【2026进博会】大众汽车集团（中国）

大众汽车集团（中国）｜第九届中国国际进口博览会展台｜2026 年 11 月 5 日–10 日｜上海 国家会展中心 7.2 馆

第九届中国国际进口博览会于 2026 年 11 月 5 日至 10 日在国家会展中心（上海）举行，汽车及智慧出行展区设在 7.2 馆。大众汽车集团（中国）连续第九年参展，今年也是集团把中国战略升级为「深耕中国，共赢全球（In China, Beyond China）」之后，第一次站上这个国家级开放平台。对一家把中国当作第二本土市场的集团来说，展台要回答的不是「摆几台车」，而是怎样让一套正在推进的转型在六天里被看懂：七款车型、四款新能源车、一款中国公众首秀，还有一套自研技术矩阵，都要在同一片场地上各就各位。

展台的视觉中心是一个巨大的立方体。它取自再简单不过的几何体，用意是把「深耕中国，共赢全球」这句战略语言翻译成一个眼睛能接住的形状：一个稳定的体量落在展台正中，各品牌的展示区位围着它展开。立方体与后方大屏联动，屏幕播放某一品牌的内容时，它就移动到对应品牌的区位，灯光随之变化，把那一刻交给那个品牌。整座展台因此有了一个会移动的主角，观众不必先读文字，顺着它的位移就知道现在该看谁。

难点在于「移动」要同时对上结构、内容与灯光。立方体在展期内反复走位，背后是大屏画面切换与灯光明暗的配合，三者由同一套控制串起来，每一次移动都要与品牌内容的起止对齐。七款车安排在立方体四周：大众汽车带来 ID. ERA 5X、ID. AURA L5 与 ID. 与众 09 三款纯电车型；奥迪同台是 S5 Avant 与品牌首款纯电 SUV E7X；保时捷以 911 GT4 R 的中国公众首秀和 Panamera 尽享版回应赛车运动 75 周年。展台另一侧是升级后的沉浸式交互展具「数字幻方」，观众可以自己上手，看到 CEA 电子电气架构怎样支撑车机、驾驶辅助与整车升级。

六天里，开幕首日与专业观众日人流集中，展台的高光时刻大多发生在立方体移动到某一品牌区位的那几秒，也是现场照片较容易成立的时刻：一个体量、一块屏、一束光，构图中心始终明确。传播上，展台承担的是「战略可视化」的角色——媒体稿件讲七款车与 VEGA、CEA，现场图像负责把这些名词变成可以拍下来的场面；「数字幻方」把技术从参数变成可操作的体验，观众上手一次比读一段说明更直接。展期结束后，「一个中心体量加四周品牌区位」的这套空间语法仍可沿用到集团在其他展会的展台上，成为一套可延续的展陈方法。

The ninth China International Import Expo ran from 5 to 10 November 2026 at the National Exhibition and Convention Center in Shanghai, with the automotive and smart mobility zone occupying Hall 7.2. The expo has been held annually since 2018 and is the only national-level event of its kind built around imports; the 2026 edition reported more than 4,100 overseas exhibitors and a total exhibition area above 440,000 square metres. Volkswagen Group China has attended every edition since the expo began and returned for a ninth consecutive year. The 2026 stand was also the group's first appearance on a national-level open platform since it raised its China strategy to “In China, Beyond China”. That framing set the brief. The task was not a conventional car display but a six-day argument about how far the group's transformation has travelled: seven models from Volkswagen, Audi and Porsche, four of them electric, one making its Chinese public debut, and a self-developed technology stack that had to be understood rather than merely announced.

The centre of the stand is one large cube. The form is deliberately plain, a single volume set on the main axis with the brand zones arranged around it. It exists to give the strategy a shape a visitor can take in at a glance: one steady mass in the middle of the floor, and a ring of destinations around it. The reference is not decorative. A strategy statement is abstract by nature, and the cube gives it weight, position and a face. The form is tied to the screen behind it. When the screen starts a brand's film, the cube travels to that brand's zone and the lighting shifts with it, handing the moment over. Everything else on the stand is organised around that movement, so a visitor who reads nothing still knows where to look next, and the sequence of the visit is set by the building rather than by signage.

Making the cube move was the real design problem. It has to travel repeatedly across six days while the screen changes content and the lighting changes mood, and all three are driven from one control chain, so every move has to line up with the start and end of a brand film. The seven cars sit in the zones around it. Volkswagen brought three battery-electric models: the ID. ERA 5X, the ID. AURA L5 and the ID. UNYX 09 fastback from Volkswagen Anhui. Audi placed the S5 Avant alongside the E7X, its first electric SUV under the AUDI brand. Porsche marked 75 years of motorsport with the Chinese public debut of the 911 GT4 R and the China-specific Panamera Exclusive. On the other side of the hall, the upgraded Digital Magic Cube lets visitors operate the exhibit themselves and see how CEA, the electronic and electrical architecture, supports infotainment, driver assistance and over-the-air updates across the group's models.

The busiest hours fell on opening day and the professional-visitor days. The stand's photographic moments clustered around the seconds when the cube arrived in a brand zone: one volume, one screen, one pool of light, with the centre of the frame always clear. In communications terms the stand did the work of visualising a strategy that press coverage otherwise describes in acronyms. Reporters wrote about the seven cars, VEGA and CEA; the images made on site turned those names into scenes that can be photographed and shared. The Digital Magic Cube moved technology from specification to something a visitor could try, which lands faster than a paragraph of explanation. After the doors closed, the spatial grammar of one central volume surrounded by brand zones remained reusable for the group's stands at other fairs, which is what makes it a method rather than a one-off build.

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