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IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
    建筑师

    建筑现场 · 2023-05-19 15:17:04

特别鸣谢 | 首席领先伙伴

RARA 系统定制家居

以构建国际领先的系统定制家居品牌为理念

对“IDD世界领先设计对话”的支持

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

IDD世界领先设计对话,是广州设计周联合GIA广州设计周全球伙伴联盟中的中外设计领先机构、组织和媒体发起的一项对话世界设计领先者的国际设计交流计划,IDD世界领先设计对话以「MASTER MIND巨匠的思索」为思想探寻的的主旨方向,希冀通过与世界领先设计巨匠对话,探索世界领先设计思想,以世界领先推动中国领先,以中国领先影响世界设计。

IDD世界领先设计对话 · 宣传片

十几年来,广州设计周对于中国设计与世界领先设计思索的交流对话从未停止,IDD世界领先设计对话以对话巨匠、发掘新声、臻选杰作三大内容版块构建年度运营体系,由此推动世界领先设计与中国设计之间的对话交流和发展。

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

对话巨匠,追随领先

Dialoguing With Masters To Follow The Leading

IDD将面向世界各国在设计领域具有领先建树、实践和思索的业界翘楚或机构,并联动中外领先设计机构、组织和媒体共同推举,每年甄选“IDD年度设计巨匠”,全年通过登门访谈、演讲论坛等形式对话“IDD年度设计巨匠”,探寻巨匠的思索,策划形成访谈视频、专题、出版刊物等内容,分别在HKDC香港设计中心的BODW+/viuTV进行全球播放,并在中外设计领先传播平台和渠道进行宣发和展示,希冀汇集世界领先设计思索,启迪中国乃至世界设计产业的更新发展。

对话巨匠追随领先|VOL.14

朱周空间设计

Vermilion Zhou Design Group, Founder

上海/Shanghai

- IDD对话巨匠系列专访 -

本期走进知名室内设计公司朱周空间设计

对话朱周空间设计 创始人周光明先生、朱彤云女士

一起探讨知名室内设计公司背后的领先意识

广州设计周 x RARA x OBJEKT境界 联袂巨献

对话巨匠:走进知名室内设计公司朱周空间设计访谈正片

周光明 Kuang Ming (Ray) Chou

朱周空间设计创始人 / 室内设计创意总监

Vermilion Zhou Design Group, Founder/ Creative Director

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

西班牙巴塞罗那加泰罗尼亚理工大学建筑系室内设计硕士,2002年与朱彤云女士共同在上海创立朱周空间设计,在设计上融合了西方的逻辑思维以及东方美学的生活追求。设计哲学以中国传统「框架」为思考脉络,空间的打造以「人」为主体,以「心」为出发,意图在当代人与空间的关系中,找到最适切的距离。设计作品遍及多元领域,主持过多项酒店、公共、商业、住宅…等室内设计项目,屡次获得国内外大奖以及媒体报导肯定。希望透过空间设计可以提升大众对美学的体验以及追求,进而感受美好生活。

After receiving the MA degree at University Politécnica de Catalunya, Kuang Ming (Ray) Chou, and Vera Chu co-founded Vermilion Zhou Design Group in Shanghai in 2002. While studying in Spain, Ray was deeply influenced by European culture. However, his design is informed by a blend of Western logical thinking and pursuing the Eastern lifestyle. "Always starts with people and provides them a better lifestyle," which is the central concept of Ray's design.

朱彤云 Vera Chu

朱周空间设计 创始人 / 照明设计总监

Vermilion Zhou Design Group, Founder/ Lighting Design Director

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

于知名的美国纽约帕森斯设计学院取得建筑照明设计硕士学位,并在纽约工作近三年的时间,先后于美国纽约 兰尼. 史威登尔照明设计有限公司、美国纽约 盖瑞.戈登建筑照明设计公司担任专业空间照明设计师。在照明专业的领域上持续经验的累积,从室内专业照明至建筑照明,从理论到细节的实践,从而奠定了专业的设计基础。2002年与周光明先生于上海创立了朱周空间设计,担任照明设计总监,为各项目硬体空间上添加出更多柔美的氛围,与团队一起呈现许多精彩作品。

Vera Chu received an MFA in Architecture and Lighting at Parsons School of Design. She began to work as a lighting designer at Leni Schwendinger LightProjects Ltd. and Gary Gordon Architectural Lighting Design Ltd. from front to rear, accumulating her practical experience. While working in New York, Furthermore, she co-founded Vermilion Zhou Design Group with Kuang Ming (Ray) Chou and provided her lighting design profession, leading the team to build many splendid works.

Q1

从公司内部到外部,您如何让自己和团队不断蜕变并且保持领先的?

How do you keep on evolving as a designer and lead the team as the industry leader over time?

Ray: 我们其实很单纯,公司的首要的立意就是设计出让人能感受到美以及舒适的空间。再来我们公司没有所谓的“内卷文化”,在管理方式上,大家都是平等的工作关系。在公司内,大家之间的相处都是开放的,即便我们有着相对严谨的管理规范但也不复杂。遵守上班的时间,每个人要对自己的工作负责,鼓励你闲暇之余主动地提升自己,当跟不上团队的(一直没有成长是需要自省的),我们会试着拉你一把。彼此之间我们是互相帮助而不是竞争关系,如何积极一起完成项目才是我们共同的目标。

Our goal is simple, and the priority is to design spaces that are beautiful and comfortable. Our office does not have the so-called “involution culture.”We have an open and flat management structure internally. We make relatively strict management policies, but they are not complicated. Everyone shall be punctual and responsible for their workload. We encourage staff to improve themselves outside work. We will also help those left behind (reflection is needed if there is no progress for a long time). We help each other within the team. The common goal is to complete the project together rather than compete with one another.

在管理上,当我们决定多一个规定,那就要废掉一个规定,不能一直叠加而是优化。以关怀为出发点,去发现每一个问题。举例如果你今天反常的迟到了,我们会去试着找到你、了解你迟到的原因,所以任何人有任何的危险很快就会被我们发现。新人进来我们都会初次会谈,我告诉他们的第一件事情就是“进到团队中,有公司支持着你,但成长是自己的责任,而不是依赖公司”。

Regarding management, when we decide to add a new rule, we will eliminate an old one; we try to optimize rather than add it all up. We care about our staff and solve problems together. If one staff member were abnormally late, we would try to find out why immediately to know if anyone was in danger. We also arrange a personal meeting with every new staff, and the first lesson to tell is, “you have the firm's support because you are part of the team, but you have to grow up by yourself, not just rely on the firm.

第二个,要善良。路上看到老太太跌倒了,请主动搀扶她,也许你会遇到碰瓷,但也不要犹豫,当你做出这选择,公司就会支持你,真的遇到碰瓷说不清公司会帮你。我们要的人是本质善良的人,看到需要帮助,就会毫不犹豫地去帮助。第三个,解决问题的本质大过于放大问题本身,当你发现问题的同时应该想着去怎样解决它,而不是仅来告诉我看到了问题而无作为。主动帮助、协同,共同解决问题才是面对问题的积极态度。

Besides, you have to be kind. You shall help the elderly if they fall, even if it was a staged crash; when you decide to help, our firm will be behind you and help you get out of the mess. We want to hire and work with kind people who would lend a helping hand without hesitation when needed. Thirdly, one shall come to me with a suggestion or a solution when there is a problem, and it is more important to figure out a solution than blow up the issue. The proper attitude is to offer help, assistance, and solutions proactively.

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

松美术馆

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

青籁养身 上海马当路

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

青籁养身 上海陆家嘴店

Q2

接受设计项目的考量要素有哪些?

How do you select a project? What are the criteria ?

Ray:在判断项目上是否要承接,我会先倾听项目业主的初心以及是否有可执行的商业模型,因为如果项目它违背了基本的商业的逻辑,可预见的失败或是昙花一现的未来,就是违背了我们设计的初心,因为这意味着成为资源浪费的帮凶。

I would listen to the client’s brief and evaluate the business model to decide if to take on the work. I will not take the project when the business model does not make sense or is not sustainable.

住宅的话,举例我们近期设计的一个别墅是没有客厅的,在我某次演讲分享上提到客厅无用论,也已经屡屡地被验证。别墅里的大客厅(这个设定)并不符合很多现代中国人的生活方式,但是它占据了最大的面积,最好的位置,然后最没人去用,或者利用率非常低,这些都是值得去探讨的。我们做设计、接案子,处理问题,不是只做表面装饰,而是在解决一个空间上的本质问题。在我们设计本职上找到问题的本质,从而才能产生很明确的目标。

When it is a residential project, we recently designed a villa without a living room. A big living room in a villa occupies the best spot and most significant area but is not very efficient in the modern Chinese lifestyle. Our designs are trying to solve problems rather than being decorative.

就像我们最新发布的海底捞餐厅,有人看到的只是一个装修上的升级,但是我们做了两个最大的突破,其实不容易看到。第一个突破是通过设计来保证菜品新鲜卫生到最后一米。所有人都觉得餐饮最重要的就是卫生和新鲜,而海底捞的洗菜环节已经到了极致的状态了,真的洗得很干净。但是吃火锅时候,顾客桌子旁边都会有一个菜架,有些菜就放在架子下层,在人的脚旁边。所有人都从这旁边走来走去带来尘土,其实很不卫生。所以我们做了第一个突破,把菜架移到了桌子以上的空间,这个是很重要的一个突破;第二个突破就是我们让所有的装修跟家具全部都变成了在工厂制作,在现场安装,所以成本可控,时间可控,精准耐用。

In the Haidilao Hotpot Restaurant we recently completed, we achieved two breakthroughs. One is that we put the shelf on the dining table so waiters can put the dishes within your sight and far from dust. Compared to where it used to be on the side along the corridor, waiters and guests walking back and forth might contaminate the dishes; another breakthrough is that we managed to have most of the furniture prefabricated and installed on site, budget, time and quality are all well under control.

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

杭州 逸庐「阅湖」

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

海底捞 2018 - 海底捞2022

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

以“极致商务”为概念,将德国 Intercity Hotel 打造成更适合国人差旅习惯的酒店

Ray:像我们现在设计的酒店房间,我们提出来用造车的理念来造酒店的房间,用工业化的思维和做法降维地来做(整体的设计和建造),所以我们整个房间百分之八十几都可以在工厂预制好,然后来现场像乐高一样组装。需要解决的另外一个问题是提前生产好的部件就大都是方方正正的形状,永远都做不出来天然的美。怎么办?用局部去调整。我们在禧玥酒店里就用到了我找到的一颗最漂亮的石头,之后在景德镇照着它的样子去烧几百个都长得一模一样的,所以就把一件很美的来自自然的事物(以工业化复制到每个房间中),中国人最高等级的审美里一定有对石头的欣赏,“瘦,皱,透,漏”,(我认为)因为它超越了西方的雕塑,是取之于大自然的,把对石头的审美提到了非常高级的层次。

We take the automobile-manufacturing approach to designing hotel rooms. We create with an industrial design mindset where we prefabricate 80%+ of the hotel room and install on-site like LEGO. The industrial production line does not produce raw beauty; we make it up by adjusting details. In the Joya hotel, which we designed the original version in Shanghai. I picked one piece of the best-looking natural Taihu stone and duplicates in hundreds of porcelain at Jingdezhen. You can see the selected Taihu stones from nature in the hotel guest room. In Chinese culture, we appreciate stones more than Western sculptures, the so-called “crease, wrinkle, transparency and leakage,” which elevates the stone aesthetics to a much higher level.IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

禧玥酒店

Q3

您对未来5到10年会有什么样的计划和愿景?

What will the near future, like 5-10 years, hold for your company, any wishes and plans?

Ray:我们一直维持六十多名成员的团队有十几年了。这个规模下所有接的案子我都能亲自参与,我们做过的几百个案子,你随便问我,我都能“如数家珍”,从当初的提案、如何立意、最后的细节我都记得很清楚。我们会越来越看到和接近本质,我相信随着大家的体感或经验值越来越丰满以后,越能理解和分辨什么是好的空间设计,输出的能量就会更美好。

We have had a team of 60+ staff for decades. I can personally lead all projects within such a structure. If you ask me anything about the hundreds of projects we designed in the past few decades, I remember them all from the beginning, from the concept, schematic and final details. I believe as clients see more or experience more, they can tell and understand what a good design is, and we will come closer to the essence of creation, therefore, design better.

Q4

据说您设计过的酒店已经有了超过7亿人次的居住数量,如何把握住机会,用设计帮助打造“国民”级别的连锁酒店品牌等?

Some say the hotels you designed have had over 700 million visits in the past years. How do you design a national-level hotel franchise such as Hanting?

Ray:其实我们做的设计大部分都是利他的,这对大众消费项目来说非常重要,所以项目的立意和属性要研究得非常精准。设计里最难的一种就是做大众消费的项目,而不是做小众的。

Most of our designs are altruistic, which is very important for those mass consumer projects; proper research on project concepts and attributes is essential. One of the most challenging designs is to serve mass consumers, which is even more difficult than designing for the niche market.

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

汉庭酒店2022新升级

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

桔子酒店 2023新升级

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

近2000门店的全季酒店

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

桔子水晶酒店

Ray: 我常常在讲,国民们其实挺难的,坐个地铁,每个地铁站都长得一样,如果不告诉乘客这是哪一站,他都很难意识到这是哪里,车站的设计都是为了功能而设计的,并没有把任何的文化加进去,你看俄罗斯的地铁站,每一站都不同,那好看得不行。设计的项目既要赢得大众的喜爱,又要大家能够负担得起,给大众做的设计是最难的。

I always say being a mass consumer is not easy. Take the subway as an example. Each subway station here looks alike; one can not tell where they are if the stop name is not broadcasted; the stations are designed to meet the functional requirements without adding cultural elements. If you check the subway stations in Russia that are so good-looking, there are no repeated designs for each station. Again, it is the most difficult to design for mass consumers, which needs to balance beauty and affordability.

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

莫斯科地铁站剪影图片,来自知乎作者包子

Q5

年轻人比如Z世代是消费的主力,他们的消费习惯特别的不一样,比如原来的海底捞有一些特别的奇观,闺蜜给你过最尴尬的生日,服务员又唱又跳生日歌,而现在的年轻人好像都很“社恐”,特别害怕这样的热闹场面;或者原来一个人吃饭的话,你的桌子对面给放一个熊,现在的年轻人觉得你这是在歧视TA,更尴尬了。您有什么样的工作方法让您时刻保持与时俱进且能做出领先的设计呢?

Young generation such as Gen Z are the driving force for consumption now. Their consuming habits are very different from previous generations. How do you stay revelent and keep on producing leading designs for the young generation?

Ray:我们的设计是要解决当下人的生活的,而现在人的生活变化得好快。

在新的海底捞餐厅里,我们做了一个像飞机头等舱的空间,用户可以微微地把门关起来,与周边的关系可以更私密些,在里面吃或者刷手机都随便,简直是社恐的天堂。

Young generation such as Gen Z are the driving force for consumption now. Their consuming habits are very different from previous generations. How do you stay revelent and keep on producing leading designs for the young generation?

首先,潮流的东西我们是绝对不去追的,因为我觉得那不属于本质,也不长久。譬如说以酒店为例,生命周期是十年到十五年,它的生命周期这么长,一个潮流的风格可能只有两年到三年的寿命,如果随波逐流,酒店后续的运营是会有问题的。所以我们把这些东西都拿掉,去触及本质的需求,我觉得这样才会真正设计出有持续生命力的作品。

First, we do not follow the trend as I do not think the trend lasts. For instance, a hotel’s life cycle is about 10-15 years long, a trend might last 2-3 years, and there will be operation problems if it follows a short-lived fad. We try to dig deep and design projects with sustainable vitality.

这种本质性东西会越来越难挖,所以每当我们接到一个项目,就会尽量從网上、从不同载体的媒介上甚至到实际的状态里面去观察与感受。对于年轻人的生活状态,非常地紧密地跟进和观察他们的变化,“年轻人在听什么音乐?年轻人在想什么?年轻人在吃什么?年轻人去哪里?他们的社交方式有什么变化?”等等。

We try to research on the internet or other resources or go site visit every time we get a new project. We closely follow the young generations and observe a lot, “what music do they listen to, what are they thinking? What do they eat? Where do they go? How do they social” etc.

这些设计师都一定要抓得到(最新的讯息)。另外,网上信息那么多,还得懂得分析和分辨。有的时候网上的图片乍一看是美,但其实背后是有不同逻辑的,要懂得去分辨。比如用户在”淘宝“或”拼多多“上看到好看的网上照片,(只有一张好看的照片)其实已经不足以吸引他们去从网上买这些东西了。这里面很重要的就是你的判断。如果你要买农产品给自己用,一定会买原产地发货的,譬如说要买红薯里的一个品种叫烟薯25号,就要从山东发货。因为原产地一般只发大货和普货,分拣起来对于原产地的人来说效率太低了;如果要买最好品质的苹果去送礼,那就不能在原产地买,就要找高级的水果集成商,因为他们会选择最好的苹果,并且包装到可以商务送礼的级别。这些在网上购物也好,在线下也好,最终(的选择)都会归位于更深层次的(商业)逻辑。所以再美好的图片可能只会短暂地吸引眼球,但最终还是会被破解的,只要抓住事物的本质,遵循里面的逻辑,就可以很快破局。

Designers will need to analyze and tell the difference since internet information could be overwhelming, and people will not buy just by looking at a good picture anymore. For example, if you want to buy yourself this sweet potato No. 25 that originated from Shandong Province, you want to buy from the shop that couriers the produce from the origin; usually at the source, they only have bulk and general orders because sorting is slow; however, if you want to buy the best apples as a gift, you will not pick the shops from the origin but will find the fruit vendor who specializes in gift fruits and provide excellent packaging. There is a logic behind placing the order. Good-looking photos can only attract attention shortly. If you dig deep and research more, find the hidden reasoning, and you are not far from breaking the boundaries.IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

海底捞新升级 2022

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

城际酒吧

Q6

有哪些环保的原则、理念和手法运用到了工作和生活中去?

Any environmental-friendly methods or choices have been applied to your work and life?

Ray:我对“绿水青山就是金山银山”这句话非常有感触。在设计上,我觉得对环境最大的一种保护就是不去做、不浪费。我们的一个开发商朋友告诉我说:“这边建起一栋楼,大自然界就少了一座山。” 水泥、木材、土地通通就被移到工地上,真的是劳民伤财。最好的就是不浪费,如果一定要开发,就地取材是我们设计中的一个很重要的原则。如果项目要用很多的石材,我们就不选用那些需要从很远地方运来的石材。我们真的其实有很多很好的东西是垂手可得的,但我们统统把它忘记了,然后去创造了一些不自然的东西。

I resonate deeply with the saying, “lucid waters and lush mountains are invaluable assets.” I believe it best protects the environment if we do not waste natural resources in our designs, including not building when necessary. One of our developer friends told me, “there will be one mountain missing when we build a tower.” Cement, wood, and earth will be brought to the site at a high cost. Source locally is one critical principle to avoid such waste. We could find stones nearby instead of shipping from far away. There are so many suitable materials at hand that we always forget; therefore, many manmade materials are made.

我觉得一个好的室内设计或者一个建筑第一重要的是有没有解决这个项目的根本问题;第二个(关注点),有没有文化的属性和印记,一定要有这些东西,如果没有的时候不要动不动就说“国际化”。什么是中国人的国际化?就是把国人自己的文化表现得淋漓尽致,这这叫国际化。像日本人的国际化,就把日本的文化表现到了极致,日本的建筑师为什么能在世界上出人头地呢?他们对自身文化的理解充分地表现出来的(就是国际化)。

I think a good interior design or architecture shall solve the fundamental problem of that project; also highlight cultural elements or influence. What is internationalization for our Chinese? I think real internationalization is to express our own culture incisively and vividly. If you look at Japan, some of those world-famous Japanese architects did so well at showing their cultural influence in their projects.IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

杭州禧玥

Q7

有哪些项目是灯光是重要设计元素,帮助拉满氛围感?

Any project lighting design is the key element in space design?

Vera: 一个是海底捞在北京的智慧餐厅,一个是最近做的上海马当路 “green massage 青籁养身”。我们公司相对来说不会想要去做这种哗众取宠的,(客人)一进去就觉得很炫, one time experience (一次性管够)的空间。我们更希望是这个人在使用空间的时候是越待越舒服。我会希望最后效果是很柔和的。像我们做了一个品牌“Body Concept Pilates”,是一个普拉提课程的教室,其实灯光真的是一个看起来不存在的配角,但是我有很多的使用者的反馈,包括教练会跟我说:“好奇怪,空间里灯光营造出的氛围会让我心情更平和。在这里教学生如果教TA 三遍、五遍TA都练不起来,我还是心情很柔和,很有耐心;在其他的空间我的脾气就会燥起来”。他说他分析出来觉得是灯光的作用,因为他觉得这里就很柔和。所以你说要把气氛拉满。当然我觉得这很容易,我可以做,但是我觉得要不着痕迹地让人家觉得空间是舒服的。有时候我倒不觉得哪个更难,是氛围感拉满还是特别柔和的存在,而是我能够放下特别强的 Ego (自我) ,让灯光不是那么强烈的存在。我希望做好配角,让使用者在这个空间是适得其所的。

A few projects include Haidilao Hotpot Restaurant in Beijing and Green Massage at Madang Road in Shanghai. Our team tries not to design internet popular projects where people go for a one-time experience. We hope people enjoy the spaces and stay longer. Another example is Body Concept Pilates we designed, as in many projects lighting is not the most eye-catching design element, however, I got many user feedbacks including the instructor, who is more patient within this lighting ambiance that is soft and comfortable. I would put down my ego and design lighting that fits the space the best, I am perfectly ok that lighting design in the supporting role.IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

海底捞智慧餐厅

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

青籁养身 上海马当路

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14
IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

Body Concept 普拉提工作室

Q8

您对智能化怎么看?

What do you think of Smart Control in the projects?

Vera:智能化我觉得绝对是好的。但是可能在做智能化的过程中,很多设计师用力过猛,要告诉人家我非常智能,所以就搞得特别复杂。我觉得智能化应该是让人家觉得简单,更好使用,而不是搞得更复杂。我们自己在做酒店设计,我们也会去整合做智能化,但是我们的智能化是要让人家更简化的使用,而不是让人觉得更复杂的功能。

Intelligent control is good, for sure. There are smart controls in the hotels we designed, and we keep them simple and easy to use. Sometimes some designers try too hard to make it complicated and seemingly "Smart". To me, simplicity is smart.

Q9

对年轻设计师有什么建议呢?

Any advice for young designers?

Ray:最大的建议就是对自己文化的理解要再深层次一点。

第一,设计师这个行业有一个特别公平的事情:没有天才设计师。有天才数学家、天才音乐家,唯独室内室内设计师和建筑师几乎没有天才;第二,设计师要经历,需要拥有,要见过、要沉淀、要体验过。一个刚毕业的大学生是不可能被称为天才设计家的,这不存在。最重要的就是去看、去摸、去体验,凡事都要经历,还要多思考和反思,体验过之后,再思考。

I would advise young designers to dig deeper into their own culture.

First, we might have heard about born mathematicians or musicians, but there is no born interior designer or architect.

比如色彩学,除了物理学上的总结之外,其他的配色规律不必被它绑架的。最简单的方法是在大自然观察比如鸟的羽毛等,再俗艳的颜色在鸟身上就那么的协调,所以这件事情告诉我们自然中有无限的可能,设计师要不断的去累积。另外一点是,不要着急,不要会了一点点东西就认为自己可以了,那其实很容易就跌回原地。

Secondly, designers must own, see, study, and accumulate experience before designing. A fresh graduate cannot be called a gifted designer; simply impossible. If you look at chromatology, when you observe birds’ feathers, a cheesy color combination might look good on that bird, a simple fact that tells us there is no limit to nature; you need to see more. Thirdly, young designers should be more patient; otherwise, they might fall back to where they started before they knew it.

但我是反对跨界的。我觉得一个人的能量很少能到达多到可以溢出来的时候。就像我,我可以设计家具,但我不会把它当一回事。因为我觉得任何东西都有本质的需求,我会聚焦做这部分,因为需要深入的思考。没有本质的需求的部分,做 A、 做 B、 做 C 都可以的时候,那就不一定是我的(聚焦点)。一个设计师之所以被尊重,就是因为你有匠人精神,在解决你专业上的问题。如果你跨界到了去做附和趋势的事情,就是另外一回事了。

It is not easy to practice in the design industry, and it is almost impossible to do well without passion. I would always tell my young staff design is a road that requires passion and persistence, which will guide you go further. I prefer going to art exhibitions and trade fairs rather than social events. I am opposed to practicing cross disciplines because I believe our energy has a limit, I can design furniture, but I will not because I want to focus on my design work. Designers must concentrate on the design field; the craftsman’s spirit is much respected.

Vera:我对年轻人(想要做照明设计师)的建议当然是基本功是非常重要的。在“练基本功”的过程中,“蹲马步”这些所有的东西都是一个积累。我一直会跟年轻的设计师说:”你想要的以后都会有,但是不要太着急于求成,在学习的过程中,一定要把基本功练好“。还有因为灯光,就像刚刚您说的一定是要看到,所以不要用想和猜的。我们常常在讨论一个灯光或者灯光怎么打在这一面墙上或者是听(灯具)品牌代表来介绍灯具,我们马上就动手把灯都打亮,拿接近的光源和接近的被打亮的材质进行对比,对比之下就很清楚各自的特点,不用我说大家就看到了。所以对年轻的设计师来说,基本功包括动手能力,我觉得这是非常重要的,因为这都是一点一点的积累。每一种灯光跟每一种不同的材质搭配起来会是什么样,其实都不是用猜的,都是自己去测试出来的。什么样的人适合做这一行?其实我觉得你一定是对生活有强烈好奇心的人,有热爱的人。其实不止做照明设计,我相信做设计都一样,你一定要对这些有热爱,因为灯光并不是只有灯光,我觉得还是五感六觉,我们甚至会去到客户的酒店大堂,去体验空间里的气味,早餐的视觉感受跟吃起来的感觉。因为我觉得你要对生活有热爱,不停地去体验,不管你是做什么,我觉得只有这样才能够做得好。

For those who want to become lighting designers, I would suggest they value basic training. The road to a good lighting designer is an accumulative one. Another piece of advice is to practice in person, as you will not design well by guessing. A hands-on attitude will make a difference. I also believe a designer shall be curious and passionate about life, to experience in different senses, no matter which industry you choose, it will be a good guideline.

IDD | 对话巨匠:周光明,设计有持续生命力的作品/ VOL.14

松美术馆

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2023-05-19 15:17:04

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