Behind several of the most anticipated pavilions at EXPO 2025 Osaka lies BeWunder’s expertise in turning architectural visions into captivating, multisensory realities. The World Expo is a dynamic stage where architecture, design, and technology converge to create compelling narratives about the future. The pavilions act as canvases where abstract ideas are brought to life through an orchestration of light, sound, and interactive technology. designboom takes a look at pavilions, created in collaboration with BeWunder, pushing the boundaries of spatial design and turning a passive visit into an active, immersive multimedia journey.

USA Pavilion | image ©Hufton+Crow, all images courtesy of ​​BeWunder

FROM STAGED EXPERIENCES TO FULL-SCALE EVENT PRODUCTION

As a specialist in museums, exhibitions, and brand pavilions, BeWunder serves as a turnkey partner for creating unforgettable spatial experiences. The company‘s passion lies in producing multisensory visitor experiences that combine multimedia technology, content, staged lighting, interactive elements, and scenery. With an end-to-end approach, BeWunder’s team is expertly positioned to bridge the gap between creative vision and its physical reality. Their proven international track record in both live events and permanent construction has positioned them to deliver exceptional projects, regardless of scope, scale, or location.

designed as an architectural homage to openness and progress, the Kuwait Pavilion features bold open wings

TURNKEY PROJECTS AND HIGHLIGHTS FROM BEWUNDER

For the USA, Netherlands, and Philippines Pavilions, BeWunder served as a turnkey design and build contractor, taking full responsibility for the final design and delivery. Their scope encompassed an integrated approach, covering everything from initial concept development and feasibility studies to the final delivery of multimedia and lighting systems, interactive elements, scenic fit-out, exhibit fabrication, graphics, print, and signage. 

Each project was uniquely defined by its architectural and cultural narrative. Inspired by the Japanese concept of wabi-sabi, the USA Pavilion’s architectural form consists of two triangular wooden structures contrasted by a suspended, illuminated cube. BeWunder supported the exhibition design team by further developing the concept, ensuring that technology, storytelling, and spatial design worked hand-in-hand to create a compelling and immersive experience for visitors. Similarly, for the Philippines Pavilion, whose design pays tribute to Filipino heritage and features over 200 handwoven textiles, BeWunder managed the installation of the exterior facade and coordinated all artworks to bring the creative vision to life with precision. A highlight of the Netherlands Pavilion was the design and manufacturing of a bespoke interactive sphere system, enabling visitors to engage with content in dynamic, personalized ways.

BeWunder was responsible for the complete multimedia and lighting systems inside the Kuwait Pavilion exhibition

BeWunder also applied its specialized skills in audio-visual and lighting systems to achieve the vision for a number of other pavilions, including the Kuwait, Luxembourg, and Germany Pavilions. The Kuwait Pavilion, with its distinctive open wings, was brought to life with comprehensive interior multimedia and lighting systems. This expertise extended to the exterior as well, with the team designing and installing the façade and landscape lighting to highlight the structure’s unique architecture, especially at night.

From a monumental spiral sculpture of the Austria Pavilion to a moving stage in the Uzbekistan Pavilion, BeWunder created standout features, designed for unforgettable, multisensory journeys. A groundbreaking 100-channel audio system in the Austria Pavilion enables visitors to collaboratively create music, turning the inside into an active and participatory experience. For the Switzerland Pavilion, BeWunder’s expertise was focused on an integrated lighting setup that animated the pavilion’s iconic bubble effects. Meanwhile, a standout feature of the Uzbekistan Pavilion was a moving stage that transports visitors between floors while being fully immersed in projection content. For the Luxembourg Pavilion, a key highlight of their scope was the development and delivery of custom-made LED screens, manufactured specifically for the project to meet unique design and spatial requirements.

Switzerland’s Pavilion is driven by three key themes: life, planet, and augmented human

Beyond full-scale delivery, BeWunder’s partner mindset allowed them to provide targeted technical and consultancy services. For the Portugal Pavilion, they acted as a consultant, offering feasibility studies and value engineering to align design intent with budget and technical feasibility. Similarly, for the UAE Pavilion, BeWunder served as a media hardware planner, responsible for the design and specification of all AV technology. This comprehensive range of services ensures that every client, regardless of their specific needs, can bring their creative vision to life.

the Portugal Pavilion offers an interactive experience, inviting visitors to explore the ocean as a life-giving resource

BeWunder served as the turnkey design & build contractor for the visitor experience at the Philippines Pavilion

with its theme of common ground, the Netherlands Pavilion aims to foster openness and cooperation

for the UAE Pavilion, BeWunder ensured the AV system fully supports and enhances the creative vision

the Germany Pavilion centres on the theme of circular economy, with the title Wa! Germany

the European Union Pavilion highlights the EU’s commitment to building a sustainable, inclusive, and secure future

the USA Pavilion invites visitors to imagine a future where collaboration and creativity lead global progress

project info:

name: Turnkey Projects at Osaka Expo 2025

company: BeWunder | @bewunder_expierences

location: Osaka, Japan

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In the Cour Jardin of the Hôtel Plaza Athénée, Paris, France, Univers Uchronia has unveiled Daybed, a large-scale installation that reinterprets the hotel’s garden through materiality, color, and form. The temporary work, on view until 11th November, 2025, functions as both sculptural object and inhabitable space, establishing a dialogue between contemporary design and the historic setting of the Plaza Athénée.

At the center of the project is a ceramic surface designed in collaboration with Dutch brand Palet. The installation is clad in Palet’s glazed tiles, whose dimensions (149 x 149 mm) and color flexibility formed the basis for Uchronia’s architectural composition. The palette, dominated by greens and reds, references the hotel’s signature tones, including the red geraniums that line the Cour Jardin. Produced in the Netherlands, each tile is glazed to order from Palet’s library of more than 100 colors, which can be combined into over 300,000 possible variations. The reflective surface changes character under different light conditions, giving the installation a shifting visual presence throughout the day.

all images by Felix Dol Maillot

Uchronia’s Daybed Combines Ceramics, Textiles, and Furnishings

The ceramic assembly by creative studio Univers Uchronia is complemented by additional crafted elements: a custom-designed headboard by Treca, bed linens by Le Jacquard Français, floral curtains and cushions by Misia, and painted finishes by Seigneurie. Together, these components extend the project beyond surface design, integrating textiles and furnishings into a cohesive environment.

Palet, founded in 2021 by Jaap Giesen, Gilles de Brock, and Niels Monsieurs, operates at the intersection of digital design and ceramic craftsmanship. Its platform allows designers and clients to configure bespoke color and pattern combinations at varying scales, bridging industrial repeatability with artisanal variation. The collaboration with Univers Uchronia continues a partnership that has evolved from small-scale interiors to more ambitious site-specific installations. Daybed at the Plaza Athénée exemplifies this ongoing exchange, presenting ceramic tile as both material and medium for architectural experimentation within a public-facing context.

Daybed installation in the Cour Jardin of Hôtel Plaza Athénée, Paris

Univers Uchronia reinterprets the garden through form, colour, and material

the installation functions as both sculpture and inhabitable space

textiles, floral curtains, and cushions enhance the composition

Palet’s glazed ceramic tiles form the surface of the installation

greens and reds echo the hotel’s iconic geraniums and palette

the reflective ceramic surface shifts character with changing light

Uchronia and Palet’s collaboration extends from interiors to large-scale work

Daybed explores ceramic tile as both material and medium of architecture

project info:

name: Daybed
designer: Uchronia | @uchronia_world

location: Hôtel Plaza Athénée, Paris, France

photographer: Felix Dol Maillot | @felixdolmaillot

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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Cheng Tsung FENG’s Meeting Dome is a large-scale spherical installation in Fugang, Taoyuan, that reinterprets the weaving technique of the traditional Taiwanese bamboo chair. The project continues the artist’s exploration of artisanal practices, translating everyday craft into spatial form.

The installation expands the chair’s woven seat into a monumental structure. Thin bamboo strips are layered in parallel and extended across a hexagonal metal framework, producing a continuous lattice surface. The composition recalls the Chinese character for ‘person’ (人), emphasizing both structural balance and human connection.

all images by FIXER Photographic Studio

Feng’s Open Bamboo Sphere encourages gathering and reflection

The open geometry keeps the sphere permeable from all sides, encouraging visitors to move through, gather, and interact. As light filters through the bamboo layers, shifting patterns of shadow animate the ground and create shaded areas beneath the dome. Inside, bamboo stools are arranged in varied groupings and heights around a central planting of local Taoyuan vegetation. This spatial layout invites pause and interaction, recalling the informal ways neighbors once gathered on bamboo chairs in village streets, under trees, and in alleyways.

By magnifying a familiar household object, artist Cheng Tsung FENG’s Meeting Dome transforms a utilitarian craft into an architectural experience. The interplay of bamboo and metal merges tactile materiality with structural clarity, while the installation as a whole reflects on memory, community, and the role of everyday objects in shaping shared space.

Meeting Dome by Cheng Tsung FENG rises as a bamboo-woven sphere in Fugang

the installation reinterprets the weaving of traditional Taiwanese bamboo chairs

bamboo stools are placed in varied groupings and heights

thin bamboo strips extend across a hexagonal metal framework

parallel bamboo layers form a continuous lattice surface

the dome remains permeable, inviting visitors from all sides

craft and architecture merge in the magnified bamboo weave

a central planting of Taoyuan vegetation anchors the space

everyday craft is translated into monumental spatial form

geometry and material emphasize balance and connection

light filters through bamboo, casting shifting shadows on the ground

the project bridges memory, material, and communal interaction

seating arrangements encourage rest and interaction

a humble chair becomes an architectural experience of light and space

project info:

name: Meeting Dome

artist: Cheng Tsung FENG | @chengtsungfeng

location: Fugang, Taoyuan, Taiwan

materials: bamboo, wood, lacquered iron, LED lighting

project design: Chan-Wei HSU
design team: Sheng WANG, Hung Lin LIU, Ying Chun WENG, Che Wei CHANG, Wei Che HUANG, Hsing Chien CHIEN, Jui Yi CHIEN
structural analysis: Chien Chuan Engineering Consulting Co.
construction: Weige Interior
painting: Crown Paint Waterproof Engineering
lighting design: Oude Light
lighting engineer: Beamtec Lighting

organizer: Taoyuan City Government, Taiwan Railways Administration
adviser: Taoyuan City Council
executive units: Vision Management Consultants Inc., Fengshe Cai Co., Ltd., Hegu Creative Integration Marketing Co., Ltd.
curator: Hui-Lan CHANG

photographer: FIXER Photographic Studio | @fixer_photographic_studio

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At the Return to the River festival in Grand Rapids, Cyril Lancelin – Town and Concrete introduces his latest large-scale inflatable installation, Pyramid Curbs. The vibrant, immersive structure transforms the urban landscape into a playground of color and geometry, inviting visitors to step inside a three-dimensional rainbow maze.

The artwork is composed of intertwined tubular forms that rise and curve into an abstract pyramid-like silhouette. Its surface is covered in a gradient of rainbow hues, producing a dazzling visual effect that shifts with light and perspective. From afar, Pyramid Curbs appears as a monumental bundle of neon-colored roots, while up close it becomes a walkable labyrinth where visitors can explore and lose themselves between the inflated walls.

all images by DGRI, Bryan Esler, Shafi Subhan, courtesy of Cyril Lancelin – Town and Concrete

integrating sculpture, architecture, and playground

True to French artist-architect Cyril Lancelin’s practice, the work blurs the boundaries between sculpture, architecture, and playground. Repetition and variation of geometric modules create a structure that is at once monumental and approachable. The installation celebrates collectivity and joy, encouraging people of all ages to engage physically and emotionally with the piece.

Return to the River provides the backdrop for this urban intervention, reconnecting Grand Rapids’ downtown with the waterfront through art, music, and public events. In this context, Pyramid Curbs acts as both a landmark and a social condenser, a meeting point where color, scale, and form merge to reimagine how public space can feel. 

Cyril Lancelin debuts Pyramid Curbs at the Return to the River festival in Grand Rapids

intertwined tubular forms rise into an abstract pyramid-like silhouette

a rainbow gradient covers the surface, shifting with light and perspective

the work becomes a walkable labyrinth of inflated walls

repetition and variation of modules create rhythm and scale

the installation merges sculpture, architecture, and playground design

the installation creates a shared space of discovery and connection

visitors are invited to explore the maze-like interior

the inflatable installation transforms the city into a geometric playground

rainbow tones shift constantly with changes in light

project info:

name: Pyramid Curbs
designer: Cyril Lancelin | @town.and.concrete

location: Downtown Grand Rapids, Michigan

client: Downtown Grand Rapids Inc | @downtowngrinc / Return to the River Festival | @returntotheriver

production: ATC

photographers: DGRI, Bryan Esler, Shafi Subhan

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The project fernsehen establishes a dialogue between two landscapes with parallel histories of extraction and renewal: Mount Rokko in Japan and Berlin, Germany. Each site hosts an identical concrete structure, creating a paired installation that connects the two through live and recorded video transmission.

Mount Rokko was extensively quarried for granite during the Edo period, resulting in large-scale deforestation and environmental decline. During the Meiji era, deliberate reforestation efforts gradually restored the terrain. Today, the mountain carries the layered traces of both damage and recovery. Berlin, the artists’ base, reflects a similar cycle of destruction and regeneration through its urban history. fernsehen, conceived by Riku Ikegaya + Kohei Hayashi + Yu Kamijo, situates itself within these contexts by installing twin cube-like sculptures in Rokko and Berlin. Each structure is punctuated by narrow tubular openings, recalling the form of telescopes. Within them, video devices project the view from the paired site: the Rokko installation displays Berlin’s urban activity, while the Berlin installation transmits images of Rokko’s natural environment.

all images courtesy of Riku Ikegaya + Kohei Hayashi + Yu Kamijo

fernsehen operates as both a perceptual device and a monument

The recordings capture contrasting yet parallel realities. In Berlin, viewers see the passing of people, vehicles, and city rhythms. In Rokko, the images reveal vegetation, shifting weather, and animal movement. Together, these perspectives connect distant environments, framing the coexistence of natural and urban conditions.

The work by creatives Riku Ikegaya + Kohei Hayashi + Yu Kamijo, highlights the act of ‘seeing far’ not only as a spatial connection but also as a reflection on shared futures shaped by climate change, urbanization, and environmental pressures. Through this mediated exchange, fernsehen positions itself as both an apparatus for extending perception and a monument questioning the role of vision in shaping responsibility and possibility. The title references the German word for television, fernsehen, literally ‘to see far.’ Its etymology underscores the duality of distance and mediation, framing the installation as an exploration of how perception, technology, and context influence the way landscapes are understood across time and place.

fernsehen links Mount Rokko in Japan with Berlin, Germany

twin concrete cubes form the paired installation

each site hosts an identical sculpture pierced with narrow openings

the structures recall telescopes aimed at distant views

video devices project live and recorded images from the paired site

the installation situates itself within the parallel narratives of Rokko and Berlin

contrasting perspectives reveal shared realities across distance

the work examines how vision bridges space and time

the project operates as both a perceptual device and a monument

‘seeing far’ becomes a reflection on collective futures

Berlin audiences observe Rokko’s shifting natural environment

Rokko viewers watch Berlin’s urban activity unfold in real time

the installation engages themes of climate and urban change

project info:

name: fernsehen
designers: Riku Ikegaya + Kohei Hayashi + Yu Kamijo

materials: wood, plaster materials, brass pipes, video devices

dimensions: 2m (W) × 2m (D) × 2m (H)

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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Artist Cj Hendry is back with a second edition of her plush Flower Market, the interactive installation which has just transformed New York City‘s Rockefeller Center into a landscape of hand-crafted flowers. New Yorkers and visitors are welcome to explore the space and curate their own bouquet for just one weekend from Friday, September 19th until Sunday, September 21st, 2025 from 10am-7pm.

This year’s opening comes one year after the Flower Market’s viral debut. That first iteration occupied the minimalist Louis Kahn-designed park at the southern tip of Roosevelt Island before it expanded to Brooklyn’s Industry City to accommodate swelling crowds. Those previous sites were certainly less central than this year’s prime spot in Midtown Manhattan — the elongated greenhouse sits beneath the plaza’s row of world flags and overlooks the sunken courtyard which, during the winter months, hosts the city’s most iconic ice rink.

Twenty-seven new plush flower designs are introduced this year, each produced with the same attention to quality and detail that defines Cj Hendry’s varied practice. Visitors are invited to select a flower to take home, with all additional flowers available for just $5 USD. This way, the installation extends beyond its setting and out into the rest of the city. ‘It was so lovely to see every other person below 14th street carrying a bouquet of flowers,’ writes a commenter on social media.

Cj Hendry’s Flower Market 2.0 arrives in Rockefeller Center | image © Cj Hendry Studio

Cj hendry is ‘dialing it up to 100’

With its new location in Rockefeller Center, Cj Hendry’s Flower Market is still an immersive, greenhouse-like environment. Inside, a series of original artworks by the artist’s studio, editioned floral wall sculptures, and a line of limited-edition merchandise — including totes, t-shirts, and caps — extend the project into multiple formats.

A satellite Flower Cart at Top of the Rock, open daily from early morning until midnight, even brings the work into dialogue with one of the most well-known observation decks in New York. Moreover, a limited 28th plush flower design is being offered exclusively at Top of the Rock as an add-on to ticketed entry.

Hendry describes last year’s Flower Market as ‘chaotic and beautiful,’ a spontaneous exchange between her artworks and the city, so that interaction and collection become part of the art. This Flower Market 2.0 version channels that same energy into a context which is even more chaotic. ‘We’re dialing everything up to one hundred,’ she says.

the installation is open from September 19th — 21st, 2025 | image © Cj Hendry Studio

visitors are invited to select a flower to take home, with more available for purchase | image © Cj Hendry Studio

this new edition introduces twenty-seven new plush flower designs | image © designboom

a limited 28th flower design will be available exclusively at Top of the Rock | image © designboom

the Flower Market is an immersive, greenhouse-like environment | image © designboom

original artworks and editioned floral wall sculptures will be on view | image © designboom

a Flower Cart satellite location will be open from morning to midnight | image © designboom

project info:

name: Flower Market

artist: Cj Hendry | @cj_hendry

location: Rockefeller Center, NYC

dates: September 19th — 21st, 2025 (10am-7pm)

photography: © Cj Hendry Studio, © designboom

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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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In July 2025, artist Karolina Halatek presented Ascent in Qingdao as part of Lancôme’s Voyage of the Rose program. The five-meter-high installation is composed of a spiral of mist and light, creating an immersive, site-specific environment.

The work investigates the interplay of light and atmosphere through a spatial structure that integrates optical and environmental effects. Mist and illumination combine to form shifting visual conditions, placing visitors within an altered perceptual field. The installation references microscopic observations, electromagnetic wave behavior, and atmospheric dynamics, while also addressing themes of transformation and continuity.

all images courtesy of Lancôme unless stated otherwise

Karolina Halatek’s installation interprets Lancôme’s emblem

Halatek is a Polish visual artist whose practice centers on large-scale light installations and immersive environments. Her projects frequently involve collaborations with scientists and engineers to achieve technically complex results. Her work has been presented internationally across Europe, the USA, the Middle East, and Asia.

Ascent was created and produced in collaboration with Somexing Artistic Agency for Lancôme’s Voyage of the Rose, an initiative that commissioned four international artists to interpret the brand’s Absolue Rose emblem. Each installation combined art, science, and sustainable design within temporary spaces across China. The series included: Garden of Everything by Juju Wang in Wuhan (April), Ascent by Karolina Halatek in Qingdao (July), Birth of an Icon by Casey Curran in Chengdu (August), and A Gift from Eternal Rose by Daigo Daikoku in Shenzhen (August).

Ascent by Karolina Halatek rises five meters in Qingdao | image courtesy of Karolina Halatek

a spiral of mist and light defines the installation | image courtesy of Karolina Halatek

the work transforms atmosphere into a spatial experience

shifting light conditions alter visitors’ perception | image courtesy of Karolina Halatek

mist and illumination combine to form dynamic effects

inspired by microscopic observations and electromagnetic waves

the structure explores themes of transformation and continuity

the work balances technical precision and spatial impact

Ascent was presented for Lancôme’s Voyage of the Rose

Ascent interprets the Absolue Rose, Lancôme’s emblem of regeneration

project info:

name: Ascent
artist: Karolina Halatek | @karolinahalatek

location: Qingdao, China

exhibition: Voyage of the Rose

client: Lancôme | @lancomeofficial

agency: Somexing Artistic | @somexing_

curators: Isabelle Gavalda & Lucille Enel

artistic liaison: Lavinia Diniz Freitas 

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At the historic Wenwu Temple in Lukang, Changhua, artist Cheng Tsung Feng completes Theatre, a vast bamboo installation that reinterprets the disappearing tradition of temporary opera stages once central to Taiwanese temple festivals. Built from thousands of interlaced poles, the work stands as a contemporary architectural structure and a living reminder of a cultural form that once defined community gatherings but is now seldom seen.

Theatre takes inspiration from bamboo stages that, until recent decades, were rapidly erected for opera performances and temple celebrations across Taiwan. Feng’s structure echoes this ephemerality while translating it into an experiential space. The framework is composed of a strict vertical-horizontal grid of bamboo lengths, softened by split bamboo strips that trace sweeping arcs across the facade and ground plan. 

images courtesy of Cheng Tsung Feng

audience Becomes PerformeR in theater’s Stage of Light

Visitors are invited to step inside the Taiwanese artist’s installation by climbing bamboo stairways that lead to the broad central platform. Once within, they are enveloped by the transparent grid, where light filters through the slatted walls and floors, and the tactility of bamboo comes to the fore. In the daytime, the stage becomes a resting ground, a place to gather or to play. By night, lit by glowing festival lamps, the installation transforms into a ceremonial space that recalls the atmosphere of traditional opera performances with their color, spectacle, and sense of shared ritual.

As people move through Theatre, they oscillate between the roles of audience and performer, embodying the cyclical exchange at the heart of theater itself. Feng’s project situates memory within lived experience, animating tradition through participation. Standing before the centuries-old Wenwu Temple, the bamboo theater draws in festival visitors and passersby, offering them a space to rest, play, or perform.

Cheng Tsung Feng completes Theatre in Taiwan

a vast bamboo installation that reinterprets the disappearing tradition of temporary opera stages

built from thousands of interlaced poles

the work stands as a contemporary architectural structure

the framework is composed of a strict vertical-horizontal grid of bamboo lengths

split bamboo strips trace sweeping arcs across the facade and ground plan

visitors are invited to step inside the installation by climbing bamboo stairways

the stairs lead to the broad central platform

light filters through the slatted walls and floors

the tactility of bamboo comes to the fore

the stage becomes a resting ground, a place to gather or to play

by night, lit by glowing festival lamps, the installation transforms into a ceremonial space

recalling the atmosphere of traditional opera performances

project info:

name: Theatre
artist: Cheng Tsung Feng

location: Lukang, Changhua, Taiwan

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: thomai tsimpou | designboom

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