感谢 方方工作室 （邮箱：14768375@qq.com）予 gooood 分享以下内容。更多关于：Fang Fang Studio on gooood
Appreciation towards Fang Fang Studio for providing the following description:

方方
Fang Fang

方方工作室主持设计师
毕业于中国美术学院，著名照明设计师。
2024 IALD国际照明设计奖唯一中国评委。
Leader designer of Fang Fang Studio
Graduate of the China Academy of Art, renowned lighting designer.
The only Chinese judge for the 2024 IALD International Lighting Design Awards.

方方从事照明设计17年，是高级照明设计师（国家一级）、国际照明设计师协会（IALD）专业会员、北美照明设计师协会（IES）专业会员、中国照明学会专业会员，设计项目涵盖建筑照明、室内照明、文旅灯光等。

Fang Fang has been engaged in lighting design for 17 years and now as a Senior Lighting Designer (National Level 1), a professional member of the International Association of Lighting Designers (IALD), a professional member of the Illuminating Engineering Society (IES) of North America, and a professional member of the China Illuminating Engineering Society, her design projects cover architectural lighting, interior lighting, and cultural tourism lighting, among others.

▼视频，Video
（全文深度采访见下方文字。视频为5分钟精华版，建议选择1080p高清版本观看）

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关于IALD国际照明设计奖
About IALD International Lighting Design Awards

1.
IALD是一个什么样的奖项？在评选中主要看重哪些方面？
What kind of award is the IALD? What are the key criteria in the selection process?

IALD国际照明设计大奖，是目前灯光领域在全球范围内最难拿的奖。作为类似于建筑师协会奖的灯光设计领域奖项来说，协会奖相对来讲含金量会比普通商业奖高一些。在22年评选出的23个奖项中，国内团队拿到了12个，但此前与此后的奖项中国内获奖大概只有两到三个。

今年，我受到评委主席Yah Li的邀请作为7位评委中唯一的中国设计师参与奖项的评选，很高兴能有机会在这种国际顶尖奖项上发出声音。尤其就有更多拓展性的大体量国内项目来说，我认为国内团队应该更多被鼓励参加这种专业顶级奖项的角逐。

评审过程是非常客观的，我们总共经过了大约四轮评选。作品在第一轮评选需要获得五位以上评委的认可才能进入下一轮。在最终评分阶段则需要从艺术性、创意性、可持续发展，技术等十多个方面综合评分。获奖作品以最终分数决定。

作为中国评委，我也希望看到更多国内团队拿奖，在国际的舞台上发出自己的声音。当前行业不景气，我们更应该用更好的作品去展示自己。另一个重要意义就是去看看其他国家的设计师在思考一些什么。

IALD评审团并不全是照明设计师背景，这保证了视角的多元化。我作为资深设计师，会从技术和艺术等角度去考量，但其他国家的评委可能会从人本或者健康的角度去看待这些参选作品。一个很有意思的例子就是，在为一个定制成衣店项目的灯光设计评分时，从我照明设计师的眼光来看，店铺有些地方不够明亮，这可能会影响观众进店的体验。而德国评委就认为这个作品可能更强调了自我，强调了店主的个性和体验。

The IALD International Lighting Design Awards are currently the most prestigious and difficult-to-win award in the global lighting field. As an award in the lighting design field, similar to the awards given by architecture associations, the association’s awards tend to carry more weight than typical commercial awards. In 2022, out of 23 awards, Chinese teams won 12. However, in previous and subsequent years, there were typically only two or three awards won by Chinese teams.

This year, I was invited by the Chairman of the jury, Yah Li, to serve as the only Chinese designer among the seven judges for the award. We hope that more voices from Asia can be heard in such a top-tier international award. Especially with the increasing number of large-scale projects in China, we believe that domestic teams should have more opportunities to win these awards.

The judging process is highly objective, consisting of approximately four rounds of evaluations. In the first round, a project needs to receive votes from at least five judges to proceed to the next round. In the final scoring phase, we evaluate based on more than ten criteria, including artistry, creativity, sustainability, and technical execution. The winners are determined by the final scores.

As a Chinese judge, I also hope to see more domestic teams winning awards and making their voices heard on the international stage. In light of the current industry outlook, providing more opportunities for Chinese teams is the most important aspect of my participation in the jury. Another important goal is to see what designers in other countries are thinking.

The IALD jury is not composed entirely of lighting designers, which ensures a diversity of perspectives. As a senior designer, I tend to evaluate projects from a technical and artistic standpoint, but judges from other countries might focus more on human-centered or health-related aspects. A particularly interesting example occurred when we were judging the lighting design for a custom clothing store. From my perspective as a lighting designer, the store seemed a bit too dim, which might affect the customer experience. However, the German judge believed that the design emphasized the owner’s individuality and personal experience, which added a unique touch to the project.

▼2024 IALD国际照明设计奖宣传图 & 颁奖现场历史照片，2024 IALD International Lighting Design Awards poster & historical photos from the award ceremony

2.
在您看来IALD奖项，对于照明行业发展有什么样的推动作用？
In your view, how does the IALD award contribute to the development of the lighting industry?

首先，我认为IALD奖项的设立具有重要的意义，特别是对年轻设计师而言。它树立了一个目标，让他们知道自己可以为之努力。这种标杆式的榜样力量非常重要。

此外，该奖项的评审过程相对独立，不受外界干扰。从评审设置来看，这一点尤为明显。例如，评委名单是保密的，即使在6月份已经通知获奖者，但直到10月份才会正式公布结果。这种独立性对于奖项的公正性至关重要。IALD奖项保持了作为协会应有的独立性与自豪感，这一点我认为非常值得肯定。

因此推选出的获奖作品具有相当的说服力，覆盖了十多个方面的评审标准，也为行业设立了较高的标杆。更重要的是，它在评审过程中体现了学术独立性，这一点使得它与商业奖项区别开来，是其独特的价值所在。尽管如此，由于照明设计本身是一个相对小众的领域，而这个奖项又是小众中的顶级奖项，许多人可能对其望而却步。但我认为我们应该鼓励更多的人参与其中，发出更多不同的声音。

First of all, I believe the establishment of the IALD award holds significant meaning, especially for young designers. It sets a goal for them, showing that there is something they can aspire to. This kind of benchmark serves as an important psychological motivator.

Additionally, the selection process for this award is relatively independent and free from external influences. This is particularly evident in how the judging is set up. For instance, the jury members’ identities are kept confidential, and even though the winners are notified in June, the official results are not announced until October. This independence is crucial for maintaining the fairness of the award. The IALD award retains the independence and pride that an association-based award should have, and I find this worthy of recognition.

As a result, the winning projects are highly convincing, evaluated against more than ten criteria, setting a high standard for the industry. More importantly, it demonstrates academic independence in the judging process, which distinguishes it from commercial awards and is its unique value. Despite this, as lighting design is a relatively niche field and the IALD is a top-tier award within that niche, many people might feel intimidated by it. However, I believe we should encourage more participation and promote a diversity of voices.

▼2022年方方团队IALD获奖作品：融创︱龙岩·观樾台示范区，建筑设计：AAI国际建筑师事务所，Fang Fang’s team’s award-winning project at the 2022 IALD: Sunac Longyan Guanyue Terrace Model Area，Architectural design by AAI

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身份转变与评委视角
Identity Change & Judges’ Perspective

3.
从参赛方到评委方，您是如何看待这一身份转变的；评委的身份和视角对您看待不同项目和作品又何影响？
How do you view the transition from a participant to a judge? How has being a judge affected your perspective on different projects and works?

我一直关注各大赛事的获奖作品。优秀的作品往往能横扫多个奖项。我们有意识地观察过这些获奖项目的共性。国内的获奖作品通常拥有较大的规模，而小型项目在国内很难获奖或被关注。然而，国外的评审标准则更多关注美学和设计哲学背后的逻辑。

作为学习纯艺术出身的设计师，我对作品的美感有较强的分辨力，能判断一幅图像是否吸引人。因此，我在公开场合也提到过，项目不仅要做好，照片也要拍得好，这往往是获奖的关键。第一轮，作品需通过视觉吸引评委，接下来则需要通过技术实力、节点表达和设计哲学来展现作品的深度。只有外貌与内涵相得益彰，才能赢得奖项。

对我们而言，获奖从未是难事，但成为评委则是一种机缘巧合，尤其在中国评委稀少的情况下。这让我有机会看到更多国外的优秀作品。他们不仅在视觉表现上出色，还在设计表述、设计说明以及细节把控上展现出与我们的不同之处，这对我而言是特别有收获的一点。

例如，亚洲设计师往往注重概念和效果表达，而欧美设计师则更关注人与自然的关系、健康、以及人文与体验的表达。他们各自的侧重点使得参赛作品在表达方式上独具特色。参赛作品通常是经过协会成员提名的，门槛较高，对于文件的制作要求也相对较高。

尤其是进入最后一轮时，通过作品的表达，可以窥见设计师们的思维逻辑。对我个人而言，这几年我的思考重心逐渐从技术转向整体观念。起初，我们在技术上投入较多，但随着与优秀设计师、建筑师及甲方的合作，我们的设计思维也发生了转变。现在，我们更关注作品与环境、与体验者的关系，然后才考虑技术层面。参加评委工作让我在自我反思上获得的收获，甚至比完成项目还要多。

I always paid close attention to the winning works of major competitions. Outstanding projects often win across multiple awards. We’ve consciously observed the common traits of these winning projects. In China, winning projects are typically large-scale, while smaller ones rarely win or receive attention. However, foreign judging standards tend to focus more on the aesthetics and the logic behind the design philosophy.

Coming from a fine arts background, I have a strong discernment of visual aesthetics and can easily tell if an image is appealing. That’s why I’ve mentioned publicly that a project not only needs to be well-executed but also well-photographed, which is often the key to winning awards. In the first round, the project needs to visually attract the judges. After that, it must showcase its technical strength, detailing, and design philosophy to demonstrate its depth. Only when both appearance and substance complement each other can a project win an award.

For us, winning awards has never been difficult, but becoming a judge was a matter of chance, especially given how few Chinese judges there are. This gave me the opportunity to see more outstanding international works. These projects excel not only in visual representation but also in design presentation, narratives, and attention to detail, which differ from our approaches. This was particularly insightful for me.

For example, Asian designers often focus on concepts and expression, while Western designers emphasize the relationship between people and nature, health, and the human experience. These different priorities give each entry a unique style of expression. The entries are typically nominated by association members, setting a high bar, and the documentation requirements are also quite rigorous.

Especially in the final round, the way projects are presented reveals the designer’s thought process. Personally, over the years, my focus has gradually shifted from technical aspects to broader concepts. Initially, we invested heavily in technical execution, but as we collaborated with exceptional designers, architects, and clients, our design thinking evolved. Now, we prioritize the relationship between the work, its environment, and the user experience before considering the technical aspects. Being a judge has provided me with more self-reflection and insights than completing projects ever did.

▼第41届IALD照明设计大奖奖杯与方方工作室所获部分奖项，The 41st IALD International Lighting Design Awards & Awards won by Fang Fang Studio

4.
从获奖到成为7位评审之一，您在评选的过程中会注重设计的哪些方面？您打分的标准是什么？您认为怎样的灯光设计才是“优秀”的设计？
What aspects of design do you focus on during the evaluation process? In your opinion, what makes a lighting design “excellent”?

我最重视的是场景的体验性。严格来说，照明本身并非刚需。比如在某个空间里，不论其功能，只要有基本的光线，便可以使用。然而，照明设计的专业存在，是因为越来越多的人意识到，有照明设计的空间和没有照明设计的空间，其体验质量存在巨大的差异。

例如一间茶室的氛围是静谧悠然，还是像快餐店那样明亮、催促的风格，几乎完全是由照明来决定的。照明设计本身就是为空间加分的行为，因此，我特别关注空间的体验质量。

其次，我重视作品的照片呈现的节奏感和和谐性。如果一个设计团队连照片的审美都无法把控，那么他们很可能也无法保证项目整体的质量。设计的最终目的是在满足基本功能的同时，为环境增添美感。如果连展示图片都处理不好，又如何能做好设计呢？

第三点，我会从技术层面考量项目是否存在失误。所谓技术失误，是指不能出现明显的技术问题。作为专业设计师，我会特别留意是否有眩光，功率应用是否合理，出光的节点和安装的节点是否设计巧妙，能否达到一石三鸟甚至更多功能。巧妙的装置设计通常会让人赞叹，这也是我非常看重的部分。

对于优秀的灯光设计，每个人的观点不同。从我的角度来看，好的灯光设计应让人忘记灯光的存在。当你进入空间，首先感受到的应该是空间整体的氛围，而不是直接注意到灯光本身。

例如，如果我希望某个空间呈现静谧流动的感觉，我可能会在空间的节奏设置上有所安排，决定哪些地方需要客人停留，哪些地方需要快速通过，或者哪些墙面的材质需要重点展示，营造出流光溢彩的效果，甚至通过灯光来表现空间的节奏感。做好这些，才是优质的照明设计。

无论是建筑还是室内设计，尤其在建筑设计中，白天阳光下无法掩饰的建筑瑕疵，可以通过夜晚的灯光巧妙修饰。轻巧的建筑可以通过灯光处理显得更加厚重，反之亦然。如果灯光设计得当，夜间的建筑既符合其身份，又能展现一定的创意表达，这种夜景效果才是我们追求的。一个好的照明设计师应当将自己隐藏在幕后，呈现出的应该是建筑、景观和室内环境，以及人们的体验感受，而非灯光本身。

▼第41届IALD照明设计大奖评审名单，Jury list of the 41st IALD International Lighting Design Awards

▼厦门金沙书院调试现场，建筑设计：业余建筑工作室，Commissioning of the Jinsha Academy project, architectural design by Amateur Architecture Studio

The aspect I value most is the experiential quality of the space. Technically speaking, lighting itself is not a necessity. For instance, in any space, regardless of its function, as long as there is basic light, it can be used. However, the profession of lighting design exists because more and more people realize the vast difference in the quality of experience between spaces with lighting design and those without.

Take, for example, the atmosphere of a tea room—whether it feels serene and tranquil or like a brightly lit, fast-paced fast-food restaurant is almost entirely determined by the lighting. Lighting design is meant to enhance the space, so I pay particular attention to the experiential quality of the environment.

Secondly, I focus on the rhythm and harmony presented in the photographs of the project. If a design team cannot manage the aesthetics of their photos, it’s likely they can’t ensure the overall quality of the project either. The ultimate goal of design is to not only meet basic functional needs but also add beauty to the environment. If they can’t handle the presentation images well, how can they be expected to execute the design properly?

Thirdly, I evaluate the technical execution of the project to see if there are any mistakes. Technical errors refer to clear technical problems. As a professional designer, I pay close attention to issues like glare, whether power usage is appropriate, if the lighting fixtures and installation details are cleverly designed, and whether they serve multiple functions. Clever design often marvelous, and this is something I place high importance on.

When it comes to excellent lighting design, everyone has different opinions. From my perspective, good lighting design should make people forget the presence of the lighting itself. When you enter a space, your first impression should be the overall ambiance, not the lighting.

For example, if I want a space to feel tranquil and flowing, I might arrange the lighting to create a rhythm within the space, determining where guests should linger, where they should pass quickly, or which wall textures need to be highlighted. Lighting can create a shimmering effect or even convey the rhythm of the space. Achieving this is what makes for quality lighting design.

Whether it’s architectural or interior design, especially in architecture, flaws that are exposed under daylight can be subtly corrected through clever lighting at night. Lightweight structures can appear more substantial through lighting, and vice versa. If the lighting is well-designed, the building at night not only reflects its identity but also incorporates creative expression, which is the nightscape effect we strive for. A good lighting designer should remain in the background, presenting the architecture, landscape, and interior environment along with the user’s experience, rather than the lighting itself.

▼厦门金沙书院，建筑设计：业余建筑工作室，Jinsha Academy, architectural design by Amateur Architecture Studio

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国内外灯光设计行业对比
About Chinese And International
Lighting Design Industry

5.
作为评委中唯一的中国人，在您看来国内的灯光设计行业，包括产品行业与国外存在哪些优势和不足？
How do you view the advantages and shortcomings of our lighting design industry, including the product industry, compared to international standards?

在设计方面，我认为我们最大的优势在于拥有很多项目的实践机会。尽管当前行业整体形势不佳，但在中国，项目数量仍远超国内外市场。国外几乎没有新建项目，大多数都是城市更新、外立面改造或小型室内项目。而在国内，即使在这种经济环境下，优秀的团队仍在加班。我们的团队也在保持项目饱和的节奏，项目的数量可能是推动质变的关键，这就是我们的优势之一。

在产品方面，我们的优势在于能够迅速落地。不论是供应链、产业链还是加工链，国内相比国外都更加成熟。如果想实现某个设计，我们可以很快找到所有相关的供应链，关键只是在时间成本与造价成本之间的平衡。

相比之下，国外的设计师有更多的时间去打磨作品。由于他们的设计费用较高，建设周期也较长，加上社会的共识促使他们不急于完成项目，他们可以更深入地思考项目背后的精神层面的提升，甚至是艺术性的问题。在国内，设计和项目往往被经济利益所束缚，目标通常是如何快速实现回报和盈利。甲方和乙方都围绕这个目标努力，这与国外的思维方式有所不同。

在产品设计上，我们可以看到明显的差距。国外的艺术灯具产品，尤其是在品牌建设方面，普遍优于国内。他们甚至还在延续60年代的设计，而国内大部分产品则是模仿。尽管我们能够快速落地，但在品牌建设及其相关的设计人力和时间成本方面，远不如国外成熟。

国内缺乏耐心等待品牌成长，我认为这是种焦灼的状态，在相当长的时间内都难以解决。我与一些产品设计师探讨过，为什么我们不做自己的品牌产品？主要原因是困难重重。产品需要快速复制和产生销量，品牌的溢价才能支撑背后的研发成本，而我们目前并不具备这样的条件。

相比之下，建筑照明和室内照明的优势在于每个项目都是定制化的。当前行业的混乱部分源于一方面大家都在迅速推进，另一方面竞争激烈导致内卷。一些优秀的团队无法获得足够支持他们的设计费用，这就是目前出现焦灼局面的主要原因。

在产品使用方面，我们不做单一性设计，而是根据情况灵活选择。例如，如果甲方有较强的购买力或偏好，我们欢迎使用国外品牌，尽管国外品牌相对较贵。然而，国内一些品牌的技术差距正在缩小，尤其是工程序列的产品。这些年，国内工程序列产品的设计外观和性能都有了显著提升。

In terms of design, I believe our greatest advantage lies in the sheer number of projects. Although the current industry situation is challenging, the number of projects in China still far exceeds both domestic and international markets. Overseas, there are hardly any new projects; most are urban renovations, façade updates, or small interior projects. However, in China, even in this economic environment, excellent teams are still working overtime. Our team, too, keeps up a busy pace. The volume of projects may be the key to driving qualitative change, which is one of our key advantages.

On the product side, our strength is in the ability to quickly execute ideas. Whether it’s the supply chain, manufacturing, or processing, China is more developed compared to other countries. If we want to realize a design, we can quickly find all the necessary supply chain elements. The key lies in balancing time costs with production costs.

In contrast, international designers have more time to refine their work. Due to higher design fees and longer construction cycles, combined with societal norms that encourage patience, they are not in a rush to complete projects. This allows them to deeply reflect on the project’s spirit and artistic elements. In China, design and projects are often driven by economic interests, with the focus typically on how quickly returns and profits can be achieved. Both clients and designers are aligned with this goal, which differs from the approach abroad.

In terms of product design, the gap is more noticeable. International artistic lighting products, especially in brand building, generally surpass those in China. Some foreign brands continue to build upon designs from the 1960s, while many domestic products tend to imitate. Although we can execute quickly, we lack the brand-building capabilities and the associated design manpower and time investment that are more mature abroad.

In China, we lack of patience for brand building, which I believe creates a burn-out state that will be difficult to resolve for quite some time. I’ve discussed with some product designers why we don’t develop our own branded products. The main reason is that it’s very challenging. Products need to be replicated quickly and generate sales before the brand premium can support the research and development costs behind it, and we currently lack those conditions.

In contrast, the advantages in architectural and interior lighting design are that each project is highly customized. Part of the industry’s current chaos stems from the fact that while projects are progressing rapidly, competition is intense, leading to burnout. Some top-tier teams are unable to secure sufficient design fees to support their work, which is the main cause of the current tension.

When it comes to product usage, we don’t adhere to a one-size-fits-all approach but instead make flexible choices based on the situation. For instance, if the client has strong purchasing power or a preference for foreign brands, we welcome the use of international products, despite their higher cost. However, the gap between domestic and international brands is narrowing, especially for engineering-sequence products. In recent years, the design and performance of domestic engineering-sequence products have significantly improved.

▼中国国际设计艺术博物馆（室内灯光设计），建筑设计：阿尔瓦罗·西扎建筑设计事务所，China International Museum Of Design And Art (Interior Lighting Design), architectural design by Álvaro Siza Vieira

▼哈尔滨创意设计中心（室内灯光设计），建筑设计：無形有行设计事务所，Harbin Design Center (Interior Lighting Design), architectural design by Hangzhou Wuxing Youxing Design

6.
作为照明设计师协会的一员，是否能给我们的读者科普一下最近国内外灯光设计思潮/趋势？
What’ s the recent trends in lighting design in China and aboard?

在这次评审过程中，我们注意到，以往国内设计更多地关注技术本身，包括灯具的应用。然而，从这次评审结果来看，如今的国内设计师越来越注重文化和思想层面的表达，尤其是在哲思与艺术性方面的呈现。我们认为，近年来国内设计师在这些方面取得了显著进步。

这一点过去在国外设计师的作品中表现得更加明显，许多作品展现出强烈的个性与独特风格。艺术本身不需要过多解释，往往在第一眼就能让人感受到作品的个性与性格。然而，这两年我们发现，国内作品在这一趋势上越来越突出；而国外作品则更多地开始强调健康、可持续性，以及人与自然的关系，这些观念逐渐成为他们关注的重点。

不能简单地说哪种风格更好。这种差异更多是由不同的社会环境所决定的。中国设计师或许更擅长向内探寻，寻找自我答案；而国外设计师则更倾向于从外部环境中直接寻求灵感和解决方案。

During this year’s judging process, we noticed a shift in Chinese design. In the past, Chinese designers tended to focus more on the technical aspects of lighting, including fixture applications. However, based on this year’s results, it’s clear that more and more domestic designers are now placing greater emphasis on cultural and philosophical expression, especially in terms of conveying deeper artistic and conceptual ideas. We believe that Chinese designers have made significant progress in these areas in recent years.

This shift used to be more evident in the works of international designers, where many projects showcased strong individuality and distinctive style. Art doesn’t always need extensive explanation—it often communicates its essence and character at first glance. Yet, in recent years, we’ve observed that domestic works are increasingly standing out in this regard, while international works are now focusing more on themes like health, sustainability, and the relationship between people and nature. These concepts have become central to their approach.

It’s not about which style is better; rather, this difference is more reflective of the societal environments designers come from. Chinese designers might be more inclined to look inward, searching for answers within themselves, while international designers tend to seek inspiration and solutions from their external environment.

▼富春山馆项目夜景，建筑设计：业余建筑工作室，Night view of Fuchunshan Guan, architectural design by Amateur Architecture Studio

▼海宁国际花卉产业园 – 苹果屯，建筑设计：杭州森上建筑设计，Haining InternationalFlower Industry Park (Apple Village), architectural design by Hangzhou SEN。S ARCHITECTS

_____________
团队建设与项目选择
Team Building And Project Selection

7.
方方团队的建设是怎么样的？在选择项目或者合作方有哪些考虑？
How is your team structured, and what considerations are taken into account when selecting projects or partners?

我们的团队实行全员项目经理制，每个成员都负责整个项目的全程管理。从项目的最初概念到最终落地实施，始终有一个或两个项目经理全程跟进。如果概念、效果图和施工图由不同的人负责，这种模式容易导致各环节脱节，无法保证最初的设计理念在最终落地时得到充分体现。

全员项目经理制的优势在于，始终有人对项目的全局负责，而我作为团队的最终支持者，确保这一体系的高效运作。我们已经将所有可以量化的工作外包处理，比如效果图等具有较强可替代性、低附加值的工作。我们团队的核心任务是控制技术端和效果端的质量，主要负责计算和技术支持等高度专业化、无法外包的工作。

在项目选择上，我们更看重的是项目的价值 —— 它是否值得做，是否涉及我们未曾涉足的领域，能否提升团队的经验和能力，是否有趣，是否能够成为一个出色的作品。基于这些标准，我们在与许多年轻的建筑师团队合作时，往往会给予他们大力度的支持和优惠，甚至担任友情顾问。

总的来说，我们选择项目的标准并不取决于它的规模或是否盈利，而在于它是否具有开创性，能否帮助团队，尤其是我们的项目经理和设计师，实现个人和专业上的突破。

Our team operates with a full-project manager system, where each member is responsible for the entire project management process. From the initial concept to final implementation, one or two project managers oversee the project throughout. If different people handle the concept, renderings, and construction drawings, this model can lead to disconnection between stages and may not ensure that the initial design concept is fully realized in the final execution.

The advantage of our full-project manager system is that there is always someone responsible for the overall project, while I, as the ultimate supporter of the team, ensure the efficient operation of this system. We have outsourced all quantifiable tasks, such as renderings, which are highly replaceable and have low added value. The core tasks of our team focus on controlling the quality of technical and visual aspects, handling specialized, non-outsourcable work like calculations and technical support.

When selecting projects, we prioritize the project’s value—whether it’s worth pursuing, whether it involves areas we haven’t explored, whether it can enhance the team’s experience and capabilities, whether it is interesting, and whether it can become an outstanding piece of work. Based on these criteria, we often provide significant support and benefits to many young architectural teams, sometimes even serving as friendly advisors.

In summary, our project selection criteria are not based on the project’s scale or profitability, but rather on its innovativeness, its potential to help the team, and especially how it can lead to personal and professional breakthroughs for our project managers and designers.

▼方方团队成员在施工现场，Fang Fang team members at the construction site

▼照明设计使用的工具/软件界面，Lighting design tools/software interface

8.
团队的获奖作品频出，这些荣誉为团队带来怎样的变化和机遇？
The team has won numerous awards. How have these honors impacted the team and what opportunities have they brought?

首先，我认为对于设计师来说，获得奖项无疑是一种极大的鼓励。对我们而言，最大的激励或改变是意识到，在与国外设计师团队的较量中，我们并不逊色。自2019年开始，我们积极参与国际奖项的竞争，并在当年就取得了显著的成绩。此后，每年我们都斩获了大量奖项。

早些年，很多人可能觉得国际奖项遥不可及。然而，当我们真正开始参与并提交作品时，我们发现自己的实力并不逊于他人，甚至在某些方面还更为出色。

例如，在2023年，我们帮助上虞博物馆建筑师团队赢得了美国设计奖中唯一的年度建筑大奖，这个奖项是通过我们的夜景照片参赛而获得的。要知道，当年共有8000多件作品参赛，因此我们能获得这个唯一的年度大奖，连建筑师团队都感到惊喜。这个奖项给了我们极大的信心，让我们认识到，无论是面对国际舞台还是行业内的竞争，我们有能力发出自己的声音，这是对我们最大的鼓励。

因此，现在我在与团队成员交流时，也提到这些经历。我告诉他们，我们无需妄自菲薄，别人能做到的我们也能做到，而且我们有能力做得更好。我们有着深厚的文化历史底蕴，以及丰富的实践机会。我们的问题只是随时需要对自己发出挑战，战胜自己。

First and foremost, receiving awards is undoubtedly a tremendous encouragement for designers. For us, the biggest motivation or change has been realizing that we are not inferior to international design teams. Since we began actively participating in international awards in 2019, we have achieved remarkable results that year and have continued to win numerous awards every year since.

In the past, many people might have thought international awards were out of reach. However, once we started participating and submitting our work, we discovered that our capabilities were on par with others, and in some aspects, even superior.

For instance, in 2023, we helped the architect team for the Shangyu Museum win the only Architectural Design of the Year Award at the American Design Awards, an accolade achieved through our night view photos. Considering that over 8,000 entries were submitted that year, winning this sole annual award was surprising even to the architect team. This award greatly boosted our confidence and made us realize that we are capable of making our voices heard on the international stage and in industry competitions. This recognition is the greatest encouragement we could receive.
Therefore, when I discuss these experiences with team members, I tell them that we should not undervalue ourselves. What others can achieve, we can achieve too, and we have the potential to do even better. We embrace deep cultural heritage and ample practical opportunities. Our challenge is to continually challenge ourselves and overcome our own limitations.

▼上虞博物馆，建筑设计：浙江省建筑设计研究院，Shangyu Museum, architectural design by ZIAD

9.
目前为止您觉得最满意的项目是什么？对比之前，这两年的作品相比之前有哪些承袭与突破？
What project are you most satisfied with so far? Compared to previous projects, what inheritances and breakthroughs have you made in the past two years?

最让我满意的项目是杭州国家版本馆，这是由王澍和陆文宇二位老师主导的方案设计，浙江省院完成了施工图设计。这个项目确实倾注了我们极大的心血。项目的时间非常紧迫，设计和施工几乎是同步进行的。整个项目的规模达到10万平方米，但从动工到竣工，仅用了22个月的时间，因此我们全专业团队都驻场工作，这对我们来说是个巨大的挑战。

两位老师在这个项目上，明显也投入了更多的心血。因此，我们在项目的每一个细节上都花费了大量时间去推敲。例如，古建筑的柱子需要穿管布线，鉴于结构的复杂性。为了将电线从地面引入楼层，仅仅是一层楼就必须绘制12张图纸来精确规划线路。工厂必须提前预留孔洞，而现场施工时，误差不能超过两厘米，否则布线将无法顺利完成。

大家在最终看到项目时，可能不会注意到这些细节，但正是这些细节让我们实现了“举重若轻”的效果。我们投入了大量的心血和资源，最终呈现出的效果却是让人感觉不到灯光的存在。灯光是非常潜移默化的，灯光设计表达的是建筑师对建筑、山水和人文关系的理解，因此我们在照明设计中保持了低调，希望达到“天人合一”的结果，让灯光成为传达建筑内涵的介质。对于照明设计师而言，能够达到这样的效果，项目就算是成功了。

至于项目中的突破点，我认为每个项目都有其独特的突破之处。对于照明设计而言，光线本身非常微妙，哪怕一点点的变化都可能带来巨大的心理冲击。因此，近年来我们更加注重如何将灯光巧妙地隐藏在实体的背后，同时让光线的节奏感更为舒适，使整个环境更具吸引力和场所感。每个项目中我们都在追求突破，无论是室内还是室外的建筑灯光设计。

在早些年，我们可能更关注个人的视觉愉悦，但现在我们的目标是实现各方的共赢 —— 无论是使用者、场所的拥有者、设计师本人，还是外部的观众，都应该在这个项目中获得独特的体验。这是我们作为照明设计师在过去几年中不断追求的目标。

The project I am most satisfied with is the Hangzhou National Archives Of Publications And Culture. This project, led by architects Wang Shu and Lu Wenyu, with the ZIAD responsible for the construction drawings, was a major undertaking for us. The project was very time-sensitive, with piling and construction drawings being developed almost simultaneously. The entire project spans 100,000 square meters, but it was completed in just 22 months, which required our entire professional team to be on-site—a significant challenge for us.

Wang Shu and Lu Wenyu also invested considerable effort into this project. We spent a lot of time fine-tuning every detail. For example, the columns of the ancient building required conduit for wiring due to the complexity of the mortise and tenon joints. To route the electrical wires from the ground to each floor, we had to create 12 detailed drawings for just one floor to precisely plan the wiring routes. The factory had to pre-cast holes, and on-site, the margin of error could not exceed two centimeters, or the wiring would not proceed smoothly.

When people see the final project, they might not notice these details, but it is these very details that allowed us to achieve a “light as a feather” effect. We invested a lot of time and resources, and the final result was that the lighting was almost imperceptible. Lighting is very subtle; it expresses the architect’s understanding of the relationship between architecture, landscape, and culture. Thus, in our lighting design, we maintained a low profile, aiming for a result where the lighting serves as a medium to convey the building’s essence. For a lighting designer, achieving such an effect means the project is a success.

As for breakthroughs in the project, I believe each project has its unique innovations. For lighting design, the nuances of light can have a significant psychological impact even with minor changes. In recent years, we have focused more on how to cleverly hide the lighting behind physical structures while ensuring that the rhythm of the light is comfortable and the environment is more attractive and site-specific. We aim for breakthroughs in every project, whether in indoor or outdoor architectural lighting design.

In earlier years, we might have focused more on individual visual pleasure, but now our goal is to achieve mutual benefits for all parties involved—whether users, site owners, designers, or external viewers. Everyone should gain a unique experience from the project. This has been our ongoing pursuit as lighting designers in recent years.

▼杭州国家版本馆，建筑设计：业余建筑工作室，National Archives Of Publications And Culture, Hangzhou, architectural design by Amateur Architecture Studio

______________
最好的时代还没有到来！
The best time is yet to come!

10.
去年年末您提到过“属于照明设计行业的最好时代还没有到来”，如今您对这句话是否有了不一样的解读和体会？
Last year, you mentioned that “the best era for the lighting design industry has not yet arrived.” Do you have a different interpretation or understanding of this statement now?

我依然认为，照明设计的黄金时代依然尚未到来。虽然过去的几年里，我们经历了许多项目，但是行业发展仍然不成熟，各种想法和思潮层出不穷，但对设计本质的关注却不够，大多数时候，我们更多地关注工程和其他因素，而不是设计本身。在我看来，理想的设计状态是能够专注于项目本身的质量和效果，而不被其他因素干扰。因此，我对“最好的时代尚未来临”这句话的理解并未改变。最好的时代应当是设计的价值真正被体现的时代。

我们经常强调，质量是生存的唯一标准。纵观各个成熟行业的历史，在行业刚刚兴起或经历混乱洗牌时，尽管会涌现出许多声音和思潮，但最终能够长久生存下来的，始终是那些能够把控住质量的团队。因此，对于我们的团队来说，我们始终强调两个字 —— 质量。

无论是通过哪种方式来表达质量，有些人认为质量意味着盈利，有些人认为质量在于效果，而我们认为质量在于是否真正达到了你内心期望的标准。无论是实现各方面的共赢，还是输出一种美好的生活方式，质量始终是生存的关键。我们团队中最无法容忍的，就是敷衍了事、不负责任的人，这也是我们绝对的底线。

I still believe that the golden age of lighting design has not yet arrived. Although we have worked on many projects over the past few years, the industry is still immature, with a plethora of ideas and trends emerging. However, there is insufficient focus on the essence of design. Most of the time, we pay more attention to engineering and other factors rather than the design itself.

In my view, the ideal design state is one where the focus is on the quality and effect of the project itself, without being disturbed by external factors. Therefore, my understanding of the statement “the best era is yet to come” has not changed. The best era should be one where the true value of design is realized.

We often emphasize that quality is the only standard for survival. Looking at the history of various mature industries, even though many voices and trends emerge when an industry is just starting or undergoing turmoil, those that endure over time are always the teams that can control quality. Thus, for our team, we continually emphasize one word—quality.

Whether quality is expressed in terms of profitability, effect, or meeting your own standards, we believe quality lies in whether the standards you truly expect have been achieved. Whether achieving mutual benefits or promoting a beautiful lifestyle, quality remains the key to survival. The most intolerable thing for our team is a lack of commitment and responsibility, which is our absolute bottom line.

▼歌尔集团潍坊光电园综合楼；建筑设计：gad杰地设计，Weifang Goer Comprehensive Building, architectural design by gad

▼南昌蔚来汽车旗舰店；室内设计：芝作室（LUKSTUDIO），Nanchang NIO Automotive Flagship Store, interior design by LUKSTUDIO

▼北京尼康Nikon直营店；室内设计：芝作室（LUKSTUDIO），Nikon Beijing Flagship, interior design by LUKSTUDIO

▼绍兴安辰酒店；室内设计：万境设计，An Chen Hotel, interior design by WJ STUDIO

11.
从国内灯光设计逐渐走向未来和国际舞台来看，您对您和您的团队有着怎样的期许？您对于未来照明设计的行业方向有什么看法？
What are your expectations for yourself and your team? What are your views on the future direction of the lighting design industry?

从国内的情况来看，我认为工程行业的萎缩是必然的，这将导致一部分人转向其他领域。实际上，我们可以直接说，整个行业将经历一定程度的萎缩，从建筑到景观，再到室内、照明都会受到影响。然而，最终这种萎缩会使行业回归正常状态，不再像现在这样备受关注，但那些仍然有需求的项目依然是刚需。这样的变化将淘汰掉一部分不理性的人，留下那些更加理性的人，他们能够更加冷静、理性地讨论项目的可持续发展。

国际多年来的方向一直相对平稳。优秀的项目和团队依然存在，并且在继续发展。这与国内不同，国内近年来涌现了许多新的团队，而一些老团队则面临更激烈的竞争。在国际上，团队的关注点主要有两个：一是更加注重健康，二是更加关注人文与自然。这些方向一直是他们的重点，没有太大变化，并且在持续发展。而国内则经历了一个从“大跃进”式的发展到逐渐理性和沉淀的转变。

I believe the contraction of the engineering industry is inevitable, which will lead some individuals to transition to other fields. In reality, we can directly say that the entire industry will experience a degree of contraction, affecting architecture, landscape, interior design, and lighting. However, this contraction will ultimately bring the industry back to a more normal state, with less attention than it receives now. Nonetheless, projects with genuine demand will remain essential. Such changes will eliminate some irrational players and leave behind those who are more rational and can discuss the sustainable development of projects more calmly and thoughtfully.

Internationally, the direction has remained relatively stable over the years. Outstanding projects and teams continue to exist and develop. This is different from the domestic scene, where many young teams have emerged in recent years, and some senior teams face more intense competition. Internationally, the focus of teams mainly includes two aspects: increased emphasis on health and a greater focus on humanistic and natural elements. These directions have been consistent and continue to develop, while domestically, there has been a shift from a “Great Leap Forward” approach to a more rational and reflective development.

▼正在进行项目：干窑镇邻里中心，建筑设计：造作建筑工作室，Ongoing Project: Community Center of Ganyao, design by Zaozuo Architecture studio

▼《光的构筑建筑照明设计》书籍封面和内页照片，Book Cover and Interior Photos: Architectural Lighting Design
凤凰空间出版社官方旗舰店 / 豆瓣页面链接

▼工作中的方方与团队（方方：左五），Fang Fang at work and the team (Fang Fang: fifth from left)

公众号：最爱光线
邮箱：351997075@qq.com
网站：https://fangfangstudio.com/

More: 方方工作室 （邮箱：14768375@qq.com；招聘邮箱：351997075@qq.com）。
更多关于：Fang Fang Studio on gooood

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