生存的诗学——丽娜·波·巴蒂中国首展，上海 / OPEN建筑事务所

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带着对传奇意大利裔巴西建筑师丽娜·波·巴蒂（Lina Bo Bardi）的深切敬意与热爱，OPEN建筑事务所为其在中国的首个展览《生存的诗学》担任展陈设计，尝试呈现这位独特的大师跨越时代的精神力量。展览于2026年7月25日至10月25日在上海当代艺术博物馆（PSA）举办。

▼“丽娜·波·巴蒂：生存的诗学”展览宣传片，video © PSA

With a profound resonance with the work and life of the legendary Italian-Brazilian architect Lina Bo Bardi, OPEN Architecture conducts the exhibition design for her first exhibition in China, The Poetics of Survival, at the Power Station of Art, Shanghai, seeking to reveal the enduring spiritual force of a master whose ideas continue to resonate across time and geographies. The exhibition is on view from July 25 to October 25, 2026.

▼展览现场概览，Exhibition overview © 上海当代艺术博物馆

OPEN的展陈设计将丽娜丰富而多元的创作实践、精神世界与人生轨迹编织为一个有机整体。一条连续延展的半透明亚麻织物在展厅中自由流动，以一种仿佛偶然生成的方式，围绕出四个主题下的九个展区，将绘画、图纸、模型、摄影、影像等不同媒介与展示方式串联其间，聚焦丽娜在建筑、家具、舞台设计、民间艺术与写作等领域的重要项目。

▼策展概念，Curatorial concept ©Renato Anelli

▼过程草图，Process sketch ©李虎

▼策展人调整，Curatorial adjustments ©Renato Anelli

OPEN’s exhibition design weaves together the multiplicity of Lina’s design practice, ideas, and life. In a seemingly serendipitous fashion, a continuous curved linen fabric defines nine zones that bring together various media and modes of presentation, including drawings, sketches, models, photographs, and videos, while highlighting Lina’s seminal projects encompassing architecture, furniture, set design, folk art, and writing.

▼亚麻织物围合的空间，Linen fabric defining the exhibition spaces © 陈颢

▼亚麻织物细部，Details of linen fabric © 上海当代艺术博物馆

悬浮于空间中的织物同时作为文字和影像的载体，以及所有悬挂展品背后的柔性“墙面”，在轻盈与朦胧之间构建出富有层次的观展体验。这一连续的亚麻织物元素兼具轻质、半透明、可适应与可重复利用等特性，以克制而经济的方式营造出丰富的空间层次，呼应了丽娜设计本身经常呈现出的资源意识与因地制宜的智慧。它既是组织空间的媒介，也是展览的基础设施，并以一种含蓄的方式映射出丽娜实践中的独特气质。

▼展览设计草图，Exhibition design sketch ©李虎

▼展厅轴测图，Exhibition hall axonometric ©OPEN

▼展览设计草图，Exhibition design sketch ©李虎

The linen fabric serves as a soft “wall” surface that backgrounds all the suspended exhibits, while also acting as the spatial divider, the backdrop for the exhibits, and the mediator that calibrates the atmosphere of the exhibition space. Lightweight, adaptable, and reusable, this single continuous linen element creates a layered spatial experience through remarkably economical means, echoing Lina’s resourcefulness and ingenuity in design. All exhibition texts are silkscreen-printed directly onto the linen, rather than presented on separate labels.

▼织物作为文字与影像载体，Linen as carrier of texts and projections © 陈颢

▼富有层次的观展体验，A highly structured exhibition viewing experience © 上海当代艺术博物馆

▼帷幕动态，Curtain motion

帷幔围合的每个空间都以轻轻掀起一角的亚麻帷幕形成入口。方正的展柜穿插在柔软的帷幕中，形成曲与直、柔与刚的对比。建筑模型及其他展品如同散落的“岛屿”，自由分布于展厅；温暖柔和的照明在突出展品的同时，尽可能弱化支撑结构的存在感，使展品仿佛轻盈地悬浮于空间之中。轻柔的帷幕随着气流微微摆动，让悬浮的展品和投影有了微妙的呼吸感，也让展览有了动态的生命力。

▼帷幕吊挂测试，Curtain suspension test ©OPEN

▼帷幕吊挂细节，Curtain suspension details ©OPEN

Openings are intentionally positioned in the linen curtains at the center of each enclosed section by gently lifting the linen, inviting visitors to pass through the curtains themselves and become surrounded by the work. Rectilinear display cases are carefully positioned and oriented within this flowing spatial framework, creating a deliberate contrast between supple and rigid forms. Architectural models and most of other key exhibits are distributed throughout the gallery as freestanding islands. The warm illumination, together with extensive overhead and wall-washing lighting fixtures, highlights the exhibits while minimizing the visual presence of their supporting structures, lending the objects a sense of suspension and lightness. The soft curtains subtly sway with the airflow, imbuing the suspended exhibits and projections with a delicate sense of breath, and infusing the exhibition with a sense of dynamic vitality.

▼展品如散落的“岛屿”，Exhibits as freestanding “islands” © 陈颢

▼钢筋支架与胶合木板展台，Rebar brackets and plywood display platforms © 陈颢

▼模型展台制作，Model display stand fabrication ©OPEN

▼钢筋支架，Rebar support frame ©OPEN

▼方正规整与柔软帷幔的对比，Contrast between rectilinear cases and soft curtains © 陈颢

在PSA的一楼大厅内，OPEN复刻了庞培亚文化休闲中心（SESC Pompéia）的室内水池。在丽娜的设计中，这个水池是纵贯巴西的圣弗朗西斯科河的缩影。它被1:1“搬到”上海，但并没有像庞培亚文化休闲中心那样在地表挖开，而是微微悬浮在地面上。这个室内水池打造出一个开放而亲切的空间，供观众停留互动；同时回应丽娜毕生坚持的理念，即将公共空间作为激发集体生活与社会文化活力的重要媒介。池底铺设了精心挑选、大小不一的天然鹅卵石。屋顶天花上特别设置了几处滴水装置，不经意间落下的水滴让水面泛起细微的涟漪，给人小小的惊喜，同时也补充了水池的蒸发水量。

In the lobby of PSA, a replica of the indoor pond at SESC Pompéia provides a pleasant public gathering space, resonating with Lina’s lifelong pursuit of using public space as an instrument for creating the social and cultural conditions for collective life. In Lina’s version, the pond embodies the São Francisco River, which runs across Brazil. It was “transported” to Shanghai at its original scale. However, in the PSA gallery, it is not embedded into the ground as it does at SESC Pompéia, but instead, appears to levitate slightly above the ground surface. The bottom of the pool is covered with carefully selected pebbles of various sizes. The pool is also equipped with four water outlets in the ceiling that continuously provide water to the pool through gentle dripping, creating rippling reflections across the water surface while compensating for water lost through evaporation.

▼水池与公共空间，Pond as public gathering space © 陈颢

▼水池与公共空间，Pond as public gathering space © 上海当代艺术博物馆

▼复刻的庞培亚室内水池，Replica of the SESC Pompéia indoor pond © 陈颢

▼水滴，Water droplets

▼水池防水节点，Pool waterproofing detail ©李虎

▼庞培亚文化休闲中心原水池，Original pool of the Pompeia Cultural and Leisure Center

OPEN还为本次展览特别设计了一些家具，如影像放映区的座椅、展柜和模型展台等。一些取之于日常的朴素材料，成为展览中有趣的小细节。大厅围栏采用丽娜经典的混凝土构件，加上SESC Pompéia中的红色木格栅；水池里的石头刚好用作帷幕起止点的配重；工地常见的用于混凝土模板的胶合木板可拼接为模型展台，钢筋则弯折成简约的支架，替代常见的博物馆“一米线”。

OPEN also custom-designed some furniture and ancillary pieces, including the Beam Bench, the display cabinets, etc., transforming mundane materials into intriguing details throughout the exhibition. For example, the divider marking the ticketed zone in the museum lobby was made by combining a concrete base for glass display panels designed by Lina and the red wood latticework from SESC Pompéia; the rocks used in the pond also became weights anchoring the linen fabric; plywood strips were assembled into display platforms for models and furniture; and rebars were folded into simple brackets to replace the distance barriers commonly seen in museums.

▼观影空间，Screening Space © 陈颢

▼观影区长椅，Seating in the viewing area ©陈颢

▼定制家具与朴素材料，Custom furniture and mundane materials © 陈颢

丽娜作品最动人的地方，在于始终扎根于真实的生活，并始终回应着所处的时代。OPEN希望展览空间不仅承载丽娜的作品，也能够呈现这些作品背后的世界。随着观众穿行于展览之中，丽娜·波·巴蒂多样的作品、丰富而鲜明的人格以及她所处的时代背景，都逐渐浮现出来。这不仅是一场回顾展，更是一次跨越时间与地域的相遇。丽娜非凡的创造力、多元的实践与慷慨的人文精神，以及将有限资源转化为无限可能的“生存诗学”，至今依然能给我们深刻的启发。

What makes Lina’s work so unique is that its diversity, vitality, and social engagement offer a vivid lens into the time and place she inhabited. Presenting Lina’s work within a setting that is informed by her own design ethos and sensibility allows audiences to encounter not only her work, but also get a sense of the world that inspired it. More than a retrospective, the exhibition offers an encounter with a master whose “poetics of survival,” informed by her ingenuity, versatility, and generosity, continue to speak powerfully to our own time.

▼吊挂系统草图，Suspension system sketch ©李虎

▼大厅围挡草图，Hall enclosure sketch ©李虎

▼展台设计草图，Display stand design sketch ©李虎

▼吊挂系统安装，Suspension system installation ©OPEN

▼帷幕安装，Curtain installation ©OPEN

▼展品吊挂，Exhibition piece suspension ©OPEN

▼帷幕开口实验，Curtain opening experiment ©OPEN

▼PSA大厅水池施工过程，PSA hall pool construction process ©OPEN

▼水池涟漪细节，Pool ripple details ©OPEN

▼大厅围挡制作，Hall enclosure fabrication ©OPEN

▼团队合作，Team collaboration ©OPEN & PSA

项目概况
展览名称：“丽娜·波·巴蒂：生存的诗学”
展期：2026 年 7 月 25 日-10 月 25 日
主办方：上海当代艺术博物馆（PSA）
展览面积：2,300 m²
地点：中国上海
项目团队
策展人：雷纳托·安内利（Renato Anelli）
展陈设计：OPEN 建筑事务所
主持建筑师：李虎，黄文菁
设计团队：张子腾，魏紫珏，施懿轩
摄影：陈颢，上海当代艺术博物馆

PROJECT FACTS
Project Name: Lina Bo Bardi: The Poetics of Survival
Duration: July 25 to October 25, 2026
Client: Power Station of Art (PSA)
Size: 2,300 m²
Location: Shanghai, China
CREDITS
Curator: Renato Anelli
Exhibition Design: OPEN
Architecture Principal in Charge: LI Hu, HUANG Wenjing
Design Team: ZHANG Ziteng, WEI Zijue, Vivienne SHI

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