A groundbreaking architectural installation in Ningbo, China, has reimagined three abandoned utility buildings through an innovative combination of steel shipping containers and inflatable structures. The project, titled "Down in the Clouds," was completed in 2024 through a collaboration between two emerging design firms, Practice on Earth and Increments Studio. Located in Dun'ao Village within the Xiangshan district, the 290-square-meter intervention demonstrates how prefabricated systems can create playful, flexible spaces while revitalizing rural communities. Photographer Cloe Yun Wang documented the project, capturing how these whimsical structures interact with the surrounding landscape of low hills and rice fields.
The design team approached the project by first developing sketches and poems to capture the serene, poetic atmosphere of the secluded village, rather than starting with rigid architectural frameworks. This creative process led to three distinct interventions that serve the community's cultural tourism initiatives. The Cloud Cafe occupies the farmland entrance, replacing a disused utility room with a distinctive inflatable "cloud" that forms a large cantilevered canopy for events. A 3.38-meter container tower houses a compact coffee bar and supports a rooftop viewing deck accessible only through the inflatable structure, framing unique vistas of the surrounding agricultural landscape.
The Leaning Cinema transforms the site of an old billboard into a 30-square-meter screening space by propping a 15-degree tilted container on two support points. Supporting columns wrapped in inflatable rings conceal HVAC units while creating the illusion that the structure rests on soft balloons. Inside, acoustic panels, projection equipment, and ergonomic backrests create a functional yet whimsical environment for film screenings. The Secret Reading Room, situated at the foot of nearby hills, employs a ring of seven inflatable spheres within a raised steel frame. Visitors part the soft balloons to enter, discovering a contrast between hard materials—aluminum ceiling, stainless-steel desks—and the inflatable's tactile softness.
What distinguishes this project from typical temporary installations is the conception of inflatables as permanent architectural components. The design team engaged in extensive prototyping with manufacturers, progressing from 1:20 scale hand models to full-scale installations. Different inflation systems were developed for each structure: the Cloud's large PVC mesh requires continuous air pressure maintained by dual blowers, ensuring functionality even with punctures while reducing material weight. The cinema and reading room utilize sealed PVC spheres, welded for gloss and strength. Early testing revealed challenges including material sagging and sealing failures, which were resolved through careful scale adjustments and craft refinement.
Despite the prefabricated nature of the components, on-site adjustments proved critical to the project's success. Misalignments and unfamiliar construction methods demanded extensive dialogue between the design teams and local workers. After nearly a month of coordination and assembly, the final outcome aligned with the designers' intent. Even initially skeptical villagers eventually approved, with one commenting, "It really looks good." This hands-on collaboration transformed the project from a spatial intervention into a joyful community partnership, true to its name "Down in the Clouds."
The project serves as a full-cycle experiment in rural cultural tourism, from conceptualization through construction. It demonstrates how innovative materials and prefabrication can address challenges in remote locations while respecting local context. The installation's success has implications for similar communities seeking to revitalize abandoned structures through creative, low-impact interventions. Project credits include design team members Wu Haotian, Wang (Cloe) Yun, Lü Yancheng from Practice on Earth, and Hu Liang, Naomi Ng from Increments Studio, with local construction support from Huang Lunyü, Wang Haihua, and Master Song.
