritz-Carlton, and PwC’s 2025 global rebranding. He has received GDUSA Awards, multiple Graphis honors, and five London Design Awards in 2025, with features in IDN Magazine and other design publications.

The AVEDA Congress project illustrates how Vo applies principles of motion, typography, and storytelling to a live performance environment. By embedding graphic design directly into stage architecture, the show expanded the possibilities for runway presentations and highlighted the growing convergence of fashion, media, and design.

Dany Vo designed a stage environment shaped by motion graphics and typography

the AVEDA Congress runway became a space for visual storytelling

the runway was transformed into a spatial narrative

shifting typography mirrored the movement of models and garments

motion-driven backdrops interacted directly with choreography

organic graphic forms created a dynamic stage atmosphere

visual elements blended references to nature with futuristic design

Dany Vo is a multidisciplinary designer across illustration, fine art, motion, and branding

project info:

name: AVEDA congress: ALLEN X NAAT show
designer: Dany Vo | @dany_vo_

client: AVEDA’s artistic team

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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Archermit presents the Nujiang River 72 Turns Canyon Scenic Area in Tibet, an infrastructure that translates the peril and grandeur of the Sichuan–Tibet Highway into a visitor experience. Completed after six years of high-altitude construction, the project is located in Buze Village, Baxoi County, along the G318 Highway. It centers on a dramatic glass viewing platform cantilevered 37 meters from a cliff face above the Nujiang Grand Canyon, echoing the legendary hairpin bends of the ‘devil’s road’, the 72 turns of Nujiang.

The main structure of the project reimagines the infamous road’s serpentine layout as a walkable loop suspended 130 meters over the canyon. Its floor of ultra-clear laminated glass offers views into the abyss, while the red weathering steel cladding references Tibetan cultural colors and mirrors the rugged textures of the landscape. This precarious position transforms the driving ordeal of the 72 turns into a ‘heavenly road’ in the air that demands visitors measure danger with their own bodies.

images by Arch-exist, unless stated otherwise

Channeling the highway’s construction legacy

The Chengdu-based team of Archermit suspends a glass bridge 50 meters above the Nujiang River, recalling the old steel bridge once feared by truck drivers and guarded for single-file crossings. Other installations include a zip line, the ‘thrilling steps’ bridge, and a 666-step ladder carved into the cliffs that reinterpret the methods and hardships of the highway’s builders, who in the 1950s faced landslides, hand-built cableways, and unstable geology with limited tools. 

Constructing the site itself became an act of endurance. Perched at 2,800 meters, the canyon offered little flat ground, narrow roads, frequent rockfalls, and relentless valley winds. Machinery longer than 13 meters could not be delivered, forcing the Chinese architects to develop customized drill bits to cut through the canyon’s variable rock layers. Thirty-nine piles for the viewing platform’s foundations were drilled manually, with workers secured by ropes as they chipped away rock 25 meters deep. Steel components were divided into 46 transportable sections and lifted across the river by a system of temporary cableways, echoing the highway’s original construction methods.

The project positions itself as a new waypoint on G318, China’s scenic avenue to Lhasa, adding to nearby landmarks such as Ranwu Lake and Laigu Glacier. 

Archermit presents the Nujiang River 72 Turns Canyon Scenic Area in Tibet

the infrastructure translates the peril and grandeur of the Sichuan–Tibet Highway into a visitor experience

completed after six years of high-altitude construction

a glass viewing platform cantilevers 37 meters from a cliff face | image by Chill Shine

echoing the hairpin bends of the 72 turns of Nujiang | image by Chill Shine

the canyon offered little flat ground, narrow roads, frequent rockfalls, and relentless valley winds

the project positions itself as a new waypoint on G318, China’s scenic avenue to Lhasa | image by Chill Shine

transforming the driving ordeal of the 72 turns into a ‘heavenly road’ in the air

demanding visitors measure danger with their own bodies | image by Chill Shine

Archermit suspends a glass bridge 50 meters above the Nujiang River | image by Chill Shine

other installations include a zip line, the ‘thrilling steps’ bridge, and a 666-step ladder carved into the cliffs

perched at 2,800 meters

steel components were divided into 46 transportable sections and lifted across the river

thirty-nine piles for the viewing platform’s foundations were drilled manually

project info:

name: Nujiang River 72 Turns Canyon Scenic Area

architect: Archermit | @archermit_architects

location: Buze Village, Baxoi County, Tibet Autonomous Region, China

photographers: Arch-Exist | @archexist, Chill Shine | @chillshinestudio

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waa (wearchitechanonymous) designs ERDOS Land, a 2,600-sqm factory store within the ERDOS headquarters complex on the outskirts of Ordos city, Inner Mongolia Autonomous Region. The project integrates retail, leisure, and tourism functions, housing all of the brand’s labels under one roof and accommodating up to 700 visitors per day during peak seasons. An additional 700 sqm of space supports a children’s play area, a café, and a tourist center.

The design approach is rooted in an exploration of how color shapes perception within spatial environments. Instead of modifying individual pigments, the project emphasizes the relationship between colors and their surroundings to shape perception. Pink surfaces and frames are selected to soften the retail environment and create optical vibrations that lighten the atmosphere while ensuring garments remain the focal point. A continuous pink ribbon-like rack runs through the space, doubling as a structural and organizational device: it supports task lighting for booths, provides wayfinding for visitors, and manages the visual scale of the merchandise.

all images courtesy of waa (wearchitechanonymous)

Looping shopping routes organize ERDOS Land factory store

Circulation guides the spatial organization by Studio waa (wearchitechanonymous). Four central islands structure the floor plan, allowing shopping routes to unfold as either a continuous loop or a set of interconnected figure-of-eight paths. Each island is dedicated to a specific garment type, including scarves, jumpers, accessories, and general wear. Along the perimeter, opposite booths host the brand’s five labels, separated by aggregate pillars that incorporate fitting rooms.

The children’s booth integrates play elements directly into the retail environment, with climbing structures, adapted garment rails, and feature chandeliers that double as supports. These devices extend the store’s broader emphasis on playfulness, embedding moments of interaction into the shopping experience. A seamless membrane ceiling unifies the entire space, controlling light levels, softening shadows, and enhancing garment displays. This contoured ceiling, combined with rhythmic lighting and carefully orchestrated color compositions, maintains visual clarity across the large-scale interior.

waa (wearchitechanonymous) completes ERDOS Land in Ordos

the factory store integrates retail, leisure, and tourism

the design explores how color shapes spatial perception

a pink ribbon-like rack runs through the store as a central device

optical effects create a lighter, more dynamic atmosphere

the children’s booth integrates climbing structures into retail

pink surfaces soften the retail environment and frame circulation

play devices embed moments of interaction within the store

color, circulation, and material strategies shape ERDOS Land’s design

a continuous membrane ceiling unifies the entire interior

project info:

name: ERDOS LAND
architect: waa (wearchitechanonymous) | @waa_wearchitechanonymous

location: Ordos, Inner Mongolia Autonomous Region

The post pink ribbon organizes retail display within factory store in inner mongolia appeared first on designboom | architecture & design magazine.

Atelier VRAC’s Temporary Installation at a Mountain River is presented during Făgăraș Fest on the Moașa Sebeșului River, a tributary of the Sebeș River in Romania’s Făgăraș Mountains. The installation consists of a precise circular structure set directly within the riverbed, framing the natural setting through architectural intervention while allowing the water to flow freely beneath. The circle establishes a geometric boundary, forming an outdoor ‘room’ that temporarily redefines the linear landscape of the river. This boundary is composed of slender vertical elements topped with solar light globes, accompanied by a suspended textile canopy that creates a light, permeable enclosure. The canopy lightly brushes against the vegetation on both banks, subtly incorporating the surrounding environment into the installation.

Access to the interior varies according to scale and movement: children pass beneath the fabric with ease, while adults must bend slightly to enter. Within, an angled pontoon is positioned off-center and is only reachable by stepping into the river. This element creates a pause in the flowing environment, offering a distinct moment of stillness and reflection within the temporary structure. The installation also integrates a narrow river crossing adjacent to the circular perimeter. A series of stepping stones is placed at stride-length intervals, encouraging deliberate movement between the festival’s camping area and the riverbank site. At night, the solar light globes provide minimal illumination, ensuring visibility while maintaining a subdued atmosphere.

the installation emerges among the riverbanks | all images by Cristian Bădescu, Zenaida Florea

Water flows freely beneath the Temporary textile Installation

Designed for Făgăraș Fest, organized by the Conservation Carpathia Association, the project by creative studio atelier VRAC reflects the festival’s dual purpose: to advocate for national park protection of the Făgăraș Mountains and to highlight the cultural potential of the local community. In a context where mountain streams face increasing pressures from micro-hydropower development, invasive construction, and unmanaged waste, the installation underscores the importance of maintaining the river landscape in an unaltered state.

Through its geometric clarity, lightweight materiality, and integration with natural flows, Temporary Installation at a Mountain River activates its site without altering it. The structure operates as both a spatial intervention and a reminder of the value of ecological preservation, positioning design as a tool for awareness and engagement within a fragile landscape.

the water flows freely beneath the structure

the installation frames a serene river view

a textile canopy forms a light, permeable enclosure

stepping stones encourage a deliberate, mindful passage

children can easily slip under the floating canopy

the circle creates a temporary outdoor ‘room’

the pontoon is accessible only by stepping into the river

a moment of stillness and reflection

vegetation gently brushes the fabric

feet meet the surface, stepping into the installation through the water

river’s stones keep the structure grounded

sunlight glimmers beneath the suspended canopy

the installation glows as night falls

solar globes provide minimal illumination

project info:

name: Temporary Installation at a Mountain River
architect: Atelier VRAC | @atelier.vrac

location: Sebeșu de Sus, Romania

design team: Cristian Bădescu, Zenaida Florea

commission: Conservation Carpathia

production & implementation: Hans Scherer, Sebastian Big, Oana Big

photographers: Cristian Bădescu, Zenaida Florea

video: Diana Ioana Bobeș

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