Forest Picture

Calm and strange is this evening hour in the forest,


Carven domes of green are the trees by the pathway,


Infinite shadowy isles lie silent before me,


Summer is heavy with age, and leans upon Autumn.


All the land is ripe. There is no motion.


Down the long bays of blue that those cloudy headlands


Sleep above in the glow of a fading sunset,


All things rest in the will of purpose triumphant.


Outlines melting into a vague immensity


Fade, the green gloom grows darker, and deeper the dusk:


Hark! a voice and laughter—the living and loving


Down these fantastic avenues pass like shadows.


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.


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.


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.


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.”


Color can change the size of the space, and it is the best argument in this case. It uses a large of black material and uses black as the “container” to expand the “space” by the sense of falling caused by the dark , and then use light colors to draw the audience’s attention back to a flat surface. As a result, your visual sense can be switched arbitrarily in 2D or 3D. Just like the focused imaging of a camera. While the focus of the audience is different, then the “image” you see will be different. What you see is like an image, but what your eyes miss is an imagination world.


The designer uses light, color, texture and Raysonic-unique elements, hoping to obtain a variety of effects in the space design.


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.


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.

Name | 项目名称


Area | 项目面积


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


Interior Design | 室内设计李忠光设计事务所

Soft Decoration | 软装设计


Construction Unit | 施工单位


Photographer | 摄影

Huang Miangui 黄缅贵 | 贵建筑摄影

Writer | 项目撰文

Panpan | 盼盼