在中国有一座古镇，大大小小的灯具生产商遍地都是，灯饰业总产值甚至占到全国市场份额的60%以上，光灯饰铺位就有3600多家。它就是有着“中国灯饰之都”的中山古镇。CUN寸DESIGN与绿豹灯具品牌的相遇也是从这里开始。
In China, there is an ancient town features numerous lighting manufacturer of all kinds of size. The total output value of its lighting industry accounts for sixty percent of Chinese market, and it has more than 3600 lighting stores. It is Zhongshan, known as the “Lighting City in China”. The cooperation between CUN DESIGN and LUPARD LIGHTING also starts from here.
▼商店外观，exterior view of the store ©王厅
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拆解 · 绿豹文化
Disassembly · Lupard Culture
对于每一个灯具企业，展厅的需求与期望值是非常高的。展厅设计不光对产品的营销有很大的助益，更是对企业文化的传播与品牌的打造都有着非凡的作用。设计展厅的初始，我们着手了解绿豹灯具品牌文化并拆解。
▼绿豹灯具品牌形象在空间中的呈现与延展应用，the space embodiment of the brand culture of Lupard Lighting ©CUN DESIGN
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[/url] Almost every lighting enterprise has high demand and expectation on exhibition hall. Because exhibition hall plays an important role in product marketing as well as in corporate culture promotion and brand building. The design starts from understanding the brand culture of Lupard Lighting and the next step is disassembly.
▼商店外观，exterior view of the store ©王厅
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[/url] 当下的消费习惯中，驱动消费者在展览中进行的所有行动的往往是消费者个人兴趣，而不是设计师在展厅空间中设定的”情节”。站到行业角度讲，当我们抵达中山看到形形色色的灯具展厅时，它们都有着共同的特性，就是将灯饰都放置在空间公共展厅中，这些灯具间的相互影响是极大的。
在传统形式的展厅中，大家为了卖掉一盏灯而去虚拟设计出一些场景，比如客厅、卧室等，这些都是为了灯具产品而去营造的虚拟场景，然而这样的操作存在着一定的问题，首先是场景化的设置无法长期使用，其次这样的操作并不符合每位消费者内心的真实购买诉求。在我们面对灯具展厅初始的设置中，每位设计师应该思考的是“光到底该在什么样的环境中展示？”
After research and analysis on the current consumption habits, the designer conclude that what drives consumers’ actions in exhibition hall is often their personal interests, instead of the “plot” set by designer in space. When it comes to the lighting industry, after visiting all kinds of lighting halls in Zhongshan, the designer found that they have a common characteristic, that is, all the lighting products is placed in public exhibition hall, and the products have great effects on each other.
In traditional exhibition hall, in order to sell a lamp, some scenes are designed accordingly, such as living room, bedroom, etc. These are simulated scenes created for lighting products. However, this method has certain problems. First, the scene cannot be used for a long time; and secondly, such operation cannot meet the true purchase demands of each consumer. So, before designing a lighting hall, every designer should think about a question: “In what kind of environment should the light be displayed?”
▼商店外观局部，采用大面积的玻璃墙体，partial exterior view of the store with glass walls ©王厅
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[/url] ▼商店雨篷细节，details of the awning of the store ©王厅
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我们不是在设计灯的环境，而是在做光的环境
We don’t design lighting scene, but we build lighting environment
原有空间是建筑的两个底商，我们为了达成符合商业的环形动线，将两个体块建筑进行解构，拆除阻隔墙体，使动线更为合理。为满足不同的商业需求，我们设置了3个出入口，在展厅的A主入口，然后沿街拥有展示面的B入口，以及最重要的通往内部商场的C入口，形成内部商业的引流。
The original space was two commercial areas in the ground floor of the building. In order to achieve a commercial circular line, we deconstructed the two blocks of architecture and removed the barrier wall to make the dynamic line more reasonable. Meanwhile, in order to meet different business needs, three entrances have been set up: entrance A in the main exhibition hall, entrance B with exhibition facing the street, and the most important entrance C leading to the mall, forming the internal business flow.
▼商店室内，interior view of the store ©王厅
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[/url] ▼商店室内，灰色的墙体和天花板与绿色的地板相辅相成，interior view of the store, the gray walls and ceilings complement the green floors ©王厅
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