BVLGARI KALEIDOS 上海

BVLGARI（宝格丽）｜BVLGARI KALEIDOS「万花绮镜」特展（色彩·文化·匠艺）｜2026-09-05｜上海

展览在上海当代艺术博物馆的展厅里。入口是一道浅绿色的弧形墙，墙上是白色的展名，地面铺同色地毯。人还没看到珠宝，先被颜色接住。

墙的上方悬着一组层叠的漆面圆盘，红、橙、粉、绿、米白，一片压着一片，高低错开。它们不组成图案，只把天花切碎，让光从缝里漏下来。这一处把展名说清楚了。

进门之后，墙面换成灰米色的弧形石膏，接缝很少，转角都是圆的。墙脚嵌一条连续的灯带，贴着地面走，把墙从地上抬起来。天花压得很暗。

地面是无缝的浅色砂浆，没有拼缝，也没有地毯的边界。人走上去，脚步声被吸掉。动线是一条弯曲的路，看不到尽头，只能一段一段往前走。

展览按颜色分章。每一章是一个独立的小房间：橙色的房间连地面也是橙的，红色的房间连展柜底座都染红。颜色在这里不是装饰，是路标。

展柜做得很轻。玻璃配细钢框，放在浅色石台上，光从柜内出来，不外溢。墙上的壁龛柜嵌进墙体，只留一圈暖光。珠宝在光里，墙在暗处。

展品包括高级珠宝、品牌典藏与当代艺术作品，三者排在一条动线上，不分主次。观众看一件项链，走两步看到一幅画，颜色把两者连起来。

这场展览由 SANAA 做空间设计，Formafantasma 做展陈设计，Bureau Betak 负责制作与落地。三方分工清楚，呈现出来的是一个整体，而不是三段拼接。

传播上，展览给的是一组颜色的图：绿墙、橙色房间、层叠的漆盘、玻璃柜里的一点亮。它不靠单件珠宝的特写，而靠空间成片。品牌把展览做成了可拍摄的场所，观众拍下的照片自带识别。

对案例库来说，这是一个颜色作为结构的样本。它没有用造型物撑场面，而是用墙面的曲率、房间的色相和灯带的走向来组织观看。造价落在饰面、灯光和展柜上，落在看不见的精度里。

The exhibition occupied a gallery floor at the Power Station of Art in Shanghai. The entrance was a curved wall in pale green, the title set in white across it, the floor carpeted in the same tone. Before a visitor saw a single jewel, colour had already received them.

Above that wall hung a stack of lacquered discs — red, orange, pink, green, cream — each overlapping the next at a different height. They did not make a pattern. They cut the ceiling into slices and let light leak through the gaps. That one gesture explained the title better than any text panel could.

Inside, the walls changed to a putty-grey plaster, curved, with few joints and no sharp corners. A continuous strip of light ran along the base, following the floor line, so the wall appeared to lift off the ground. The ceiling was kept dark, out of the picture almost entirely.

The floor was a seamless pale screed, without joints or carpet edges. Footsteps were absorbed rather than returned. The route curved and gave no view of its end, so a visitor moved forward one segment at a time instead of scanning a whole room.

The exhibition was divided by colour. Each chapter was a small room of its own: an orange room where the floor was orange too, a red room where even the plinth was dyed red. Colour was not decoration here; it was wayfinding.

The cases were built light. Glass with thin steel frames, standing on pale stone plinths, lit from within so that no light spilled outward. Cases set into the walls were recessed and left with a warm halo. The jewels sat in light and the wall stayed in shadow.

The opening added a bar built in the same language: green lacquer counters with a neon line under the top, low tables standing among the cases. Guests drank inside the exhibition rather than in a separate room, which kept the jewellery and the evening in one frame.

The display mixed high jewellery, pieces from the house's heritage collection and works by contemporary artists on one route, without ranking them. A visitor looked at a necklace, walked a few steps, and met a painting, with colour doing the connecting.

SANAA designed the space and Formafantasma the display; Bureau Betak handled production and delivery. The division of labour was clear, and the result read as one thing rather than three.

For communication the exhibition produced images of colour: the green wall, the orange room, the stacked lacquer, one bright point inside glass. It did not depend on close-ups of individual pieces; the rooms themselves photographed well. The house built a place worth photographing, and the photographs carried the identity without a caption, and visitors supplied the scale of the rooms themselves.

For a case library this is a sample of colour used as structure. Nothing was carried by a sculptural object; the viewing was organised by the curvature of walls, the hue of each room and the direction of a light line. The budget sat in finishes, lighting and casework, in precision that nobody notices until it is missing. It also shows how far a travelling show can be adapted: a design made for one museum was rebuilt for another building, and the colour logic survived the move.

Source: public information published by Bureau Betak.

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