The Beach Temporary Theater is an 18-day outdoor installation designed by Re-Enchantment Design for Midsummer 2025, an annual cultural event that combines film, music, folk traditions, and contemporary art. Commissioned by KwanTeo, the project was developed as a temporary coastal space capable of accommodating multiple programs, including a theater, stage, exhibition area, and public garden.

The site is located along the coast of the Chaoshan region in Guangdong Province, China, an area characterized by distinct local customs, languages, and social practices. Since 2015, the surrounding area has undergone rapid transformation from farmland and villages into a resort-oriented development. Despite this shift, local villagers continue to access and use the beach daily, resulting in a shared environment occupied by residents, workers, and visitors. This condition informed the project’s aim to operate as a flexible public space that supports varied forms of use.

During preliminary field research, the design team identified a long-standing local construction method based on temporary bamboo sheds traditionally used for ceremonies such as weddings and funerals. These structures are lightweight, adaptable to coastal climate conditions, and designed for repeated assembly and reuse. Based on these findings, the project adopted bamboo as a primary material and invited local villagers with experience in this construction method to participate in the design and building process.

all images courtesy of ©Re-enchantment Design unless stated otherwise

Instant Squatter Hut Combines Vernacular and Industrial Design

Rather than replicating historical forms, the project by Re-Enchantment Design Studio extracts key spatial and structural characteristics of traditional squatter huts, including elevated stilted construction suited to land–water boundaries, open frameworks, and clustered settlement arrangements. These principles were reinterpreted through a hybrid system that combines industrial layer trusses with vernacular bamboo scaffolding. The steel truss system serves as the primary structural layer, providing stability under variable coastal weather conditions, including typhoons, while enabling rapid assembly, disassembly, and reconfiguration. The bamboo scaffolding was constructed collaboratively with local builders and integrated as a secondary, adaptable layer. The spatial layout is organized through modular program units, including an open-air cinema, performance stage, leisure areas, pop-up retail spaces, and workshop zones. These elements are arranged to form an interconnected and permeable environment that supports overlapping activities and informal social interaction. The resulting configuration functions as a temporary public living space rather than a single-purpose venue.

Material reuse was incorporated as a core design strategy from the outset. All bamboo elements were planned for disassembly and collection after the event, allowing them to be reused by local builders for future constructions. By adopting the construction logic of temporary settlements, the project proposes a cyclical approach to material use and a symbiotic relationship between design intervention, local knowledge, and environmental context.

Through its integration of vernacular construction techniques, modular contemporary systems, and collaborative building processes, The Beach Temporary Theater presents a temporary architecture that engages with local practices while accommodating contemporary cultural programming. The project positions temporary design as a means of connecting local communities, visitors, and evolving coastal landscapes through shared spatial and material frameworks.

Beach Temporary Theater designed by Re-Enchantment Design for Midsummer 2025

multi-program space combining theater, stage, exhibition, and garden

built within a shared beach environment used by locals and visitors

the project draws from traditional squatter hut construction principles

hybrid system combines steel trusses and bamboo scaffolding | image courtesy of ©KwanTeo

modular layout supports cinema, performance, and public activities | image courtesy of ©KwanTeo

elevated stilted structures respond to land-water conditions

steel trusses provide structural stability in coastal weather

bamboo scaffolding forms a flexible, secondary structural layer

all bamboo elements are designed for disassembly and reuse

project info:

name: The Beach Temporary Theater

architect: Re-enchantment Design (Guangzhou) Co., Ltd.
lead designers: Ji Jing & Zhenlin Wen

location: Chaoshan, Guangdong Province, China

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

edited by: christina vergopoulou | designboom

The post traditional bamboo scaffolding makes up temporary theater along chinese coast appeared first on designboom | architecture & design magazine.

UNS designs Hong Kong’s first-ever private, world-class multi-functional theater as part of Central Yards on the New Central Harbourfront. Commissioned by Henderson Land, the project introduces a purpose-built performing arts venue into a large-scale mixed-use development at the city’s waterfront edge.

Central Yards stretches nearly 400 meters, or a quarter-mile, along a 4.8-hectare site and shapes a horizontal civic structure that brings together commercial, cultural, and public programs. The theater forms one of its key cultural components, positioned to act as a gateway between the dense urban fabric of the Central Business District and the open expanse of the harbor.

visualizations courtesy Henderson Land

uns wraps the auditorium in a lattice shell

The auditorium at Hong Kong’s Central Yards has been conceived as a continuous spatial system, where stage, seating, and technical infrastructure are brought together within a sculpted lattice shell. This structural and acoustic envelope by the architects at UNS defines the interior experience, giving the room a sense of enclosure and focus while supporting complex lighting, sound, and stage requirements.

With seating for more than 1,100 guests, the theater is scaled for touring musicals, large-format productions, and international premieres. The interior is finely calibrated, pairing crafted surfaces with advanced acoustic engineering to support both amplified and un-amplified performance. Sightlines, material transitions, and lighting conditions have been carefully considered to maintain intimacy across the full depth of the hall.

UNS designs Hong Kong’s first private ‘Broadway-caliber’ theater within Central Yards

Extending the Central Yards theater into the city

Beyond the auditorium, the project expands the idea of a theater as a civic space. UNS designs a connected sequence of interior and exterior areas that link the venue to adjacent office towers, landscaped ground-level zones, and upper-level public spaces. Lobbies, VIP areas, and circulation routes are treated as social interiors that remain active beyond performance hours.

This network of spaces allows Central Yards to host cultural programming that spills into the public realm, supporting events, gatherings, and informal encounters along the Harbourfront. The theater becomes part of a broader urban experience, contributing to the daily life of Hong Kong rather than operating in isolation.

a intricate lattice shell integrates stage, seating, and technical systems

For Henderson Land, the theater plays a central role in positioning Central Yards as a new civic destination. Dr. Martin Lee Ka Shing, Chairman of Henderson Land, describes the development as ‘born from Henderson Land’s commitment and love for the city we call home,’ adding that it brings together ‘nature, culture, joy and ambition‘ to shape a long-term vision for Hong Kong’s future.

Within this framework, the theater introduces a level of technical and spatial ambition previously unavailable in a privately developed venue in the city. Its inclusion signals a shift in how large-scale commercial developments can accommodate cultural infrastructure as a core component rather than a secondary amenity.

the auditorium accommodates over 1,100 guests

‘We are incredibly delighted and honoured to design and deliver Hong Kong’s first private Broadway-calibre theatre,‘ says Ben van Berkel, Founder and Principal Architect, UNS. ‘This is a highly ambitious venue, and our goal is to create an unprecedented experience that generates cultural impact both locally and globally. It will redefine Hong Kong’s harbourfront with a diverse, inclusive, and experientially unique image.‘

project info:

name: Central Yards

architect: UNS | @we.are.uns

location: Hong Kong

developer: Henderson Land | @hendersonlandhk

The post UNS unveils lattice shell theater within central yards on hong kong’s harborfront appeared first on designboom | architecture & design magazine.

London’s unmistakable Brutalist colossus, the Barbican Centre, is set to pause its regular operations and close its doors for a full year beginning in June 2028 as part of an ambitious renovation program. The project will be led by Allies and Morrison, Asif Khan Studio, and Buro Happold.

The Barbican, a Grade II-listed cultural powerhouse designed by Chamberlin, Powell & Bon and built between 1965 and 1982, has since stood as an iconic mixed-use development with residential, recreational, and cultural facilities. It houses one of Europe’s most celebrated multi-arts portfolios, including the Barbican Art Gallery, Curve, Level 2 Gallery, a world-class concert hall, theatre spaces, cinemas, and the much-loved Conservatory. The building was captured in recent photographs by David Altrath.

images © David Altrath

the year-long ‘barbican renewal programme’

Nearly forty-five years after the centre’s opening, wear and aging infrastructure have begun to show, prompting a renovation dubbed the Barbican Renewal Programme. Led by Asif Khan Studio, Allies and Morrison, and Buro Happold, the extensive overhaul aims at securing the center’s future for decades to come. The project will see key public spaces — from the dramatic foyers and lakeside terrace to the landmark Conservatory — restored and reimagined, while vital infrastructure is modernized to meet contemporary standards of accessibility, sustainability, and creative flexibility. 

the centre was designed by Chamberlin, Powell & Bon and built between 1965 and 1982

the renovation: What Will Close and What Will Remain Open

The closure will run from the end of June 2028 until summer 2029. During this time, most of Barbican programs and spaces will be under construction. However, the Barbican cinemas on Beech Street will remain open, and the surrounding residential estate will stay accessible. In addition, creative partnerships and off-site programming are expected to help maintain the Barbican’s cultural presence across London while the walls are quiet.

The City of London Corporation has already committed a £191 million funding package toward the first phase of renewal, representing roughly eighty per cent of the required investment, with the remainder to be raised through a fundraising campaign. This ambitious pause comes at a defining moment with the Barbican’s fiftieth anniversary on the horizon in 2032.

the closure will run from the end of June 2028 until summer 2029

project info:

name: Barbican Renewal Programme | @barbicancentre

architects: Allies and Morrison, Asif Khan Studio, Buro Happold

closure dates: June 2028 — Summer 2029

photography: © David Altrath | @davidaltrath

The post london’s brutalist barbican centre announces upcoming closure for renovation by asif khan appeared first on designboom | architecture & design magazine.

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

The post GOA crafts an open-air theater in china where birds and humans share the same stage appeared first on designboom | architecture & design magazine.

COR Architecture + Design has finalized the Sax Music Hall in Sax, Spain, completing a long-stalled cultural complex. Construction of a cultural complex began in 2008, intended to include a library, an auditorium, chamber music rooms, a music school, and a conference hall across more than 3,000 sqm and four levels. Work was halted during the economic crisis, leaving the structure enclosed but unfinished. Limited adaptations allowed occasional use of portions of the building, but the project remained incomplete for nearly two decades.

In 2025, funding from the Alicante Provincial Council enabled the completion of the auditorium. COR Architecture + Design approached the intervention with the aim of transforming the long-unfinished structure into a functional cultural facility for the municipality. The design focuses on restoring operational purpose to the building while acknowledging its role in the town’s collective memory.

all images by Milena Villalba

Bright Pink Interior anchors Renewed Sax Acoustic Music Hall

The completed auditorium is conceived as a flexible hall with acoustics calibrated to support a range of programming, including symphonic music, smaller ensemble performances, theater, and spoken word. An adjustable acoustic shell allows the interior environment to adapt to varying sound requirements, supporting its use as a multipurpose venue within the broader cultural complex. The spatial strategy positions the hall as a central civic space that supports rehearsals, training, community gatherings, and cultural programming. The design emphasizes accessibility and inclusivity to accommodate diverse users and activities.

A distinctive feature of the project is its use of a bright pink interior finish, which serves to visually redefine the previously unfinished building. This color strategy establishes a contemporary identity for the complex and reinforces its role as an active public space rather than a remnant of halted construction. The completed Sax Music Hall by COR Architecture + Design Studio functions as a key piece of local infrastructure, contributing to cultural activity, educational initiatives, and community engagement within the town.

Sax Music Hall completed by COR Architecture + Design

flexible auditorium designed to support a wide range of performances

acoustic shell adjusted to accommodate different sound requirements

the auditorium’s contemporary interior finish in dim light

bright pink interior defining the hall’s new visual identity

the long-stalled cultural complex is revived after two decades

interior layout supporting theater, music, and spoken-word programming

the auditorium is utilized for music concerts, rehearsals, and community gatherings

cultural facility supports local education and training activities

accessibility features are integrated throughout the cultural complex

the multipurpose hall is positioned as a central civic space

color strategy transforms the perception of the formerly unfinished building

project info:

name: Sax Music Hall
architect: COR Architecture + Design | @cor_architecture_design

location: Sax, Alicante, Spain

client: Sax City Council + Alicante Provincial Council

photographer: Milena Villalba | @milena_archphoto

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 bright pink interior revitalizes adaptive acoustic music hall for sax’s cultural complex in spain appeared first on designboom | architecture & design magazine.

This competition-winning opera house has been designed by Snøhetta as the future home of the Oper am Rhein at the center of Düsseldorf. The building is organized into three trapezium-shaped volumes placed on a compact urban plot, creating varied passages at grade and allowing daylight to reach deep into the interior. The roofs tilt in opposing directions, adjusting to the scale of neighboring structures while lifting upward to frame key views across the German city.

Across the ground floor, the architects draw from the Rhine’s long geological influence on the region. The base of the building reads as an eroded cavern carved through time, an open and continuous space that welcomes movement from every side. This porous level becomes a public arena for Düsseldorf, where entrances, gathering areas, and glimpses of rehearsal activity contribute to a sense of shared cultural territory.

‘This forum, filling the entire ground floor, will become a large, open, and accessible space in the heart of the city,‘ says Snøhetta founding partner Kjetil Trædal Thorsen.

the new opera is a densification within a triangular block bound by three streets | illustrations © Mir/Snøhetta

snøhetta composes a massing of three sloping volumes

The Düsseldorf opera house is designed by the team at Snøhetta as a constellation of rooms that guides visitors inward from the sidewalk and toward performance spaces within. The openness of the ground plane establishes a gradual threshold between the city and the world of the opera house. Visitors are encouraged to enter this public area even when no performance is underway.

The tripartite massing symbolizes the union of three institutions — the Deutsche Oper am Rhein, the Clara Schumann Music School, and the Music Library — brought together within one architectural frame.

The positioning of the building’s three volumes shapes pockets of space at the ground level that double as informal stages or quiet resting points. Meanwhile, sloping roofs accentuate these relationships and create terraces recessed into the upper levels.

the public ground floor opens out through generous glazing in all facades

the architecture draws from the region’s geology

The opera house’s facade uses a light natural stone cladding chosen by Snøhetta for its thermal performance and its ability to align with Düsseldorf’s muted palette. Stone modules in a variety of formats reduce waste and support a surface expression defined by subtle shifts in texture. Rough and finely ground finishes appear in horizontal bands, evoking the layers of sediment that shaped the region and linking the outer skin to the carved quality of the ground floor.

Two window systems support the building’s environmental and spatial aims. Larger openings frame the foyer, bar, and select rehearsal spaces, drawing attention to areas where public life is most visible. Smaller filtered openings provide consistent light and ventilation, helping regulate the interior without interrupting the facade’s calm rhythm.

Together, the rough stone, pixelated apertures, and stepped terraces create a profile that responds to its context but still maintain a monumental presence.

the sidewalk extends fluidly into a terraced, cave-like interior landscape

‘eroded’ interiors

Inside, Snøhetta’s theme of erosion continues through mineral surfaces with a muted flow of texture and tone. Circulation spaces maintain a sense of calm, guiding visitors toward the 1,300-seat main auditorium. Here, smoked oak paneling and red upholstery draw from the palette of Düsseldorf’s existing opera house, a decisions which establishes continuity as the institution transitions into its next chapter.

Above the stepped volumes, the roof forms a biosolar landscape composed of photovoltaics, green terraces, and integrated skylights. Plantings native to the Lower Rhine floodplains occupy bands between PV arrays and technical strips, creating a layered system that supports biodiversity and energy production.

For the competition jury, the design offered a convincing vision for a cultural building at the heart of the city. ‘The building, which is cleverly divided into three segments, skilfully reacts to its surroundings, opens up a variety of views of the city and shows a design of high sophistication,‘ says Heiner Farwick, architect and chairman of the jury.

the studio stage shows neutral, warm gray tones and dark green seating

interiors follow the logic of the facade and the theme of erosion

the main auditorium is designed to provide visual and acoustic intimacy for all 1,300 seats

the Rhine river is the central source of inspiration for the building

project info:

name: Düsseldorf Opera House

architect: Snøhetta | @snohetta

location: Düsseldorf, Germany

client: Deutsche Oper am Rhein | @operamrhein

status: competition winner

visualizations: © Mir/Snøhetta

The post snøhetta plans düsseldorf opera house with cavernous, carved-out interiors appeared first on designboom | architecture & design magazine.

Set against the concrete flow of Cairo’s 6th of October Bridge, Pergola introduces a ten-meter-tall outdoor theater and community arts space built from recycled materials and shaped through a year-long co-design process between THISS Studio, CLUSTER (Cairo Lab for Urban Studies, Training and Environmental Research), and Orient Productions. The structure centers the Anhar: Climate and Culture Platform, a regional initiative funded by the British Council and Art Jameel that supports artistic responses to environmental challenges across the Middle East. Within a rapidly densifying city where public green space is shrinking, Pergola positions culture, ecology, and collective agency at the center of urban life.

The architects deliberately set Pergola in visual counterpoint to the billboards towering over the adjacent bridge. Its vivid red form becomes a signal for public attention in an increasingly privatized landscape, framing a small park in Giza as a site for performance and gathering. The project restores a corner of the city to civic visibility, inviting communities to occupy and define it.

all images by Georges & Samuel Mohsen – The GS Studio

Recycled plastic from the nile becomes walls and flooring

Working with local initiatives VeryNile and Reblox, the London-based team remade waste plastic collected from the Nile and nearby construction sites into floor tiles, shading components, and the striking red walls of the project. The approach demonstrates how recycled matter can anchor a new architectural language for Cairo, one that is expressive yet low-carbon and rooted in the city’s environmental realities. Additional material contributions from TileGreen extend this ethic of reuse across the surfaces of the project.

Pergola’s form and program emerged through an extended co-design process led by CLUSTER and THISS Studio. Local residents, students, and park stakeholders contributed through workshops and model-making sessions, ensuring that the space responds directly to how neighborhood communities gather, perform, and imagine their shared environment. 

Launched as the opening stage for the Downtown Contemporary Arts Festival (D-CAF), curated by Orient Productions, Pergola continues to operate as a civic hub for cultural programming and environmental awareness, suggesting how art and architecture can reclaim fragments of the city and redirect them toward more inclusive and sustainable futures.

Pergola introduces a ten-meter-tall outdoor theater and community arts space

set against the concrete flow of Cairo’s 6th of October Bridge

built from recycled materials

the result of a year-long co-design process between THISS Studio, CLUSTER, and Orient Productions

Pergola positions culture, ecology, and collective agency at the center of urban life

the architects deliberately set Pergola in visual counterpoint to the billboards towering over the adjacent bridge

the vivid red form becomes a signal for public attention

the project restores a corner of the city to civic visibility

waste plastic collected from the Nile and nearby construction sites becomes floor tiles and shading components

the striking red walls are also made from recycled materials

pergola’s form and program emerged through an extended co-design process

local residents, students, and park stakeholders contributed through workshops and model-making sessions

the space responds directly to how neighborhood communities imagine their shared environment

inviting communities to occupy and define the structure

project info:

name: Pergola

architect: THISS Studio | @thiss.studio, CLUSTER (Cairo Lab for Urban Studies, Training and Environmental Research) | @clustercairo

location: Cairo, Egypt

collaborators: Orient Productions

photographer: Georges & Samuel Mohsen | @thegsstudio – The GS Studio

The post bright-red outdoor theater restores community use to cairo park amid loss of green spaces appeared first on designboom | architecture & design magazine.

The new Hamburg State Opera by Bjarke Ingels Group (BIG) will establish a contemporary home for the State Opera and Hamburg Ballet. The project is set to be located on the Baakenhöft peninsula in HafenCity — a sprawling waterfront development — and will replace the company’s mid-century house on Dammtorstraße. It will extend the German city’s long tradition of pairing cultural architecture with the harbor’s open horizon.

Imagined as both a working opera house and a civic landscape, the 45,000-square-meter building combines production, rehearsal, and performance spaces with a new public park that reaches to the river’s edge.

BIG’s proposal was selected by unanimous jury decision, recognizing its ability to synthesize the demands of a major cultural institution with the fluid urban fabric of HafenCity. The opera is envisioned as an island structure of terraced green roofs and a new hinge in Hamburg’s waterfront transformation.

the design forms a terraced landscape that links city and water | visualizations © Yanis Amasri

BIG’s landscape of concentric terraces

Architect Bjarke Ingels describes the design as ‘a landscape of concentric terraces,’ expanding outward from the main hall like ripples on the surface of the water. The building’s roofline forms a continuous, circular geometry that opens toward the harbor, creating a sequence of terraces accessible from multiple directions.

These landscaped paths weave between gardens, plazas, and lookout points, turning the entire site into a three-dimensional park open to residents and visitors throughout the day.

The transition from exterior to interior is fluid. Stone pavements from the park extend into the foyer, unifying ground and building. This large, timber-lined hall functions as an urban living room, animated by two central staircases that rise toward upper levels. Every main floor connects directly to outdoor terraces, which can host events or serve as informal gathering spaces overlooking the Elbe and the city skyline.

a continuous circular roofline shapes a walkable topography across the building

an auditorium of sculptural wooden layers

At the heart of the Hamburg State Opera, the main auditorium is enveloped in bands of horizontally layered timber that modulate both sightlines and sound. The wood surfaces create a warm tonal register, visually linking balconies and walls into a single flowing form.

BIG partner Jakob Sand says: ‘The main hall is the heart of the project – — space with state-of-the-art acoustics and perfect sightlines to the stage.’ Concentric wooden rings shape the hall and its balconies and dissolve the divide between performers and audience.

the foyer acts as an urban living room animated by central timber staircases

Landscape as infrastructure

Supporting spaces — including a smaller studio stage, rehearsal rooms, and workshops — are organized directly behind the main hall, enabling seamless movement between preparation and performance. The plan reflects BIG’s ongoing exploration of buildings as networks of connected activity rather than fixed hierarchies of front and back.

Partner David Zahle emphasizes this openness: ‘Visitors can move along the facades and glimpse into the foyer, rehearsal rooms, backstage areas and offices, revealing the complexity behind a working opera house.’

BIG Landscape’s design extends the opera’s design language into the surrounding park. Flood management is integrated through a system of terraces, planted dunes, and wetlands that absorb and slow water flow. Rain basins collect and filter runoff, creating habitats for local flora and fauna. This way, a resilient ecological zone is created which responds to the tides of the Elbe while framing the opera as a living landscape shaped by natural movement.

the main hall features layered timber surfaces that guide acoustics and sightlines

visitors can move along the facades and see into working areas of the opera

wetlands, terraces, and rain basins form a resilient landscape that adapts to the tides of the Elbe

stone paths from the waterfront park flow directly into the foyer to create a unified ground plane

project info:

name: Hamburg State Opera

architect: Bjarke Ingels Group (BIG) | @big_builds

location: Hamburg, Germany
client: Kühne Foundation, The Free and Hanseatic City of Hamburg represented by the Ministry of Culture and Media, Hamburgische Staatsoper GmbH

collaborators: Theatre Projects, Bollinger + Grohmann, Transsolar, K+H, Duschl, Yanis Amasri

size: 45,000 square meters

visualizations: © Yanis Amasri

project team:
partner-in-charge: Bjarke Ingels, Jakob Sand, David Zahle
design lead: Sarkis Sarkisyan, Michael Leef
team: Mariia Nakonechnaia, Carlos Ramos Tenorio, David Benjamin Wilden, Jianuo Xuan, Jacob Engelbrecht Ødum, Celia de la Osa Muñoz, Gilana Antonova, Giovanni Vergantini, Mathis Paul Gebauer, Hou Ming Ng, Martino Hutz, Veronica Hamilton
BIG landscape: Giulia Frittoli, Ulla Hornsyld, Gaspard Del Marmol, Lucia Ayala

The post BIG designs new hamburg state opera as island of concentric terraced gardens appeared first on designboom | architecture & design magazine.

Located in Shima Park, Xiaobantian, Nantou, Bamboo Theater by Taiwanese artist Cheng Tsung FENG reinterprets the traditional bamboo theater, a once-common feature of temple festivals and community celebrations across Taiwan. Constructed from bamboo scaffolding, these temporary theaters historically served as cultural gathering points, combining craft, performance, and social exchange. Today, such structures have largely disappeared, replaced by modern frameworks and standardized materials.

In this project, FENG revisits the typology through contemporary stage design. The installation employs materials familiar to contemporary theater-making, including bamboo, wood, metal, rope, and tape, bridging historical craftsmanship with present-day construction techniques.

all images by FIXER Photographic Studio

Interwoven Bamboo Framework Shapes the theater in Nantou

The form of Bamboo Theater is defined by a radial arrangement of bamboo poles of varying lengths. Emerging from the central rear of the stage, the poles intersect and fan outward to create an open semicircular backdrop. Thick and slender bamboo members are interwoven and bound with rope, forming a net-like structure that recalls traditional scaffolding systems while maintaining structural clarity and visual rhythm. The woven density of the rear wall provides both support and texture, enhancing the depth and atmosphere of the performance space. At the front of the platform, bamboo poles are aligned in a linear formation, complemented by strips of white tape extending outward on the ground. This graphic treatment continues the stage’s radiating geometry, visually integrating the installation with its surroundings.

Beyond its symbolic reference, Bamboo Theater operates as an active public space. It accommodates community performances, cultural events, and everyday use, offering seating and shade within the park setting. By merging vernacular construction methods with contemporary materials and spatial language, artist Cheng Tsung FENG demonstrates how traditional building culture can adapt to modern contexts, preserving continuity while allowing for reinterpretation.

Bamboo Theater stands in Shima Park, Xiaobantian, Nantou, Taiwan

the installation reinterprets Taiwan’s disappearing tradition of bamboo theaters

the structure employs bamboo, wood, metal, rope, and tape in its construction

interwoven bamboo members create a net-like structural framework

a radial arrangement of bamboo poles defines the theater’s open form

bamboo poles extend outward in a fan-like pattern from the rear of the stage

rope bindings recall the logic of traditional bamboo scaffolding systems

traditional craftsmanship meets contemporary stage-building materials

the woven backdrop provides both structural stability and visual depth

varying pole thicknesses produce rhythm and texture within the design

white tape on the ground highlights the stage’s radial geometry

the theater merges vernacular building methods with modern construction

the installation operates as a functioning stage for community events

project info:

name: Bamboo Theater

artist: Cheng Tsung FENG | @chengtsungfeng

location: Shima Park, Nantou, Taiwan

organizer: Agriculture Department, Nantou County Government
curator: Chitiansky Co., Ltd.
project designer: Ching Chen CHANG, Hong Lin LIU, Chan Wei HSU
structural analysis: Chien Chuan Engineering Consulting Co
surveying: Yuhui Surveying Engineering
woodwork: Weige Interior
metalwork: Wen-Chin HSU
bamboo structure: Quan Sheng Bamboo Scaffolding
lighting design: Oude Light
lighting engineer: Beamtec Lighting

photographer: FIXER Photographic Studio | @fixer_photographic_studio

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 interwoven bamboo poles fan outward to form theater stage by cheng tsung feng appeared first on designboom | architecture & design magazine.

The National Black Theatre (NBT) in Harlem is entering a new chapter with the construction of a major capital redevelopment project on its historic site at 2031 National Black Theatre Way. The project, set to be completed in 2027, is designed to transform NBT into a 21st-century performing arts destination and economic engine for East Harlem, uniting theater, design, and cultural entrepreneurship under one roof. Following the opening of the Studio Museum in Harlem (find designboom’s coverage here), the development continues the neighborhood’s cultural renaissance, reaffirming its role as a global center for Black art, architecture, and community life.

Envisioned as a ‘Theatre of the Future,’ the 2,508-square-meter facility by Marvel Architects spans five floors within a 22-story mixed-use complex, designed by Frida Escobedo and developed in partnership with community and city collaborators. The building will feature a 250-seat flexible performance space, a 99-seat studio theater, an exhibition hall showcasing local artists and NBT’s renowned Yoruba art collection, rehearsal and training workshops, and public areas designed for gathering and dialogue. 

images courtesy of NBT and Marvel Architects

marvel architects designs sanctuary-like interiors

The architecture of NBT’s new home, designed by the interdisciplinary team at Marvel Architects, seeks to evoke serenity, reflection, and spiritual connection. Light, sound, and materiality play central roles in creating what the theatre describes as ‘sanctuary spaces’ that foster creativity and emotional well-being. Natural light, organic materials, water features, and affirmational text are integrated throughout the interiors intended to inspire ‘meaningful moments of connection and transcendence.’

These design principles mirror the approach of the theater to storytelling, treating creative expression as a form of collective healing. The spaces are envisioned as both a retreat and a catalyst, offering a setting where Black artists can develop new work, audiences can engage in critical dialogue, and communities can see their identities reflected ‘at their highest vibration.’

the National Black Theatre (NBT) in Harlem is entering a new chapter

a cultural anchor in the evolving landscape of the area

Since its founding in 1968 by artist and visionary Dr. Barbara Ann Teer, the National Black Theatre (NBT) in Harlem has been a cornerstone of Black artistic expression and a catalyst for cultural and economic growth, serving as the first home of The Studio Museum, hosting major theatrical premieres, and pioneering Black-led creative enterprise. Its new facility anchors a revitalized cultural corridor alongside the Apollo Theater and the Studio Museum, forming part of a recently rezoned Special Arts District designed to support local creative industries. The redevelopment represents one of the most significant investments in Black cultural infrastructure in New York City’s history.

Construction and programming are expected to generate hundreds of temporary and permanent jobs, while NBT’s ongoing initiatives in job training, particularly for union-track theater production roles, will expand through the addition of a new on-site workshop. Once operational, the annual programming of the theater is projected to contribute around $9 million per year to the city’s economy through tourism, hospitality, and ancillary services.

At the heart of the redevelopment is an initiative called Naming Justice, a program that reclaims physical space as a site of remembrance and acknowledgment. Building on Dr. Teer’s earlier efforts to rename the corner of 125th Street and Fifth Avenue as National Black Theatre Way, the program invites donors to support the naming of spaces in the new facility after Black and BIPOC ancestors, luminaries, and hidden figures whose legacies have shaped American culture. 

the project is set to be completed in 2027

residential, retail, and culture converge in a 22-story complex

When completed, NBT’s new home will join a 22-story complex known as Ray Harlem, which features residential, retail, and cultural functions all in one building. The theater will occupy its own dedicated floors, with ground-floor retail designed to complement the creative and entrepreneurial spirit of the institution. Located within walking distance of multiple subway lines and the Metro-North, the development is easily accessible to both local residents and visitors.

The National Black Theatre continues the vision Dr. Teer began more than half a century ago, and builds spaces where Black creativity can thrive. As construction advances toward completion in 2027, the Theatre of the Future stands poised to reaffirm Harlem’s position as a global center for Black culture.

a 21st-century performing arts destination and economic engine for East Harlem

envisioned as a ‘Theatre of the Future’

the 2,508-square-meter facility by Marvel Architects spans five floors

‘sanctuary spaces’ that foster creativity and emotional well-being

design principles mirror the approach of the theater to storytelling

a setting where Black artists can develop new work

NBT’s new home is part of a 22-story complex known as Ray Harlem,

project info:

name: Theatre of the Future
institution: National Black Theatre (NBT) | @natblacktheatre

architects: Marvel Architects | @marvel_is_design
mixed-use complex design: Frida Escobedo | @fridaescobedo

location: Harlem, New York City, USA

area: 2,508 sqm (27,000 sqft)

interior designer: Little Wing Lee, Studio & Projects | @studio.and.projects

intervention artist: Sanford Biggers | @sanfordbiggers

theater consulting: Charcoal Blue | @charcoalblue

wayfinding & signage: Isometric Studio | @isometricstudio

collaborating base architect: Handel Architects | @handelarchitects

founder: Dr. Barbara Ann Teer
fit-out start: 2026
completion: 2027
client: National Black Theatre

The post national black theatre shapes its harlem home within frida escobedo-designed complex appeared first on designboom | architecture & design magazine.