CULT GAIA SPRING 2027 纽约

CULT GAIA｜CULT GAIA 2027 春夏秀「Behesht」（纽约时装周官方日程）｜2026-09-09｜纽约

美国自然历史博物馆的吉尔德中心（Gilder Center），中庭是喷浆混凝土做成的洞穴：墙与顶连成一片，表面起伏，开几个椭圆形天窗。CULT GAIA 的 2027 春夏秀（Behesht）在这里举行。

设计把中庭的坡面铺成草坡。草皮顺着阶梯与通道的走向铺开，接缝收在转折处；坡上原有的不锈钢扶手留在原位，绿与金属的边界很硬。草坡不是一块平面，而是跟着建筑的曲线起伏，从地面一直升到上层。

观众坐在白色方块凳上。凳子是实心的，方正、没有靠背，沿草坡脚下排成几列，中间留出过道；白色在米色的洞穴里很跳，把人的位置标了出来，也让视线有落点。

走道是抛光混凝土，就在草坡脚下。模特贴着坡走，身后是整片绿，面前是观众；没有背景板，也没有地台，只有一片灰地，坡度本身充当了背景的高度。

光来自天窗。日光从椭圆开口落下来，在混凝土上留下一块亮斑，边缘很实，像被剪出来的形状，随时间移动；草坡在光里颜色变化很大，靠窗处偏黄，阴影处偏冷。人工光只做补，暖色，压得很低。

混凝土曲面把声音反射回来，人声、脚步与音乐混在一起；在这样一个洞穴里，回声本身也是空间的一部分。

工序上，这是一个覆盖的方案：草皮以卷材铺设，白色方块凳是可移动的独立单元，新增物都不与建筑固定，撤场之后不留痕迹。

传播上，绿与米色是很强的一组对比：草坡在照片里几乎像一块屏幕，衣服的轮廓被推到前景。博物馆的洞穴本身辨识度很高，读者一眼能认出这是哪里，对品牌来说等于现成的场景资产。

对案例库来说，这是一个顺势的样本：不改变建筑的形状，只改变它的表面——把米色换成绿色，把台阶变成山坡，其余交给光与人的走动。

CULT GAIA Spring 2027 "Behesht" 9 September 2026 — New York Venue: Gilder Center, American Museum of Natural History, New York Agency: Bureau Betak (runway design and production) Source: public information published by Bureau Betak.

The Gilder Center at the American Museum of Natural History is a cave made of sprayed concrete: wall and ceiling run into one another, the surface undulates, and a few oval skylights open overhead. Cult Gaia held its Spring 2027 show, Behesht, inside it.

The building is young, opened in 2023 to a design by Studio Gang, and its interior is one continuous poured form rather than a set of rooms. There are almost no straight walls to hang anything on, so the only workable move is to accept the shape and change its skin.

The title, Behesht, is the Persian word for heaven; in Persian usage it also means a garden. The hill answered without illustration: no flowers, no arch, no backdrop, only a slope of grass inside a cave of concrete — closer to what a garden is in a hot country: shade, water, something growing where nothing was expected.

The design covered the slopes of the atrium in turf. Sod followed the stairs and ramps, joints tucked into the folds, and the existing stainless handrails stayed put, so green met metal on a hard edge. The result is not a lawn but a hill rising with the building.

The audience sat on white cube stools, solid, square, without backs, arranged in a few rows at the foot of the slope. White jumps in a beige cave, and it also marks where each person is.

The runway was the polished concrete at the base of the hill. Models walked tight against the slope with the whole green wall behind them and the audience in front, and there was no backdrop and no platform: the incline did the work of height.

Light came from above. Daylight dropped through the oval openings and left a bright patch on the concrete with a hard edge, like a shape cut out of the surface, and it moved as the hours passed. The turf changed colour a great deal under it, yellow near the openings and cooler in the shade, while the artificial light stayed warm and very low.

The concrete curves throw sound back. Voices, footsteps and music arrived together, and the echo of the room became part of the atmosphere rather than something to remove, which suits a cave.

Circulation followed the building's own ramps. Guests came up from the lower level, crossed the flat floor where the stools were set, and looked down the length of the run from both sides, while the models stayed at the base of the hill so that the incline read as a wall of colour behind every exit and every turn.

On site this was a covering job. Turf went down in rolls, the white stools were separate movable units, and nothing new was fixed to the building, so the room could be handed back without marks.

For communication the pairing of green and beige is unusually strong: in photographs the hill behaves almost like a screen, pushing each silhouette forward. The cave itself is recognisable, so a reader knows where they are within a second, which is a set borrowed for free.

For a case library this is a sample that goes with the building rather than against it: the shape is untouched and only the surface changes, beige to green, steps to hillside, with light and movement left to finish the work.

Source: public information published by Bureau Betak.

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