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Name | 项目名称 李忠光×RAYSONIC Location | 项目地点 Guangzhou, China | 中国广州 Interior Design | 主案设计 Li Zhongguang | 李忠光 Cooperative Design | 协作设计 CHASING DESIGN 启呈 深化设计部 Interior Design | 室内设计 李忠光设计事务所 Soft Decoration | 软装设计 CHASING DESIGN 启呈 Photographer | 摄影 Huang Miangui 黄缅贵 | 贵建筑摄影 Writer | 项目撰文 Panpan | 付盼盼 Construction Unit | 施工单位 CHASING DECORATION | 广东启呈装饰工程有限公司
Forest Picture
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Calm and strange is this evening hour in the forest, 寂静又陌生，此刻林中的夜晚， Carven domes of green are the trees by the pathway, 路边的大树，雕刻绿色的穹顶， Infinite shadowy isles lie silent before me, 无比幽暗的岛屿静卧在眼前， Summer is heavy with age, and leans upon Autumn. 夏日一天天地沉重，斜倚着秋。 All the land is ripe. There is no motion. 大地熟透了，不见一丝波澜。 Down the long bays of blue that those cloudy headlands， 沿着长长的蓝色海湾，海岬阴沉沉， Sleep above in the glow of a fading sunset. 沉睡在消退中的落日余晖里。 All things rest in the will of purpose triumphant. 一切长眠于此，得意洋洋。 Outlines melting into a vague immensity. 茫茫然，融入一片无限之中, Fade, the green gloom grows darker, and deeper the dusk, 消散，青色的幽暗更深，薄暮更重了： Hark! a voice and laughter—the living and loving! 听吧!笑声与歌声——生活与爱! Down these fantastic avenues pass like shadows. 仿佛影子一般，穿过美妙的林荫道。
▲由外向内看
2019年九月初RAYSONIC邀约李忠光先生为其中国·广州旗舰馆操刀设计。RAYSONIC表示他们是台湾知名本土品牌，之前项目由唐忠漢、工一设计等设计名师操刀 ，并借此表达了希望可以找到有知名度、有影响力的设计师操刀设计，借助设计师的品牌影响力让RAYSONIC在羊城落地生根的美好景愿。 Early September 2019，RAYSONIC invited Mr. Li Zhongguang to design for the Guangzhou China flagship pavilion. The representative said “RAYSONIC is a well-known local brand in Taiwan, which the previous projects are designed by famous designers such as Tang Zhonghan and Gongyi Design Studio and so on.” Meanwhile, The representative expressed the hope that they would like to invite a famous, influential designer to do the task, with the help of the designer's brand influence let RAYSONIC take root in Yangcheng.
在RAYSONIC的这个项目设计中，李忠光将“大海与山川”移至室内，可谓是“愚公移山”之志。设计师在建筑结构基础上进行结构重组，利用自然的合成观念、人性的空间设计、文化意象的细节表现、地方的人文风格的塑造去论证：即使设计掣肘于现实，我们也可以穿梭于“疏影横斜水清浅，暗香浮动月黄昏”的意境世界。 In the design of RAYSONIC, Li Zhongguang moved the "ocean and mountains" to indoor, which can be described as the "Yugong moving mountains". The designer reorganizes the structure on the basis of the building structure, using natural synthesis concepts, humanized space design, cultural image details, and local humanistic style to demonstrate that even if the design is constrained by the reality, we can shuttle the imaginative world of "Sparse shadows sway in the clear and shallow water, and scented fragrance floats around under the dusk moon．"
色彩可以改变空间的大小，而在此案中是最好的论证，在横向和纵深处使用了大面积的黑色材质，以黑色做空间的”器“，借由深色给人带来的下坠感，拓展“空间”，佐以浅色再把受众的视线拉回到一个平面上来。由此，您的视觉感可由2D、3D中任意切换，就如摄影机的聚焦成像，受众所关注的焦点不同，那你看到的”像“也会不尽相同。目之所及为像，目之未及为虚镜，虚实相生，诱人遐想，渐而神往。
设计师使用光、色彩、质地和Raysonic独有的元素，以期在空间设计中获得各种各样的效果。 The designer uses light, color, texture and Raysonic-unique elements, hoping to obtain a variety of effects in the space design. 通过材质的交替，色彩与光影的变换，使空间给人一种节奏感，而这种节奏感的形成在室内设计中也可用来减少杂乱感。 Through the alternation of material quality, the transformation of colour, light and shadow, make the space gives a kind of rhythm feeling to the audiences, and the formation of this kind of rhythm feeling also can be used to reduce randomness in interior design. 在创建这种空间”节奏感“时，设计师必须精确拿捏主题，并设计得符合“逻辑”，去支持每位独立个体的各自赏悦，让受众时刻对设计的美感保持警惕，从而感知到空间带来的情绪。 When creating such a "rhythm" of space, the designer must precisely grasp the theme and design it in accordance with "logic" to support the enjoyment of each independent individual, so that the audiences can always vigilant about the beauty of the design, and perceive the emotions brought by space.
“品牌的成功及美誉度不是建立在建筑或是空间设计之上的，但是很多品牌的失败却是由于忽视了空间设计关系的力量，由此可见空间设计对于品牌效益举足轻重。” No brands succeed based on their architecture or space design, while many of the fail as a result of inattention to the power of spatial relationships.
商业空间设计盲目角逐于利用率，一个是要面对一线城市寸土寸金的现实，二是掣肘于其商业属性的本质，却不曾想：“好的设计，不仅要有物理空间，更应该有精神空间，或许这是所谓‘无用’的奢侈，却更能打动人心。 Commercial space design blindly compete in the utilization rate, which is because of the reality of the high market rental in first-tier cities that the designers have to face, and is constrained by the nature of its commercial attributes. But most designers never thought: "a good design, not only have to meet physical space, but also need spiritual space. Perhaps it is the so-called 'useless' luxury, but it is more touching.
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