The volumetric composition of the building, as envisioned by Snøhetta, is organized beneath a large, continuous, curved roof that unifies the various spaces and establishes a gradation of scales as it approaches the river. Its design creates an enveloping movement that connects the building to the park, the city, and the Huangpu River, integrating the distinct volumes of the auditoriums into a cohesive architectural whole.
The spatial organization unfolds across several public levels, which link areas dedicated to exhibitions, educational facilities, restaurants, and performance halls. The three auditoriums—with capacities of 2,000, 1,200, and 1,000 spectators, respectively—are arranged according to their specific performance and functional requirements.
Shanghai Grand Opera House by Snøhetta. Photograph by Tian Fangfang.
A defining visual feature of the complex is a helical staircase that extends circulation from the ground floor up to the roof, where an elevated public space serves as both an observation deck and an open-air stage, offering views of the river and the city.
Shanghai Grand Opera House by Snøhetta. Photograph by Yumeng Zhu.
With this approach, Snøhetta proposes an open concept for performing arts architecture—much like their design for the Norwegian National Opera. The building is no longer intended exclusively for those attending a performance; instead, it becomes a public space for everyday use, where cultural activity merges with the city’s social life.
The structure of the Shanghai Grand Opera House is built from reinforced concrete, with the outer roof incorporating a steel framework—developed in collaboration with the engineering firm Schlaich Bergermann Partner. The complex reaches a maximum height of 45.50 meters and spans approximately 271 by 251 meters. Among its structural achievements is the cantilevered exterior helical staircase, constructed using ultra-high-performance concrete; this material enables the realization of a highly complex curved geometry with spans reaching up to 30 meters. The building envelope incorporates expansive glazed surfaces that allow natural light to enter the lobbies and circulation spaces. Its curved façade employs a large-format curtain wall system made of multi-layered, laminated, insulating glass—a design that demanded a high degree of precision during both the fabrication and assembly of its components.
Shanghai Grand Opera House by Snøhetta. Photograph by Tian Fangfang.
Inside, the selection of materials addresses both spatial and acoustic requirements. Oak wood is used for the flooring in the galleries and as cladding for the auditoriums, where it takes on reddish hues. Textile finishes soften the interior atmosphere, providing a contrast to the white exterior. The acoustic design, developed in collaboration with Nagata Acoustics, is tailored to the specific needs of each hall, while the stage systems are versatile enough to accommodate opera productions, concerts, and experimental performances. The main auditorium features a stage spanning approximately 3,500 m², equipped with mechanized systems to facilitate rapid set changes.
Shanghai Grand Opera House by Snøhetta. Photograph by Yumeng Zhu.
The interior treatment of the three auditoriums establishes a distinct identity for each space through the use of specific materials, colours, and acoustic solutions. The main hall, Harmony Hall, is defined by its dark-red surfaces, designed to enhance the resonance of the human voice. Its seating is arranged across five levels, with side boxes that help reduce the distance between the audience and the stage. The other two halls transition toward lighter tones, adapted to their respective performance formats and acoustic requirements.
Shanghai Grand Opera House by Snøhetta. Photograph by Tian Fangfang.
The Shanghai Opera House continues a body of work developed by Snøhetta in China—as seen in the Beijing Library (2023) and their proposal for the Qiantang Bay Art Museum in Hangzhou (2025)—in which cultural facilities are conceived as spaces for public gathering and activity, deeply integrated with their surrounding environment.
In Shanghai, the new opera house is part of a broader urban and cultural transformation, alongside projects such as the West Bund Grand Theater by Schmidt Hammer Lassen Architects (2025) and the GATE M West Bund Dream Center by MVRDV (2025). In contrast to these developments, Snøhetta’s proposal adopts a more explicit landscape-oriented dimension by transforming the roof into an extension of the public realm and linking the building to the revitalization of the Huangpu riverfront.
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