James Turrell completes the permanent installation of As Seen Below—The Dome, a Skyspace at ARoS Aarhus Art Museum, ahead of its public opening on June 19th, 2026. The work is the artist’s largest Skyspace realized within a museum context and marks the final phase of the major expansion project of the institution, The Next Level. Measuring 16 meters in height and 40 meters in diameter, the work reframes the experience of looking, turning the sky into a material presence shaped by architecture, time, and light.

‘With As Seen Below I’m shaping the experience of seeing rather than delivering an image. The architecture holds the sky close, so you recognise that the act of looking is the work itself. Here light isn’t description; it’s the substance you stand within. In this Skyspace the day has weight, the evening has temperature, and the change belongs to you.’ shares the artist.

James Turrell, As Seen Below – The Dome, a Skyspace by James Turrell | images by Mads Smidstrup © ARoS, 2025. From James Turrells visit in As Seen Below, June 2025.

how ‘as Seen Below—The Dome, a Skyspace’ reshapes perception

For more than five decades, Turrell has built a practice around light and the proposition that it’s not merely something we see, but something we inhabit. His Skyspaces, architectural environments punctured by a ceiling aperture that frames the open sky, are among his most widely known works. They cultivate attentiveness, slowing the visitor’s body and senses down to meet the shifting conditions of natural light.

As Seen Below—The Dome, a Skyspace pushes this logic further than any of Turrell’s previous museum-based projects. Visitors enter the installation through an underground, light-filled corridor before arriving inside the vast domed chamber. From there, Turrell’s calibrated lighting washes across the interior surfaces, subtly modulating the way the sky is perceived through the central oculus.

Unlike many Skyspaces that function as solitary or intimate encounters, this work is conceived as a shared environment. The scale of the dome allows for a collective experience of light unfolding over time, emphasizing seasonal shifts and daily cycles. According to ARoS, the work is designed to foreground our relationship to nature, the sky, and the idea of a shared planet.

James Turrell completes the permanent installation of As Seen Below

completing the major expansion of ARoS Aarhus Art Museum

The opening of As Seen Below—The Dome, a Skyspace concludes The Next Level, ARoS’ multi-year expansion developed in collaboration with Schmidt Hammer Lassen Architects. The project includes The Salling Gallery, a subterranean exhibition space dedicated to annual contemporary commissions, which opened in June 2025, as well as the Art Square, a permanent outdoor platform for art set to open in 2026. Turrell’s dome operates as the conceptual and spatial anchor of this transformation, integrating architecture, landscape, and perception into a single work.‘We are thrilled to announce that As Seen Below will open to the public in June 2026, in what promises to be a defining moment in the history of ARoS. We are proud that our museum will be home to the artist’s most significant Skyspace to date, an extraordinary work that invites visitors to slow down, look up, and experience light, time, and space in profoundly moving ways,’ shares Rebecca Matthews, Director of ARoS, framing the installation as a defining moment for the institution.

the work is the artist’s largest Skyspace realized within a museum context

marking the final phase of the major expansion project of the institution

James Turrell and Rebecca Matthews inside the Skyspace installation

the artist conceives this work as a shared environment

the work is designed to foreground our relationship to nature, the sky, and the idea of a shared planet

Turrell’s dome operates as the conceptual and spatial anchor of this transformation

project info:

name: As Seen Below—The Dome, a Skyspace

artist: James Turrell

location: ARoS Aarhus Art Museum, Aarhus, Denmark

public opening: June 19, 2026

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DIVIDED is an illuminating installation by Spanish urban artist SpY presented during the Lighting Xi’an Festival 2025, China. The public artwork forms part of the artist’s ongoing investigation into the relationships between body, space, scale, and perception. The project examines how light and monumental form can reshape spatial experience and alter the reading of an urban environment.

The installation consists of a large luminous sphere rendered in red light and divided into two identical hemispheres that are positioned apart from one another. Each half is housed within a metal framework constructed from industrial scaffolding, a system commonly associated with temporary construction. In this context, the scaffolding operates as both a structural support and a visible component of the work, establishing a contrast between the rigid, cubic geometry of the frame and the smooth curvature of the spherical forms. This juxtaposition introduces a condition of containment, in which the sphere appears simultaneously revealed and restrained.

all images courtesy of SpY

in SpY’s DIVIDED installation, Light becomes the primary material

Monumental in scale, the installation establishes a direct spatial relationship with the surrounding environment and the human body. The work is experienced not only as an object in space but also as a spatial configuration that responds to proximity and movement. Visitors can pass between the two hemispheres, entering the gap created by the division of the sphere. This passage functions as a corridor of light, in which the viewer becomes positioned within the work rather than observing it from the exterior.

In DIVIDED, interaction is directed inward, emphasizing immersion and bodily engagement. The use of red light, recurrent in the artist’s recent projects, defines the atmosphere of the installation and contributes to a suspended spatial condition shaped by illumination rather than enclosure alone. The work reconfigures the site through light, scale, and movement, positioning perception itself as a central material. DIVIDED is part of SpY’s Earth series, which also includes Earth and Confronted. The series has been presented in multiple cities, including Madrid, Athens, Riyadh, and Ghent, and addresses themes of fragmentation, coexistence, and spatial confrontation through large-scale luminous installations.

DIVIDED by SpY at the Lighting Xi’an Festival 2025

a large red luminous sphere split into two identical hemispheres

the installation explores body, space, scale, and perception

monumental form and light reshape the surrounding urban environment

each hemisphere is supported by an exposed industrial scaffolding frame

red light defines the spatial atmosphere of the installation

light becomes the primary material defining space

scale blurs conventional references of distance and enclosure

project info:

name: DIVIDED
designer: SpY | @spy__studio

organizer: Xian Mixc
curator: Wavelength
event: Lighting Xi’an Festival

location: Xi’an, China

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

edited by: christina vergopoulou | designboom

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Cappella del Suono is a small-scale architectural installation located in the grain fields of Italy’s Marche region. Positioned on a hillside, the pavilion is designed as a lightweight wooden structure that maintains a close relationship with its surrounding landscape. Developed by Studio Carraldo, the project was realized independently in the summer of 2025 after being selected as the winning entry of the Festival di Microarchitettura. The pavilion is also among the twelve nominated projects for the Klimahouse Wood Architecture Prize 2025.

The structure is composed of a regular grid of vertical wooden slats that define the spatial enclosure while remaining visually permeable. The slats are suspended at varying lengths, forming an irregular lower edge that softens the boundary between architecture and landscape. Perforations integrated at the ends of selected elements introduce an acoustic dimension, allowing the pavilion to respond to wind conditions. As air moves through the structure, the wooden components interact to produce layered sound effects, which vary in intensity depending on wind strength and direction. Under certain conditions, the sound recalls the distant bells of the nearby Convento di Monte Illuminato.

all images by Jonas Zauels

Studio Carraldo’s Pavilion is Defined by Light and Landscape

Light and shadow play a central role in shaping the spatial experience. The open arrangement of the slats allows sunlight to pass through the structure, creating changing patterns throughout the day and reinforcing the pavilion’s temporal and environmental responsiveness. Structurally, the installation rests on slender vertical supports anchored directly into the ground, minimizing impact on the site and reinforcing the project’s temporary character. Studio Carraldo’s material choices further support this approach. The use of untreated wood allows the structure to weather naturally and visually integrate with the surrounding grain fields. Rather than asserting itself as an object, the pavilion maintains a low visual profile and reads as an architectural extension of the landscape.

Cappella del Suono is conceived as a permeable architectural space, defined enough to establish a place while remaining open to environmental forces. A built-in bench extends from the interior toward the exterior, supporting different modes of occupation and allowing visitors to engage with the pavilion through rest, observation, and listening.

participation with a local piano maker from Lunano

when the wind is calm, the Cappella del Suono reads like a monolith

dynamic interplay of light, shadow, and transparency

the structure appears to grow directly out of the surrounding grain fields

in interaction with the wind, the structure comes alive

the bench encourages resting and experiencing the surrounding field of slats

through varying lengths and precise perforations, the slats create a layered acoustic effect

the sound slats are suspended by delicate threads, letting them sway freely in the wind

the pavilion creates an permeable architectural space open to environmental forces

project info:

name: Cappella del Suono

architect: Studio Carraldo | @studio.carraldo
design team: Franka Ruhnau, Jonas Rosenfelder, Luis Navarro, Valentin Fick, David Zauels
location: Marche, Italy

photographer: Jonas Zauels | @blackbvrds

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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Digital by Nature: The Art of Miguel Chevalier at Kunsthalle München presents the artist’s largest solo exhibition in Europe to date, curated by Franziska Stöhr. The exhibition surveys Miguel Chevalier’s practice from the early 1980s to the present, tracing his sustained engagement with digital technologies as both tools and subjects of artistic inquiry.

Born in 1959 in Mexico City and based in Paris, Chevalier has worked with computers as a creative medium for more than four decades. The exhibition brings together approximately 120 works that reflect the evolution of his approach, from early experiments with pixels, binary code, and algorithmic systems to recent projects that explore the intersections of digital and analog processes, technology and nature, and human interaction with computational environments.

The presentation includes a wide range of media and formats, such as 3D printed sculptures produced in ceramic and recycled plastic, robot-generated drawings, machine-produced embroidery and tapestries, and video works created using artificial intelligence. Large-scale generative and interactive installations form a central component of the exhibition. In these works, algorithmic systems continuously generate visual compositions that respond to visitors’ movements, establishing a reciprocal relationship between human presence and machine-driven processes. These installations are accompanied by sound compositions by Jacopo Baboni Schilingi, which further structure the spatial and sensory experience.

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

visualizing Interaction, Growth, and Transformation

Two works were developed specifically for Kunsthalle München. Complex Meshes Robot Drawings is a performative installation in which a robot produces drawings based on visual motifs from Chevalier’s interactive series Complex Meshes. The artist defines the parameters by selecting the paper and drawing tools, while the robot executes the marks. Originally designed for industrial repetition, the robotic system is reprogrammed to produce variable, gesture-like drawings that foreground the translation between programmed movement and hand-drawn expression.

The second new work, In Vitro Pixel Flowers, expands Chevalier’s ongoing exploration of digital botanical systems. The installation presents his largest virtual herbarium to date, allowing visitors to generate plant forms through an online interface and observe their development within a greenhouse-like environment. The digitally generated plants emerge, evolve, and disappear in continuous cycles, forming a shared, participatory landscape that visualizes processes of growth, variation, and renewal.

Across its diverse works, Digital by Nature positions digital technology not only as a means of production but as a framework for examining systems, transformation, and interaction. The exhibition emphasizes Chevalier’s long-term investigation into how computational tools can shape visual form, spatial experience, and collective participation within contemporary art contexts.

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

The Origin of the World | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

Meta-Nature AI | music: Jacopo Baboni Schilingi, software: Claude Micheli, image: Nicolas Gaudelet

The Origin of the World | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

In Vitro Pixel Flowers | software: Samuel Twidale, image: Thomas Granovsky

Complex Meshes Robot Drawings | industrial robot, felt-tip pen, paper, software: Ludovic Mallegol

The Eye of the Machine | software: Claude Micheli, image: Thomas Granovsky

In Vitro Pixel Flowers | software: Samuel Twidale, website: Ollie Smith, interface: Elise Michel

Fractal Flowers | software: Cyrille Henry, image: Thomas Granovsky

Euphorbia Alchimica Veritas of Rousseau 1 > 12 | image: Thomas Granovsky

Brain Corals Stratigraphy | image: Thomas Granovsky

project info:

name: DIGITAL BY NATURE – The Art of Miguel Chevalier Kunsthalle München / Munich
artist: Miguel Chevalier | @miguel_chevalier

location: Munich, Germany

museum: Kunsthalle München / Munich | @kunsthallemuc

dates: September 12th, 2025 – March 1st, 2026

curator: Franziska Stöhr

curatorial assistant: Jasmin Gierling

music: Jacopo Baboni Schilingi

director: Roger Diederen

exhibition production: Voxels Productions

exhibition design: Martin Kinzlmaier

photographer/videographer: Thomas Granovsky

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

edited by: christina vergopoulou | designboom

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The 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

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In Gregory Orekhov’s site-specific land art installation, Gravity, the landscape becomes a space in which the condition of the world becomes visible. The red sphere, originally associated with the ritual of celebration and the expectation of magic, is stripped of its function and returned to the landscape as a heavy, vulnerable form without foundation. Suspended by a hemp rope from a bare century-old tree, the object exists between ground and space; neither in fall nor at rest, but in a prolonged state of uncertainty. This is not balance, but resistance to the force of gravity. The video shifts the object from linear movement into oscillation, where no trajectory alters the initial condition.

all images by Nikita Subbotin – Studiolandon

Gravity installation records a state of ongoing instability

Dragging across the ground gives way to swinging in space, yet none of these forms becomes an exit. The human figure and the object remain bound by a shared dependence on gravity, holding them together. The red color of the sphere does not function as a decorative accent. It becomes a dense visual mass in which traces of violence, loss, and historical memory converge. The color ceases to signify celebration and begins to operate as a symptom of a time in which the tragic becomes part of the everyday background. For artist Gregory Orekhov, nature in this project does not act as a space of harmony. The tree neither saves nor supports; it merely allows the object to exist, becoming a silent witness to what unfolds. This work records a condition of the world that continues to exist without foundation and without outcome.

a red sphere is suspended from a century-old tree in a forested landscape

the sphere exists in a state of prolonged suspension

gravity defines the relationship between body, object, and site

the landscape functions as an active setting rather than a backdrop

the human figure and the sphere share a dependence on gravity

the installation places the object between ground and space

the red surface appears as a dense visual mass

the landscape bears witness to a suspended state without foundation

the object remains neither falling nor at rest

project info:

name: Gravity

artist: Gregory Orekhov | @gregory.orekhov 

photographer, videographer: Nikita Subbotin – Studiolandon | @studiolandon

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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Marc Leschelier brings his practice of pre-architecture to Florence with the monumental installation Ancient / New Site. The project occupies the central square of the Fortezza da Basso with 18 monolithic structures that visitors are invited to enter, cross, and inhabit. Spread across 1,700 square meters, the structures are built from scaffolding frames clad in concrete canvas, a material that has become central to Leschelier’s work. Originally developed for infrastructural purposes such as slope stabilization and roadside reinforcement, concrete canvas is a flexible textile impregnated with cement. Once positioned and moistened, it hardens within 24 hours, forming a mineral surface capable of functioning as a load-bearing architectural element. Leschelier uses this industrial material not only for walls but also for roof-like enclosures, pushing it beyond its intended applications.

all images courtesy of Marc Leschelier

18 monoliths form the installation in venice

French architect Leschelier is known for building architectures without predefined use. Rather than responding to zoning codes or conventional programs, he works in open landscapes, sculpture parks, and temporary settings, developing what he describes as pre-architecture: constructions that exist prior to function, regulation, and typology. Drawing from performance art, vernacular forms, and industrial abstraction, his work proposes architecture as a physical language that communicates through scale, mass, and presence rather than through use. This approach positions his practice as a critique of what he sees as the discipline’s increasing sclerosis, replacing fixed systems with structures that remain open, ambiguous, and experientially driven.

At Pitti Uomo, this philosophy materializes through a field of 18 monoliths, each measuring five meters high, three meters wide, and nine meters deep. Arranged in a perimeter-like formation, the volumes recall the spatial logic of ancient ceremonial sites such as Stonehenge, forming what Leschelier describes as an almost archaeological geometry. The installation borrows the sense of enclosure, procession, and ritualized movement from the symbolic weight of historical forms. At the same time, the project asserts a contemporary presence through its construction methods and material language, staging a deliberate tension between ancient references and futuristic execution.

Ancient / New Site occupies the central square of the Fortezza da Basso

Experiencing scale inside Ancient / New Site

Ancient / New Site stages a meeting of opposites, soft and hard, temporary and permanent, archaic and futuristic. The monoliths appear massive and immobile, yet their construction is rooted in speed, lightness, and reversibility. This contradiction is not resolved but foregrounded, becoming the primary spatial narrative of the project.

Unlike conventional sculpture, the work is conceived as a site to be traversed. Visitors must enter the installation to access its underground spaces, turning spectators into participants. Bodies navigate between volumes, adjusting to shifts in light, scale, and enclosure. The installation is not meant to be observed from a distance but encountered at close range, where its physicality becomes unavoidable.

visitors are invited to enter, cross, and inhabit the 18 monolithic structures

the structures are built from scaffolding frames clad in concrete canvas

Leschelier is known for building architectures without predefined use

Ancient / New Site stages a meeting of opposites

architecture as a physical language that communicates through scale, mass, and presence

replacing fixed systems with structures that remain open, ambiguous, and experientially driven

each monolith measures five meters high, three meters wide, and nine meters deep

the volumes recall the spatial logic of ancient ceremonial sites such as Stonehenge

the project asserts a contemporary presence through its construction methods and material language

the work is conceived as a site to be traversed

project info:

name: Ancient / New Site

architect: Marc Leschelier | @marcleschelier

location: Fortezza da Basso, Florence, Italy

curator: PHILEO (guest curator, Art Program 2026)

event: Pitti Uomo 109

site area: 1,700 square meters

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Located in the center of Ljubljana, Water Sculpture LJ is a site-specific public artwork realized by M.KOCBEK architects and P PLUS arhitekti nine years after winning a public design competition. Conceived as a spatial intervention within the city’s dense urban fabric, the sculpture introduces a defined micro-environment that operates as a small urban platform. Its continuous, rounded geometry establishes a distinct spatial condition that contrasts with the surrounding movement of the city while remaining visually and physically accessible.

The mirrored sculpture is formed as a continuous spatial loop that frames views and directs movement, producing a sequence of changing visual perspectives. Rather than functioning as an object to be observed from a distance, the installation is designed as an inhabitable structure that supports movement, sitting, and tactile engagement. The spatial configuration allows passers-by to move through and within the form, integrating everyday use into the experience of the artwork and positioning it as part of the public realm rather than a detached sculptural object.

all images by Ana Skobe

Water Flow and Reflective Surfaces Animate the Urban Context

Water circulation is integrated as a central design element, reinforcing themes of movement, continuity, and flow. The presence of water operates both spatially and symbolically, referencing natural cycles and processes through continuous motion. This integration positions the sculpture as an interface between material form and environmental dynamics, linking physical presence with less tangible phenomena such as circulation, transformation, and connectivity.

For the designers Mojca Kocbek of M.KOCBEK architects and Primož Boršič of P PLUS arhitekti, material selection plays a key role in the project’s interaction with its context. The sculpture is constructed from stainless steel, chosen for its reflective properties and durability in an urban environment. Its surface mirrors surrounding activity, light conditions, and weather, causing the sculpture’s appearance to shift throughout the day. Under different atmospheric conditions, the form alternately asserts itself or visually recedes, responding to changes in light, sky, and movement around it.

Water Sculpture LJ is located in the center of Ljubljana as a site-specific public artwork

Water Sculpture LJ functions as a spatial landmark within Ljubljana’s public space network. Designed to connect rather than divide, it supports multiple forms of engagement while maintaining an open relationship with its surroundings. Through its spatial continuity, material responsiveness, and integration of water, the project contributes a flexible public element that operates at the intersection of art, landscape, and urban infrastructure.

the sculpture introduces a defined micro-environment within the dense urban fabric

a continuous, rounded geometry establishes a distinct spatial condition

the mirrored surface contrasts with the movement of the surrounding city

the sculpture is formed as a continuous spatial loop

the installation produces a sequence of changing visual perspectives

the surface mirrors light, weather, and surrounding urban activity

passers-by move through and within the sculptural form

project info:

name: Water Sculpture LJ
designers: M.KOCBEK architects – Mojca Kocbek | @mojcakocbek, P PLUS arhitekti – Primož Boršič | @pplusarhitekti

investor: Municipality of Ljubljana

location: Slovenska cesta, Ljubljana, Slovenia

area: 150 sqm

photographer: Ana Skobe | @anaskobe

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

edited by: christina vergopoulou | designboom

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Located on Jambiani beach along Zanzibar’s east coast, Drifting Cloud is a kinetic installation by Vincent Leroy that interacts directly with the wind. The sculptural work is constructed from carbon rods, 3D printed joints, and kite-canvas discs, forming a lightweight structure capable of responding to subtle air currents.

The installation’s modular components move independently while remaining part of a connected whole, generating a dynamic, constantly changing composition. Movements vary according to wind strength, ranging from fine vibrations to broader gestures, producing an organized yet unpredictable rhythm.

all images courtesy of Vincent Leroy

Vincent Leroy integrates coastal context into kinetic artwork

Positioned above the shoreline and amid the seaweed farms, the installation by Paris-based artist Vincent Leroy integrates with its environment without interfering with local activity. Its floating arrangement translates wind into visible motion, offering a spatial and temporal reading of environmental forces. Drifting Cloud demonstrates the interplay between lightweight materials, modular construction, and environmental responsiveness in a coastal context.

Drifting Cloud is a kinetic installation on Jambiani beach, Zanzibar

the work responds directly to the coastal winds

modular components move independently yet remain connected

carbon rods, 3D printed joints, and kite-canvas discs form its lightweight structure

movements shift dynamically with the wind’s strength

each element contributes to an organized yet unpredictable rhythm

Drifting Cloud’s kinetic rhythm mirrors the movement of the shoreline and wind

project info:

name: Drifting Cloud

designer: Vincent Leroy | @vincent_leroy_studio

location: Zanzibar, Tanzania, Africa

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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OAS/S-ELY is an architectural art installation by Zhide Architectural Design located on Huanglong Island in Shengsi County, Zhoushan City, Zhejiang Province, China. Positioned within a coastal landscape shaped by sea winds and rocky reefs, the public art project functions as an art gateway that mediates between past, present, and future narratives through form, material, and environmental interaction.

The installation is developed as part of the ‘Island Co-construction Project,’ a long-term rural sustainability initiative initiated by Ideal in the Wild. Conceived as a 20-year research and development framework, the project uses Huanglong Island as a testing ground for sustainable rural practices. It combines physical interventions with community-based participation, supported by an online co-creation network that includes more than 3,000 participants worldwide engaged in discussions and proposals related to rural development.

all images by Noah Swh

Zhide utilizes Steel and Water Vapor to Shape Spatial Perception

OAS/S-ELY is primarily constructed from steel components and is designed as a spatial marker within the island’s landscape. For Zhide Architectural Design Studio, the form references movement and transition, allowing multiple readings without relying on literal representation. A controlled misting system is integrated into the structure, releasing water vapor to simulate cloud-like conditions. This system alters visibility and spatial perception over time, creating an environment that shifts in response to atmospheric conditions and user presence.

Through its material assembly, environmental responsiveness, and placement within a broader sustainability framework, OAS/S-ELY operates as both an architectural object and a platform for interaction. The project explores how built form can engage ecological processes and collective participation while contributing to ongoing discussions around rural regeneration and future-oriented design practices.

OAS/S-ELY is an architectural art installation by Zhide Architectural Design on Huanglong Island, China

the installation is set within a coastal landscape shaped by sea winds and rocky reefs

OAS/S-ELY functions as an art gateway within the island’s natural terrain

the public artwork’s placement responds directly to the island’s coastal conditions

the installation invites interaction amongst village visitors and children

the installation is primarily constructed from steel components

the form acts as a spatial marker within the island landscape

the structure references movement and transition rather than fixed symbolism

as one sits on the swing and gently sways, the mist above is triggered, reshaping the movement

the hidden mist system atop OAS/S-ELY transforms the installation into a continuously evolving environment

the project mediates between past, present, and future through form and material

project info:

name: OAS/S-ELY

architects: Zhide Architectural Design Consulting (Beijing) Co., Ltd.

design team: Zhengdong Li, Rubing Bai, Xu Wen

location: Shengsi County, Zhoushan City, Zhejiang Province, China

area: 18.5 sqm

photographer: Noah Swh

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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