在上海普陀区中环内，一座被绿荫环绕的三层别墅静静的矗立于都市喧嚣中。这座门牌号为“99”的私宅项目，承载着戴昆多年来的职业反思与设计突围，如同一面棱镜，

折射出当代中国设计师在房地产浪潮退去之后的困惑与觉醒。

In the inner ring of Putuo District, Shanghai, a three-story villa surrounded by greenery stands quietly amidst the urban hustle and bustle. This private residence, with the house number 99, embodies Dai Kuns years of professional reflection and design breakthroughs. It is like a prism, reflecting the confusion and awakening of contemporary Chinese designers after the tide of real estate receded.

戴昆十年前购入的这套住宅，直至两年前才启动装修。作为中国室内设计领域的标志人物，戴昆的这次设计，可以说是一场蓄谋已久的“自我颠覆”。反复推敲的空间草图，刻意规避了娴熟的装饰语言，那些曾让他在商业领域游刃有余的线条、收口、材料被彻底剥离，

取而代之的是现代主义建筑理念的回归：

白墙、灰地、消隐的空调风口与灯光，空间回归到极简的呈现方式。

The residential property purchased by Dai Kun ten years ago was not renovated until two years ago. As a symbol figure in the field of interior design in China, Dai Kuns design can be said to be a long planned self subversion. The meticulously crafted spatial sketch deliberately avoids the skillful decorative language, completely stripping away the lines, closures, and materials that once made him adept in the commercial field. Instead, it represents a return to modernist architectural concepts: white walls, gray floors, hidden air conditioning vents, and lighting, returning the space to a minimalist presentation.

当初在房地产市场狂飙突进的时代，不论设计师是被迫的还是主动迎合，时代早已将其塑造成“花枝招展”的符号，就像电影演员被定格在特定的角色中。而这次“99号”的设计成了戴昆的试验场，

他试图在“建筑师戴昆”与“室内设计师戴昆”的对弈中寻找平衡。

当纵深12米的空间以光影演绎层次，当弧形墙面替代楼梯扶手实现功能与美学的双重重构，这场两种身份的博弈碰撞出璀璨的设计之光。

In the era of rapid development in the real estate market, whether designers were forced or actively catered to, the times had already molded it into a symbol of flamboyance, just like movie actors being fixed in specific roles. And this time, the design of No. 99 became Dai Kuns testing ground, trying to find a balance in the game between architect Dai Kun and interior designer Dai Kun. When a space with a depth of 12 meters interprets layers with light and shadow, and when curved walls replace stair handrails to achieve a dual reconstruction of functionality and aesthetics, this game of two identities collides to create a brilliant design light.

空间草图

在“99号”的设计中几乎没有装饰性的节点，设计师摒弃了冗余的泛光灯槽，跌级吊顶，甚至装饰石材也都精确裁切至功能高度。看似克制的空间背后，暗涌着严苛的工艺制造。墙面历经进口砂纸数十遍打磨，达到理想的光线漫射效果；而石制茶几运用传统榫卯工艺，

仅凭重力完成结构咬合。

这些细节印证着戴昆对极简主义的理解：不是视觉的减法，而是纪律的加法。

In the design of 99, there are almost no decorative nodes. The designer has abandoned redundant floodlight slots, downgraded ceilings, and even decorative stones have been precisely cut to functional heights. Behind the seemingly restrained space, there is a surge of rigorous craftsmanship. The wall has been polished dozens of times with imported sandpaper to achieve the ideal light diffusion effect; The stone tea table uses traditional mortise and tenon techniques, relying solely on gravity to complete the structural interlocking. These details confirm Dai Kuns understanding of minimalism: not the subtraction of visual elements, but the addition of discipline.

卫生间装饰石材都精确裁切至功能高度

简洁的墙面经历了数十遍的打磨

客厅石制茶几仅凭重力完成结构咬合

这种理念在空间叙事中形成张力。柯布西耶的LC2沙发与巴塞罗那椅构成客厅主角，也是对学生时代建筑理想的致敬。赵赵的《天空》系列画作悬于墙面之上，上帝视角的云层既暗合设计师的空中生活轨迹，又平衡了空间的抽象构成。瞿广慈的雕塑《兔男郎》更是充满隐喻——光鲜外表与内在表情的割裂，恰似设计师在商业面具与艺术本真之间的挣扎。

This concept creates tension in spatial narrative. Corbusiers LC2 sofa and Barcelona chair form the main character of the living room, paying tribute to the architectural ideals of his student days. Zhao Zhaos Sky series of paintings hangs on the wall, and the clouds from the perspective of God not only reflect the designers aerial life trajectory, but also balance the abstract composition of space. Qu Guangcis sculpture Rabbit Boy is full of metaphors - the separation of glamorous appearance and inner expression, just like the designers struggle between commercial masks and artistic authenticity.

赵赵的《天空》系列作品

美丽而又近乎抽象

经典的柯布西耶LC2沙发与巴塞罗那椅

在住宅设计领域深耕多年的戴昆，对当下私宅设计的同质化危机有着清醒认知。他没有选择简单的复制黏贴，而是按照自己的喜好，遵循内心感受，打造只属于戴昆自己的设计。没有水晶吊灯与大理石拼花，取而代之的是艺术家的当代雕塑、各种海报收藏和因缘际会的小藏品。

这些私人印记构成的空间叙事，既是对传统样板间美学的对抗，也是对住宅本质的回归——居住本该是精神的延伸。

Dai Kun, who has been deeply involved in the field of residential design for many years, has a clear understanding of the homogenization crisis in current private home design. He did not choose to simply copy and paste, but to create a design that belongs only to Dai Kun according to his own preferences and inner feelings. There are no crystal chandeliers or marble mosaics, instead contemporary sculptures by artists, various poster collections, and small collectibles created by chance. The spatial narrative formed by these private imprints is not only a confrontation with traditional model room aesthetics, but also a return to the essence of housing - which should be an extension of the spirit.

空间叙事始于时间的馈赠。月亮门畔瞿广慈的雕塑《仙猫》，在暮色中舒展着慵懒的轮廓，与电梯井外铜板氧化出的孔雀绿相映成趣。那件造型独特的意大利Piazzetta红色壁炉，如同普罗米修斯捎来的火种，在国内尚未验证其适配性时便率先点亮空间想象。

The narrative of space begins with the gift of time. Qu Guangcis sculpture Immortal Cat by the Moon Gate stretches its lazy silhouette in the twilight, contrasting with the peacock green oxidized from the copper plate outside the elevator shaft. The uniquely shaped Italian Piazzetta red fireplace, like a spark brought by Prometheus, was the first to light up spatial imagination in China before its adaptability was verified.

意大利Piazzetta红色壁炉造型酷似油桶

月亮门畔是瞿广慈的雕塑《仙猫》

艺术品的在场方式也被重新解构。西泽千晴的瓷偶群像记录着都市密语，陈飞版画传递叛逆精神，那些随性安置的招财猫阵列，共同构成自由的乐章。从巴黎辗转而来的赵无极1988年汉城奥运海报，在定制画框里完成从平面到立体的蜕变——这些物件不是财富的注脚，而是情感的锚点。

The way artworks are present has also been deconstructed. The porcelain figurines of Qianqing Nishizawa record urban secrets, while Chen Feis prints convey a rebellious spirit. The freely arranged arrays of lucky cats together form a free movement. Zhao Wujis 1988 Seoul Olympics poster, which came from Paris, underwent a transformation from flat to three-dimensional in a customized frame - these objects are not footnotes of wealth, but anchor points of emotions.

赵无极1988年汉城奥运海报设计灵感

源自于两年前的作品《04.10.85》

左右滑动查看更多

西泽千晴的瓷偶群像

空间动线的重构如同进行建筑解剖实验。当拆除掉所有非承重墙体的瞬间，裸露的建筑骨骼呈现出惊人的韵律感。

建筑师对结构美学的迷恋与室内设计师对生活韵律的追寻在此碰撞——最终以一道浑圆的拱形界面达成和解。

这道弧线的诞生既非CAD软件的精确计算，亦非刻意的形式主义，而是在施工过程中因保留原有梁柱位置而自然衍生的解决方案。当滨洋的工匠以精湛的工艺让涂料与石材无缝衔接时，两种职业人格都在完美主义的苛求中获得了满足。

The reconstruction of spatial flow is like conducting an architectural anatomy experiment. At the moment when all non load bearing walls are removed, the exposed building skeleton presents an astonishing sense of rhythm. The architects fascination with structural aesthetics and the interior designers pursuit of rhythm in life collide here - ultimately reaching a reconciliation through a rounded arched interface. The birth of this arc is neither an accurate calculation by CAD software nor a deliberate formalism, but a natural solution derived from the preservation of the original beam and column positions during the construction process. When the craftsmen of Binyang seamlessly integrate paint and stone with exquisite craftsmanship, both professional personalities are satisfied in the pursuit of perfectionism.

穿过客厅，百平米院落演绎着都市绿洲的辩证法则。戴昆以英良石材重构天地界面，原创桌椅承载现代主义骨骼，却以编织语言重述时光絮语。北玻特制的整块玻璃桌如同凝固的晨露，与改造后的座椅共谱流光溢彩。

Passing through the living room, the hundred square meter courtyard interprets the dialectical law of urban oasis. Dai Kun reconstructed the interface between heaven and earth with Yingliang stone, and created original tables and chairs to carry the bones of modernism, while retelling the language of time through weaving. The specially designed whole piece glass table of Beibo is like solidified morning dew, shining brightly together with the renovated seats.

苍翠树木环绕下

是上百平米的院落于闹中取静

当铜绿在电梯间墙面和柜体内悄然蔓延，当热弯玻璃在客厅折射出虹彩的光芒，当摩根开关那抹绯红在白色墙面上跃动，这座住宅的材料叙事展现出独特的生长轨迹。

When the copper green quietly spreads on the walls and cabinets of the elevator, when the hot curved glass reflects the rainbow light in the living room, and when the crimson of the Morgan switch jumps on the white wall, the material narrative of this residence shows a unique growth trajectory.

铜绿在墙间低语，虹光流转于玻璃

由戴昆设计，北玻制作的玻璃长桌，用三片玻璃挑战传统结构极限，而热弯的变径锥体演绎了工艺的精湛，搭配着意大利的中古椅，共同谱写出空间的抒情长诗。而最动人的设计诗章隐藏在光影的游戏里。长桌上方自主设计的吊灯打破照明定式，漫射的柔光托起空间的气韵。

真正的奢侈不在于过度照耀，而在于懂得如何安放阴影。

The glass long table designed by Dai Kun and made by Beibei Glass challenges the traditional structural limits with three pieces of glass, while the hot curved variable diameter cone interprets the exquisite craftsmanship, paired with Italian antique chairs, together composing a lyrical poem of space. And the most touching design poems are hidden in the game of light and shadow. The independently designed chandelier above the long table breaks the lighting pattern, and the diffused soft light enhances the atmosphere of the space. The true luxury lies not in excessive illumination, but in knowing how to place shadows.

玻璃托起光的诗行

漫射的柔光，正是空间最奢侈的留白

左右滑动查看更多

世人追逐石材流光溢彩的浮华，而戴昆却执意将地板石材的光泽收敛为半哑光的质感，让结晶体的星芒在暗处悄然绽放。

不同材质的光线漫射，最终形成空间特有的呼吸韵律。

The world pursues the dazzling splendor of stone, but Dai Kun insists on converging the luster of floor stone to a semi matte texture, allowing the crystalline starlight to quietly bloom in the dark. The diffusion of light from different materials ultimately creates a unique breathing rhythm in the space.

英良的地板石材被打磨成半哑光的质感

在空间的褶皱处也掀起一场织物变革：戴昆放弃了传统的布幔，以现代主义笔触让简约卷帘演绎光的变奏曲。当阳光穿透帘幕，原本静态的墙面瞬间化作动态的光影摇曳。

所有材质都找到了自己的声部，所有偶然都成为了必然的和弦。

或许所谓美好空间，就是两种职业人格在无数次对抗与妥协中，写给时光的情书。

At the folds of space, there was also a textile revolution: Dai Kun abandoned traditional curtains and used modernist brushstrokes to interpret the variation of light in simple roller blinds. When sunlight penetrates the curtain, the originally static wall instantly transforms into dynamic light and shadow swaying. All materials have found their own voice parts, and all coincidences have become inevitable chords. Perhaps the so-called beautiful space is a love letter written by two professional personalities to time through countless confrontations and compromises.

卷帘中隐藏着光的韵脚

进入四米挑高的餐厨空间，会惊叹于工业美学的魅力。

命名为“99号”的系列橱柜，是由戴昆亲自设计，国内厂商威卡仕制造完成。

这套橱柜展现出了世界级的工艺水平，不仅突破了常规尺寸的天际线，而且不锈钢的质感、一体化设计，以及所有的细节都做的一丝不苟。

Entering a four meter high kitchen space, one will be amazed by the charm of industrial aesthetics. The series of cabinets named 99 were designed by Dai Kun himself and manufactured by domestic manufacturer Weicas. This cabinet set showcases world-class craftsmanship, not only breaking through the conventional size skyline, but also the stainless steel texture, integrated design, and meticulous attention to detail in all aspects.

橱柜把手，是由厚的不锈钢板直接弯曲而成，相较于欧洲惯用的铸模工艺，国内制造商威卡仕的这种纯手工的处理方式，

每处转折都暗藏着手工的温度。

Cabinet handles are made of thick stainless steel plates that are directly bent. Compared to the commonly used casting process in Europe, the pure manual processing method of domestic manufacturer Weicas hides the temperature of craftsmanship at every turning point.

橱柜把手的设计

橱柜的西瓜红釉面背板如同一块巨型画布，与稀奇艺术的酒杯构成色彩蒙太奇。厨房岛台作为设计师的精神领地，不锈钢台面倒映着橱柜顶部3D打印的“99”标志，这个采用镂空工艺的金属装置，成为空间的个人印记。

The watermelon red glazed back panel of the cabinet is like a giant canvas, forming a color montage with the rare artistic wine glasses. As the spiritual territory of designers, the kitchen island counter reflects the 3D printed 99 logo on the top of the cabinet on the stainless steel countertop. This metal device, which uses hollow out technology, becomes a personal imprint of the space.

戴昆对于红色的喜爱是无法隐藏的

左右滑动查看更多

餐厅墙面上悬挂的白发一雄的《第二十四界汉城奥运会》海报版画，其明艳色块恰与摩根开关的红色模块形成空间和弦。而自主设计的餐桌，与保利春拍所得的澳大利亚画家Charlie Sheard的《情感归于尘土》形成色彩与材质对位，印证着主人“唯合适论”的美学坚持。

The poster print of The 24th Seoul Olympics with white hair hanging on the restaurant wall forms a spatial chord with the red module of the Morgan switch, featuring bright color blocks. The self-designed dining table, in contrast to the Australian painter Charlie Sheards Emotions Return to Dust captured by Poly Spring Photography, forms a color and material counterpoint, confirming the owners aesthetic insistence on suitability only.

Charlie Sheard的画作《情感归于尘土》

当黄昏的光线穿透吧台上琥珀色杯瓶，这座餐厨空间便显露出它作为生活剧场的本质：冷峻的金属线条包裹着平凡的烟火气，精密计算的空间韵律中流淌着即兴的生活诗。或许这就是设计的意义，在精细的控制与感性的温度之间，找到那个令人心动的平衡点。

当设计回归本真，每个精心计算的细节都会生长出意外之喜，每次的偶然相逢都将凝结为必然之美。

When the dusk light penetrates the amber cups and bottles on the bar counter, this dining space reveals its essence as a theater of life: cold metal lines wrap around ordinary fireworks, and improvisational life poems flow in the precisely calculated spatial rhythm. Perhaps this is the meaning of design, finding the captivating balance between precise control and emotional temperature. When design returns to its essence, every carefully calculated detail will grow unexpected joy, and every chance encounter will condense into inevitable beauty.

地下室是一个融合影视娱乐与艺术收藏的复合空间，它以森山大道《断片》海报奠定基调，温暖影调中跃动着都市脉搏，恰如其分地隐喻着“第二场”的欢快气质。沿着错落摆放的海报墙望去，奈良美智的《微热少女》与毕加索的《格尔尼卡》海报在此奇妙邂逅，不同时代的艺术灵魂在光影下达成微妙共振。

The basement is a composite space that combines film and television entertainment with art collection. It is based on the poster of Fragmented on Moriyama Boulevard, with a warm tone that beats the pulse of the city, perfectly symbolizing the cheerful temperament of the second scene. Looking along the scattered poster wall, the posters of Nara Meizhis Micro Hot Girl and Picassos Guernica meet in a wonderful way, and the artistic souls of different eras resonate subtly under light and shadow.

森山大道的《断片》海报

法国Jean Paul Gaultier出品的机车纹饰布料，在历经十多年等待之后，终于在沙发区焕发新生。作为沙发包布，机械时代的工业美学与当代家居碰撞出独特的诗意。与之呼应的墙面上，陈飞长达近四米的版画《目露凶光》横亘于视野之中，将艺术家的超现实幻想凝固成永恒的空间注脚。

The motorcycle patterned fabric produced by Jean Paul Gaultier in France has finally been revitalized in the sofa area after more than a decade of waiting. As a sofa wrap, the collision between the industrial aesthetics of the mechanical age and contemporary home decor creates a unique poetic quality. On the corresponding wall, Chen Feis nearly four meter long print Eyes Revealing Fierce Light stretches across the field of vision, solidifying the artists surreal imagination into an eternal spatial footnote.

被压缩的钢板环绕着 Gaultier 标志，形成鲜明对比

陈飞的版画作品《目露凶光》

最令人惊喜的彩蛋藏匿在转角处——艺术家向京的雕塑《夜阑珊》静立于冰箱之上，这件艺术品历经艺术市场的机缘巧合，最终在此觅得完美归宿。雕塑的冷峻线条与墙上悬挂的向京海报形成呼应，艺术品的独特性同海报设计的时代气息在此达成精妙平衡。

The most surprising Easter egg is hidden at the corner - the artist Xiang Jings sculpture Night Lingering stands still on the refrigerator. This artwork has gone through a fortuitous encounter in the art market and finally found its perfect home here. The cold and stern lines of the sculpture echo the Beijing poster hanging on the wall, achieving a delicate balance between the uniqueness of the artwork and the contemporary atmosphere of the poster design.

楼梯以优雅的弧度将视线引向二层，过厅摆放着钢琴，戴昆以三个垂直的的小窗子，将暴露隐私的大窗转化为具有新艺术风格的构成。窗台的金属片翻折后，可以变成有装饰感的小茶几。墙上悬挂着艺术家向京赠予的展览海报《没有人替我看到》，其淡粉色调与转角沙发不期而遇的默契。

The staircase leads the line of sight to the second floor with an elegant curvature, and a piano is placed in the hallway. Dai Kun uses three vertical small windows to transform the large window that exposes privacy into a composition with a new art style. After folding the metal sheet on the windowsill, it can become a decorative small coffee table. On the wall hangs the exhibition poster No One Sees for Me gifted by the artist to Beijing, with a light pink tone that seamlessly blends with the corner sofa.

新艺术美学在孩子的房间里获得了延续——Shepard FAIREY的两幅画作《要艺术，不要战争》为空间注入了新艺术运动的元素，并与定制的床品构成共鸣。

The Art Nouveau aesthetic continues in childrens rooms - Shepard FAIREYs two paintings Art, Not War inject elements of the Art Nouveau movement into the space and resonate with customized bedding.

《要艺术，不要战争》

一切看似偶然，但一切又都是必然。偶然的色彩被编织成严谨的矩阵，最终呈现出自然和谐的效果。卧室展现了色彩的美学效果，三张毛焰签名海报的蓝色笔触在空间中产生涟漪效应——定制画框的普鲁士蓝、灰蓝色的背景墙、谭平的近似克莱因蓝的版画次第绽放，其间穿插的红色、棕色如同乐曲中的美妙变调。

Everything may seem accidental, but everything is inevitable. Accidental colors are woven into a rigorous matrix, ultimately presenting a natural and harmonious effect. The bedroom showcases the aesthetic effect of color, with the blue brushstrokes of three Mao Yan signature posters creating a ripple effect in the space - custom framed Prussian blue, grey blue background walls, and Tan Pings Klein blue like prints blooming one after another, interspersed with red and brown tones like wonderful variations in music.

谭平的蓝色版画与红色座椅形成了强烈对比

当上行至三层女主人的空间时，过厅专门使用亚克力材质，取代了原来边几的设计材料。其通透质感与暮色中的粉色帘幕交融。

When ascending to the space of the third floor hostess, the hallway is specifically made of acrylic material, replacing the original design material of the side table. Its transparent texture blends with the pink curtains in the twilight.

在女主人的卧室，也采用了温暖的淡粉底色，搭配艺术家关音夫的画作呈现出独特的“惰性美学”，与空间的色调和氛围完美融合。当

落日余晖穿过帘幕，迟滞与舒缓的色调徐徐展开，整个空间沉浸在水彩画般的氤氲里，连时光的流速都变得缓慢而抒情。

In the hostesss bedroom, the warm light pink background is also used, and the unique inert aesthetics is presented with the paintings of artist Guan Yinfu, which is perfectly integrated with the color and atmosphere of the space. As the afterglow of the setting sun passes through the curtains, the slow and soothing tones slowly unfold, immersing the entire space in a watercolor like mist, even the flow of time becomes slow and lyrical.

关音夫画作《被破坏的秩序作品系列—迷失 11》

是戴昆送给妻子的礼物，与卧室的淡粉色调完美融合

项目信息

项目名称｜

上海的新家

项目

点｜

中国

上海

室内

北京戴昆建筑空间设计有限公司

项目时间｜

02

5年

项目空间

项目性质｜

别墅

「END」

戴昆简介

戴昆，中国著名建筑师及室内设计师，

创基金理事，北京居其美业创始人，

北京居其美业住宅技术开发有限公司执行总裁。

近年来将工作的主要方向集中于住宅室内设计领域，倡导实用、美观、经济的设计理念，在各地设计了大量的住宅作品，引领和推动了城市居住生活方式变化的潮流。

In recent years, the main direction of his work has been focused on the field of residential interior design, advocating practical, beautiful and economical design concepts, and has designed a large number of residential works in various places, leading and promoting the trend of changes in urban living lifestyles.

戴昆本科毕业于长安大学建筑学专业，后在北京建筑设计研究院四所师从马国馨院士，对住宅建筑设计人居环境有深刻理解。现任北京居其美业住宅技术开发有限公司执行总裁，负责设计产品策划、规划、建筑设计、室内设计及陈设等工作。先后主持设计的住宅及办公楼项目超过百万平方米。其作品参加中法文化年建筑交流展，赴法国展览。

Dai Kun graduated from Changan University with a bachelors degree in architecture, and later studied under Academician Ma Guoxin at the Fourth Institute of Beijing Architectural Design Institute. He has a deep understanding of residential architectural design and human living environment. He is currently the executive president of Beijing Juqimeiye Residential Technology Development Co., Ltd., responsible for design product planning, planning, architectural design, interior design and furnishings. He has presided over the design of residential and office building projects with a total area of more than one million square meters. His works participated in the Sino-French Cultural Year Architecture Exchange Exhibition and went to France for exhibition.

戴昆主持设计了全国各地大量的样板间室内设计及陈设工作，同时担任中国陈设专业艺术委员会副主任，获颁《INTERIORDESIGN》美国室内设计杂志中文版“名人堂”；ID C《室内设计与装修》杂志编委，A A《建筑艺术》杂志顾问委员会委员，推动了中国陈设艺术的教育推广及发展。

Dai Kun presided over the design of a large number of model room interior design and furnishings across the country. At the same time, he served as the deputy director of the China Furnishing Professional Art Committee and was awarded the Hall of Fame of the Chinese version of the American Interior Design Magazine INTERIORDESIGN; he is an editorial board member of ID C Interior Design and Decoration magazine and a member of the advisory committee of A A Architectural Art magazine, promoting the education, promotion and development of Chinese furnishing art.

戴昆及其设计团队投入大量的精力于色彩流行趋势和相关产品设计的研究，在完成学术专著的同时也持续推动室内设计色彩运用的专业普及工作。

Dai Kun and his design team have devoted a lot of energy to the research of color trends and related product designs. While completing academic monographs, they have also continued to promote the professional popularization of color application in interior design.

2012年，戴昆出版著作《新传统》，该书收录了北京居其美业在2005-2011年间的部分优秀作品，多数展示了样板间的室内设计及陈设。每个作品都结合地域，人文特色，富有创意，并完美协调了光照、色彩、材料、家具、绿化、装饰和陈设等诸多方面，突出居住空间生活化、展示化和理想化的特点。

In 2012, Dai Kun published the book New Tradition, which collected some excellent works of Beijing Juqimeiye from 2005 to 2011, most of which showed the interior design and furnishings of model rooms. Each work combines regional and cultural characteristics, is creative, and perfectly coordinates many aspects such as lighting, color, materials, furniture, greening, decoration and furnishings, highlighting the characteristics of living space being life-oriented, display-oriented and idealized.

2014年，戴昆又出版著作《室内色彩设计学习》，结合戴昆在日常工作学习中发现的问题以及自身的研究，阐述了室内设计与陈设领域色彩学习的观点和想法。本书也是

高等学校规划教材和中央美术学院城市设计学院教材。

In 2014, Dai Kun published another book, Interior Color Design Learning, which expounded his views and ideas on color learning in the field of interior design and furnishings, combining the problems he found in his daily work and study and his own research. This book is also a textbook for planning in colleges and universities and a textbook for the School of Urban Design of the Central Academy of Fine Arts.