Exploring Interculturalism and Lighting Design

In this article, Universal Light is delighted to have a conversation with Ms. Fanny Soulard, a lighting designer with extensive experience in lighting and architecture across the globe at Aurecon. Throughout her career, Ms. Fanny has worked in many different countries, each with its own unique culture and design aesthetic.

Through this conversation, Universal Light seems to have recognized the special position that interculturalism holds in Fanny’s lighting design world. On that basis, this article draws upon Fanny’s perspectives and personal journey, as well as her deep insights into the significance of interculturalism in lighting design.

My design career has been shaped by countless experiences, clearly reflecting the impact of diverse cultures on lighting design. My first steps into the lighting world were made working for a lamp manufacturer. From there, I began immersing myself in various fields, working for architecture studios, electrical material suppliers, lighting design studios, and finally for the engineering company Aurecon. Each step provided an opportunity to explore different types of projects and new professional environments, spanning countries such as Spain, Argentina, Mexico, France, Australia, and now Vietnam.

At first glance, my career path might seem like a series of random turns, but in reality, it was guided by opportunities and a desire to connect with corporate cultures that shared my values. Economic factors also played a role in my decisions—for example, moving to Mexico in 2009 during the financial crisis, and relocating to Vietnam in 2020 amid the COVID-19 pandemic. Nevertheless, I consider myself fortunate to have gained a multidisciplinary perspective through such diverse experiences.

The Meaning of Interculturalism

Culture is like a rich, vibrant tapestry, full of nuances and deeply influencing our perception of light. Each culture pursues different values and aesthetic preferences—what is considered beautiful or appropriate in one context may be perceived as offensive or unsuitable in another. To navigate this, we need not only technical skills but also cultural literacy.

For example, when working with an Italian company, I noticed their preference for bright white tones, especially in heritage projects, as they considered this color elegant and precise. In contrast, Mexican clients favored lively and vibrant living spaces, perceiving bright white as somewhat cold or sterile. Addressing these cultural differences can be a major challenge in creative industries. We must adapt to satisfy the expectations and tastes of each culture, avoid overused design clichés, and create spaces that resonate with the users in that specific context.

Knowing and understanding culture is the key to solving this challenge. Importantly, recognizing multiple possibilities, interpretations, and optimal approaches lays the foundation for designs that are not only aesthetically pleasing but also imbued with cultural significance.

“In a world that celebrates diversity and the intersections of different cultures, our role as lighting designers goes beyond simply illuminating spaces; we must also understand and honor the rich, multicolored tapestry woven by the cultures around us. For modern lighting designers, interculturalism is not merely a concept—it is a way of life.”

Differences in Lighting Design Experience

In the early years of my career in lighting design, I didn’t fully grasp the cultural differences between colleagues and clients. Beyond the usual communication challenges posed by language barriers, I also encountered deeper cultural clashes as my career advanced.

When I reached a new stage in my career and had to train less-experienced colleagues in Vietnam, I realized an important lesson: my previous training methods—relying on field research, book introductions, attending conferences, and visiting factories—were not easily applicable in the Vietnamese context. This experience forced me to recognize the limitations of approaches based solely on knowledge and subjective experience from other contexts, rather than adapting to the specific circumstances in Vietnam.

To bridge this gap, we needed to establish common reference points, clarify the definitions of terms, concretize objectives, and build effective collaboration processes. I realized that I couldn’t expect colleagues to understand everything the same way I did. Even with substantial experience, no one can completely master a field, especially in new project environments and unfamiliar cultures. Therefore, listening and embracing diverse opinions became invaluable for guiding project content and exchanging information. This experience gave me a more comprehensive perspective and helped me integrate better in my approach to design strategy, while recognizing the significance of each local context and viewpoint.

Differences in Project Conditions

The project conditions of each culture can vary greatly, and I have personally witnessed these differences in my lighting design journey. A prominent example is the Ba Na Hills Resort project in Da Nang, which involved collaboration with the lighting design studio Concepto, based in Paris. During the project’s conceptual phase, we exchanged a lot of abstract ideas, which sometimes confused both the client and our team. However, we learned from our mistakes and organized an on-site visit during the construction phase. This decision stemmed from the practical reality that we were primarily supervising the project remotely, and it turned out that direct interaction was a crucial factor in effectively conveying our expectations and addressing specific site limitations.