龙湖成都滨江天街「Grand Snowhill Hotel」粉色圣诞场景

龙湖｜龙湖成都滨江天街「Grand Snowhill Hotel」粉色圣诞场景｜2026 年 11 月 11 日起｜成都 · 龙湖成都滨江天街 L1 中庭

位于成都成华区杉板桥路 266 号的龙湖成都滨江天街，年末的圣诞美陈是这座城东商场的固定动作。2025 年的做法朝外走：3 号门外广场立起一棵 18 米高的 LED 立方体圣诞树，屏面在雪花、星芒与麻将纹样之间切换，树下铺开木屋、雪屋与礼物盒组成的市集街。2026 年换了方向，场景从广场收进一楼中庭，也从一件可远观的装置，变成一处需要走进去的空间。

主题定名 Grand Snowhill Hotel，把圣诞场景直接当作一家酒店来搭。门厅、接待台、电梯厅、壁炉边、转角处的客房意象，这些酒店里最日常的区域被拆出来重新组合。色系以粉为主调，浅粉的结构体配灰白拱券，深色木饰面压住边线；复古的部分交给电话、钢琴、门套和门牌。入口侧的门牌写着 NO.266，对应商场自己的门牌号，把「入住」这件事安放在进门的第一步。

场景占满一楼中庭，面积 400 平方米，最高处 12 米。中庭是商场多层的通高位置，12 米的尺度把这段垂直空间一次用满：拱门构成入口框架，阶梯平台把地面抬高，人在场景里是分几层走的，视觉的高点由圣诞树收住。地面在红毯与木地板之间切换，软性的毯面负责停留，硬性的木板负责通行，酒店大堂的质地由此成立。粉色在这里并不单一，浅粉墙面、灰白拱、木色门套与红毯拉开明暗层次，避免大色块糊成一片。互动装置可以上手：复古电话、壁炉、钢琴都不是只可远观的背景板，人站进去，空间才成立。场景立在通高的中庭里，而不是贴着某一面墙，从上层栏板往下看，能读到整个粉色体量的轮廓：平视看到的是细节，俯视看到的是关系。这也是它被放进中庭、而没有沿用上一年户外广场做法的原因。

开放是分层的：11 月 9 日做特邀嘉宾预览场，11 月 10 日开预约场，11 月 11 日正式对外开放。11 月 13 日 19:30 举行飘雪亮灯仪式，把人流节点压在周末前夜；此后 11 月至 12 月的多个周六晚 20:00 安排人工飘雪，把一个季节的到访安排成可预期的时段。入场免费。场景内部还嵌了消费内容，香氛、巧克力、法式甜品与宠物鲜食四类点位散在动线上，拍照的人流边走边遇到商品，打卡与消费落在同一条路径。12 月 25 日至 27 日，商场接上全场促消费活动，把十一月攒下的人流导向年终销售。对一个商场的年末档来说，这条链路是完整的：用一个可拍的空间把人引来，用时段化的活动把人留住，再用促销把停留兑现。

Longfor | Grand Snowhill Hotel, Longfor Chengdu Binjiang Tianjie | From 11 November 2026 | Chengdu · Longfor Chengdu Binjiang Tianjie, L1 Atrium

Longfor Chengdu Binjiang Tianjie sits at 266 Shabanqiao Road in Chengdu's Chenghua District, and its year-end Christmas installation has become a standing appointment for the eastern side of the city. The 2025 edition moved outward: an 18-metre LED cube tree stood on the plaza outside Gate 3, its surface cycling through snowflakes, starbursts and mahjong motifs, with a market street of timber cabins, snow houses and gift boxes laid out beneath it. The 2026 edition reverses that gesture. The scene moves indoors to the first-floor atrium, and shifts from an object watched from a distance to a space entered on foot.

The theme is Grand Snowhill Hotel, and the premise is taken literally: the Christmas set is built as a hotel. A lobby, a reception counter, a lift lobby, a hearth, and corners that read as guest rooms — the most ordinary zones of a hotel are separated out and reassembled as a sequence. Pink carries the scheme. Pale pink structural volumes are edged with grey-white arches and dark timber casings, and the period note is carried by telephones, a piano, door surrounds and signage. A plaque near the entrance reads NO.266, the mall's own street number, which places the act of checking in at the first step of the walk.

The installation fills the first-floor atrium: 400 square metres in plan, 12 metres at its highest point. The atrium is the mall's full-height void, and the 12-metre figure uses that vertical volume in a single move. An arch frames the entry, stepped platforms raise the floor, visitors pass through the set on several levels, and the Christmas tree closes the sightline at the top. Floor finishes alternate between red carpet and timber boards; the soft surface holds people in place while the hard one carries circulation, which is what gives the space the weight of a hotel lobby. Pink is not laid down as one flat coat. Pale pink walls, grey-white arches, timber casings and red carpet are separated in value so the colour reads as depth instead of surface. The interactive pieces are meant to be handled: the vintage telephone, the fireplace and the piano are not backdrops to be photographed from a distance. People standing inside the set are what completes it.

Because the set stands in a void rather than against a wall, it is also read from above. Shoppers on the upper balconies look down into the lobby, and the pink volume registers as a whole before anyone reaches the ground floor. That double reading — plan at eye level, section from the gallery — is why the installation was sited in the atrium instead of on the outdoor plaza the mall used the year before.

The opening was staged. A preview for invited guests ran on 9 November, a reservation-only session on 10 November, and public opening on 11 November. At 19:30 on 13 November the mall held a snowfall and lighting ceremony, putting the first crowd moment on the eve of the weekend. Through November and December, artificial snow is scheduled at 20:00 on selected Saturday nights, which gives visitors a predictable reason to choose a date. Admission is free.

Retail is built into the set rather than left at its edges. Four categories — fragrance, chocolate, French pastry and fresh pet food — occupy points along the route, so the crowd that arrives to take photographs meets product as it walks. Free admission lowers the threshold to show up; scheduled snowfall creates a reason to return; the lighting ceremony supplies a date the mall can push. From 25 to 27 December the mall runs a centre-wide sales event, converting the footfall accumulated through November into year-end transactions. For a mall's winter season the sequence is complete: a photogenic space brings people in, timed programming holds them, and promotion converts the time spent into sales.

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