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My career has been a mosaic of experiences, vividly showing how diverse cultures impact lighting design. My journey began with a lighting manufacturer, where I took my first steps in the world of light. From there, I ventured into different realms, working for architectural studios, electrical material suppliers, lighting design studios, and eventually, an engineering company, Aurecon. Each move led me to explore new project typologies and corporate environments, spanning countries like Spain, Argentina, Mexico, France, Australia, and now Vietnam.

While my career may seem like a collection of random moves, it has been guided by opportunities and my desire to align with corporate cultures that resonate with my beliefs. Economic factors have also played a role in my decisions, like my move to Mexico in 2009 during the financial crisis and my relocation to Vietnam in 2020 amidst the COVID-19 pandemic. However, I consider myself fortunate to have gained a cross-disciplinary industry perspective through these diverse experiences.

### The Importance of Interculturalism

Culture is a fascinating tapestry, rich with nuance, and it profoundly influences our perception of light. Each culture endorses different values and preferences, and what is considered aesthetic and appropriate in one context may be perceived as offensive or inadequate in another. This isn't solely determined by a technical approach but by cultural assessment.

For example, when working with an Italian company, I found that they favoured white luminous nuances, particularly for heritage buildings, considering them elegant and appropriate. In contrast, Mexican clients leaned toward vibrant and colourful ambiences, deeming white nuances as dull. Navigating these cultural differences can be a creative challenge. We must adapt to meet the expectations and preferences of each culture, steering clear of oversaturated effects and creating ambiences that resonate with the local audience.

Cultural awareness and understanding are key to navigating this complex terrain. It's essential to acknowledge that there are multiple possibilities, interpretations, and best practices. This awareness allows us to create designs that are not only aesthetically pleasing but also culturally sensitive.


In a world where diversity is celebrated, and cultures collide, our role as lighting designers is not only to illuminate spaces but also to embrace and respect the rich tapestry of cultures that surround us. Interculturalism isn't just a concept; it's a way of life for modern lighting designers. 


### The Differences

**Differences in the lighting design experience**

During my early years as a junior lighting designer, I didn't fully grasp the extent of cultural differences among my colleagues and clients. Beyond the usual challenges of miscommunication due to language barriers, I encountered more profound cultural clashes as my career progressed. 

As I transitioned from a junior to a senior lighting designer, my most significant revelation came when I had to train my junior colleagues in Vietnam. I realised that my past training methods, which had relied on activities like site visits, book recommendations, conference invitations, and factory tours, were not readily applicable in the context of Vietnam. This experience forced me to recognise the limitations of my approach, as it was based on my knowledge and experience from other contexts rather than the specific Vietnamese situation.

To bridge this gap, we had to create a shared reference point, clarify the definitions of terms, explicit the targets, and build effective cooperation. I learned that I couldn't take for granted that my colleagues would understand things the same way I did. Even with extensive experience, it became clear that we could never fully master a subject, especially in a new cultural and project environment. Therefore, listening to and including different opinions became immensely valuable in guiding communication and project content. This experience has helped me become more inclusive and holistic in my design approach and strategy, recognising the importance of context and local perspectives.

**Differences in Project Conditions**

Project conditions can vary dramatically across cultures, and I have witnessed these disparities firsthand in my lighting design journey. One notable example is the Ba Na Hills Resort project in Danang, which we undertook with Concepto, a Paris-based lighting design studio.
During the project's concept stage, we communicated much abstract information, leading to confusion and doubts between us and the client. However, we learned from our mistakes and organised an intermediate trip during the construction phase. This decision was prompted by the fact that we mostly monitored the project remotely, and we realised that face-to-face interactions were crucial for effectively conveying our expectations and addressing constraints specific to the site.


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The trip's primary purpose was physically engaging with the construction workers, showing them our expectations, and observing various constraints we couldn't have guessed without being on-site. This allowed us to adjust our design to ensure better control over the installation process. We even produced a specific guide to assist the construction team in prioritising key luminaire setup. While this level of intervention wasn't something we had done for other projects, it significantly improved our communication intent and guaranteed a smooth and successful commissioning stage.

From a design perspective, I've encountered situations where it was necessary to simplify luminaire specifications for Vietnamese projects to accommodate variations in available luminaires and the capabilities of construction workers. While this might be seen as a compromise, it is a practical adaptation to the unique conditions and constraints faced by contractors in different countries. It's a reminder that a great design is only as good as its execution.

**Differences in Standards and Best Practices**

As a lighting designer working in an engineering company, I frequently encounter the need to adhere to local standards explicitly outlined in our contracts. These standards represent a synthesis of what a country considers good practice based on its past experiences. However, it's clear that different countries have had varying experiences, and for some, their standards may not have been revised since a time when LED technology had not yet entered the market.

When designing lighting solutions, we must consider the future, thinking not just in the near term but also a decade or more ahead. To achieve this, I've made a conscious effort to diversify my knowledge about lighting practices in general, including their benefits and impact on health and the environment. I attend conferences like IES, IALD, ALAN, and Dark Sky, among others. The primary purpose of attending these conferences is to develop a critical perspective when evaluating lighting requirements for the end-users of our projects and see if they align with the stipulated standards.


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Many clients seek reassurance through certifications and adherence to standards, and while these standards are essential, I believe there is always an opportunity to improve upon them based on the unique benefits of each project. With present and future challenges such as lighting pollution, energy shortages, and public health impacts, it is our responsibility as lighting designers to be proactive in revising these standards and project orientations to the extent possible.

The key to the design process is also to welcome open discussions among all the consultants involved. Simply stating that our project will follow certain guideline or standard is insufficient and lacks engagement. Guidelines can be subject to different interpretations, so aligning with other consultants regarding intentions and design objectives is crucial. To facilitate this, kickoff meetings and workshops should be driven by a shared pursuit of accuracy, even if it requires extra time and effort or means stepping out of our comfort zones. 

**Differences in End-Users, Their Perceptions and Needs**

As human beings, we all respond to the same biological factors influenced by light, such as intensity and color temperature. These factors can significantly impact our physical and mental well-being. While variations and sensitivities may exist based on age, physical conditions, and location, there is a general norm that applies to most people. What truly differs dramatically is the emotional response that lighting can evoke. Our emotional reactions to light are not solely influenced by physical conditions but are deeply connected to and shaped by social contexts, cultural heritage, environmental influences, ethical conventions, and more. As lighting designers, I believe our challenge is to address both aspects - the biological and the emotional.


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Designing for the end-user is our primary focus, and to achieve this, it's important to understand the perspective of those how local people think, perceive, and use their space. As a French citizen living abroad, I acknowledge that I cannot acquire all the local knowledge on my own within a short time. Therefore, when working on projects, engaging local audiences in all stages of the project is crucial, even if they are my colleagues or friends who are not directly involved in the project. Additionally, analysing similar projects completed by other studios, understanding why they chose different strategies, exchanging ideas with peers, and reading and translating analyses from local professionals are all valuable sources of inspiration.

In this regard, I've found the Inter-Cultural Intelligence (ICI) mindset and toolkits particularly helpful. They offer valuable guidance for bridging cultural gaps and ensuring that lighting designs are not only technically sound but also emotionally resonant in their specific cultural contexts.

### The Intercultural Intelligence (ICI) Mindset

From my experience, it's often easier to focus on the differences between cultures and consider them challenges. Rather than viewing cultural differences as obstacles, I've learned to see them as opportunities. Implementing the Inter-Cultural Intelligence (ICI) mindset has transformed how I approach my work.

This mindset encourages empathy, effective communication, and improved coordination within the team. It's about understanding the collective intentions and weaving them into a global strategy. One of the remarkable examples of the ICI mindset in action is the "Women in Lighting" initiative. This effort, which I've had the privilege of being part of, is a testament to the power of intercultural collaboration. The aim of Women in Lighting is to enable knowledge sharing between different corporations and cultures, and it's a truly global endeavour with participants from diverse backgrounds, including Japanese, Thai, Vietnamese, and French individuals. Women in Lighting involves exchange activities, workshops, and conferences that usually occur in person, uniting professionals from various corners of the world. These events foster exchanging ideas and experiences, creating a dynamic environment where intercultural insights can flourish.

At the team level, we've harnessed the power of each team member's expertise, recognizing the value of complementary skills and increasing individual engagement. By incorporating emotional factors and drawing inspiration from initiatives like Women in Lighting, we are learning faster and enhancing our relationships.

In a world where diversity is celebrated, and cultures collide, our role as lighting designers is not only to illuminate spaces but also to embrace and respect the rich tapestry of cultures that surround us. Interculturalism isn't just a concept; it's a way of life for modern lighting designers. By understanding and appreciating the cultural nuances that shape our work, we can create lighting designs that are not only technically proficient but also emotionally resonant in every corner of the world.


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