KEVAN SHAW
IALD Professional Member
國際照明設計師協(xié)會專業(yè)會員
PLDA Director of Sustainability
原專業(yè)照明設計師協(xié)會可持續(xù)發(fā)展理事
KSLD Design Director
KSLD設計總監(jiān)
Professor at Hochschule Wismar, Germany 德國魏斯瑪大學教授/講師
Professor at Edinburgh Napier University, Scotland 蘇格蘭愛丁堡龍比亞大學教授/講師
Kevan was born and raised in Edinburgh, Scotland. He graduated from
Loughborough University of Technology with a BSc in Economic and Technological
History and Social Psychology in 1975. Kevan began his career as a lighting
designer for rock bands including Jethro Tull, Ultravox, XTC and Steve
Hackett.
Kevan于蘇格蘭愛丁堡出生并長大。1975年，他畢業(yè)于拉夫堡技術大學，獲經(jīng)濟與技術史、社會心理學雙學士學位。他的照明設計生涯緣起于為一些搖滾樂隊做燈光設計。
In 1985 he forsook life on the road to realise some long-standing ideas in lighting effects equipment, developing a theatrical lighting effects system for DHA Lighting in London. At this time his lighting design work focused on TV and video projects, including ETC, a live music series for Channel 4, and the MTV World Music Video Awards. He also developed a number of architectural and exhibition lighting schemes at DHA.
1985年是他的人生轉(zhuǎn)折點，對燈光設備的誤區(qū)有了長足的認識，逐漸為倫敦DHA燈光公司發(fā)展出一套戲劇化的舞美系統(tǒng)。當時，他的主要設計工作是關于電視與電臺的項目，包括電視頻道的音樂真人秀、MTV世界音樂音頻大典等。同時期，他也參與了很多建筑與展示照明的設計。
In 1989 Kevan returned to his native town of Edinburgh to practise as a lighting designer in the architectural and exhibition area, establishing KSLD. He has led the KSLD team on over 590 projects. While all valuable in their way, Kevan identifies the following projects as being particularly significant for KSLD.
1989年，Kevan回到家鄉(xiāng)愛丁堡，創(chuàng)建自己的公司KSLD，從事建筑照明與展示照明的設計。迄今為止，他和他的團隊已經(jīng)完成了大大小小590多個項目，廣受好評。其中最有代表性的有：
The Art Lover’s House, Glasgow (1989) 藝術愛好者的家，格拉斯哥(1989)
The Public Institute for Social Security, Kuwait (2001) 社會公共安全研究所，科威特(2001)
Alighting: You began your career as a lighting designer for rock bands. What was the work like? Could it be interpreted as stage lighting?
《阿拉丁》：您開啟燈光設計的職業(yè)生涯是從搖滾樂隊開始的，那是一份什么樣的工作?可以理解為舞臺燈光嗎?
Kevan Shaw: This was most definitely stage lighting. I was touring with bands and tended to be responsible for technical as well as design issues. This is a big learning experience and develops a lot of problem solving skills. The design included operating the show so being involved in the musical performance. I was very interested in relating the stage aesthetic to the music and lyrics in a theatrical way, whilst paying a lot of attention to rhythm and dynamics.
K.S.:是的，就是舞美。我跟隨樂隊巡演，負責燈光有關的設計與技術。那是一個很大的學習機會，讓我累積了豐富的經(jīng)驗與設計技巧。燈光舞美參與并融入音樂表演。我對燈光與音樂和歌曲的戲劇性聯(lián)接方式很感興趣，也非常注意燈光的節(jié)奏與力度。
Alighting: You have works of many types, such as stage lighting, exhibition lighting, architectural lighting and light art installations. Which attracts you the most? Why?
《阿拉丁》：您的作品涵蓋了舞臺燈光，展示照明，建筑照明，燈光裝置等等。哪個領域是您最感興趣的?為什么?
Kevan Shaw: The great thing about lighting is that all these varied areas bring different experiences. Each of them has their own attractions so I find it difficult to say that any one attracts me more than the other. What I enjoy is the learning and discovery that every form of lighting brings in abundance with new things to light and new technologies to light with.
K.S.: 燈光最棒的就是所有這些不同的領域都能給你帶來不一樣的體驗。每一個類別都有其各自的魅力，所以，我很難說喜歡哪種燈光多一些。我很享受學習和發(fā)現(xiàn)不同的燈光形式所帶來的新載體和新技術。
Alighting: You have been in the lighting industry for over 30 years. What’s the biggest change of both the industry and yourself?
《阿拉丁》：您從事照明行業(yè)30余年，經(jīng)歷的個人及行業(yè)最大變化是什么?
Kevan Shaw: I think there have been several. Probably the most important has been the gradual acceptance that the independent lighting designer has become a recognized part of the building design team. When I started out in architectural lighting I had to explain exactly what I was bringing to a project every time, these days most architects and engineers have previously worked with a lighting designer so the conversation is a bit easier.
K.S.: 我認為還是有不少變化的。最重要的變化也許是對于獨立燈光設計師作為建筑設計團隊的一部分的認知已逐漸被接受。當我剛開始從事建筑燈光設計時，每次都得詳盡解釋我能為建筑設計帶來什么。如今大部分建筑師與工程師都有過與燈光設計師合作的經(jīng)驗，因此對話起來就容易多了。
Technologically I have seen the rise and fall of many different products and technologies over my career. Certainly the focus on energy efficiency has grown and legislation increased. I have to spend much more time on compliance and understanding how to achieve the requirements now. As in every area of life, technology has become increasingly complex. This has all been part of the continuous learning process that is lighting design. Back in the 80s low voltage lighting with transformers was new technology, now we are close to having a computer inside every light fitting to control LEDs!
從技術上來說，我的職業(yè)生涯中已經(jīng)看到過太多產(chǎn)品與技術的起落。當然，對節(jié)能的關注與相關行業(yè)的立法都有所增長。我現(xiàn)在必須花更多的時間去理解、遵從這些設計規(guī)范和要求。就如同生活中的每一個領域，技術已經(jīng)變得越來越復雜，這一切都成為不斷學習照明設計過程的一部分。早在上世紀80年代，帶變壓器的低壓照明已經(jīng)是新技術了，而現(xiàn)在，我們就差沒在每個燈光裝置里面置入一臺“電腦”來控制所用的LED燈了!
For myself, I feel older in body but lighting design keeps my young and enquiring in mind and spirit.
對我自己而言，雖然生理年齡漸長，但燈光設計讓我保持心理與精神的年輕!
Alighting: Many of your articles focus on technology and some of them concern about LED. What do you think of the future of lighting technology?
《阿拉丁》：您寫了很多關于技術與LED的文章，對于照明技術的未來前景，您是如何看待的呢?
Kevan Shaw: I do think we are seeing a very unstable market with products claiming operating lives of 15 to 25 years; however these only stay available for a year or so without being changed or upgraded. The problems include trying to write a specification during design for a project where construction is 1 or 2 years ahead, frequently the products you have specified are no longer available. The other issue is that we have been used to lighting equipment that can last 30 years or more and changing the failing component, the lamp at regular intervals. Now we are putting in schemes that we expect to have reached end of effective life after 10 to 15 years, at which point there is no replacement but the scheme will need to be replaced in its entirety. This is the same kind of planned obsolescence that exists in the consumer domain though on a longer time frame than your computer, mobile phone or car. I think we are still being promised too much. A lot of products that will never materialize in the way we are led to expect, OLED for general lighting is one of the big ones.
K.S.: 我確實認為我們面對的是一個十分不穩(wěn)定的市場，有些產(chǎn)品宣稱有長達15至25年的壽命，但是如果這些產(chǎn)品不升級，那在項目中的實際使用年限也只一年左右。當我們試圖為項目擬寫設計規(guī)范時，如果項目的建設期是1至2年，那屆時指定的產(chǎn)品可能已經(jīng)不生產(chǎn)了。另一個問題是，我們已經(jīng)習慣了使用壽命30年及以上的產(chǎn)品，定期維修，更換損壞元件與燈泡。現(xiàn)在，我們將預期10至15年壽命的產(chǎn)品設計入方案，屆時沒有可更換的產(chǎn)品，則整個設計方案都需要被替換。這會是有計劃的淘汰，在電腦、手機、汽車等消費領域是已經(jīng)普遍存在的現(xiàn)象。我想，我們被承諾得太多了。很多產(chǎn)品將永遠不會如我們所期望的實現(xiàn)，比如OLED作用于普通照明就是其中之一。
Alighting: What do you think is the most important factor in lighting design?
《阿拉丁》：您認為照明設計最重要的因素是什么?
Kevan Shaw: Understanding how people see and react to the lighting you are designing. This is another area with a lot of new information developing, much from the rediscovery of the third photoreceptor and the implications on health and wellbeing of how the lighting we design can affect the pattern of sleep and probably other systems that we are still learning about.
K.S.: 理解人們?nèi)绾慰创愕脑O計，并會如何反應。這個領域有很多新的信息，來源于第三感光的重新發(fā)現(xiàn)，燈光對健康的影響，我們設計的燈光如何影響睡眠模式，以及其他我們正在研究學習的系統(tǒng)等等。
Understanding how we see is also a developing area. Just this week we have seen the internet show this with the meme of the dress. Different people see this image either as white and gold or as blue and black, this will doubtlessly result in some interesting research and new information on how we see.
理解和研究人類如何“看”也是一個正在發(fā)展的領域。就在不久前我們看到互聯(lián)網(wǎng)上傳播的那件“迷一樣”的衣服。同一件衣服不同的人卻會看出白金和藍黑兩種完全不同的顏色，這毫無疑問會引起有關人類如何“看”的話題研究，并出現(xiàn)一些新的信息和論點。
Alighting: What is your design philosophy?
《阿拉丁》：您的設計理念是什么?
Kevan Shaw: We have a practice philosophy “Sharing the Light”. This is about gaining an understanding of what the client or design team want to see and also sharing our knowledge and experience of light and lighting with them and others including students of lighting.
K.S.:我們有個實操理念，叫“光分享”。目的是理解客戶或設計團隊想要看到的是什么，同時，把我們在燈光與照明上的知識與經(jīng)驗分享給他們，包括學生在內(nèi)的其他人們。
Alighting: How to balance the functionality and aesthetics in lighting design?
《阿拉丁》：您是如何兼顧燈光設計中的功能性與美學性?
Kevan Shaw: On a knife edge! This is really where our knowledge and skills come to the forefront. Each project will require this balance subtly altering to achieve both a beautiful and practical result.
K.S.: 走在刀刃上!這正是展現(xiàn)我們知識與技能的競技場。每個項目都需要這樣的平衡，通過一些細節(jié)的巧妙處理，達到美觀與實用的雙重效果。
Alighting: Have you ever been to China? How do you like the urban lighting design in China?
《阿拉丁》：您到訪過中國嗎?如何看待中國的城市照明現(xiàn)狀?
Kevan Shaw: I have been a few times. There are some very spectacular and visually busy lighting installations. I think this shows a rather young and excited approach to the available technologies reflecting the very rapid economic development of the country. I cannot say whether it is good or bad, you need to ask the people who live with it, do they like it and enjoy it?
K.S.: 我去過中國好幾次。有些城市的夜景照明看起來非常壯觀，而且非常熱鬧。我想，這種對可用技術顯現(xiàn)出年輕而興奮的趨向性，也反應出中國經(jīng)濟的飛速發(fā)展。我無法說這是好還是壞。這個問題應該問城市居民，他們是否喜歡身邊的燈光。
Alighting: What do you think of the lighting profession in Europe?
《阿拉丁》：歐洲的照明設計職業(yè)發(fā)展現(xiàn)狀如何?
Kevan Shaw: I think it is still developing. There has been a bit of a setback due to the economic situation over the past five or six years. It is growing in maturity and there are some good education programs bringing younger people into the profession with a good fundamental knowledge of lighting. I think there remains a lot of scope for further development given some stability returning to the economies in Europe.
K.S.: 我認為還是在持續(xù)發(fā)展的。過去的五六年間，由于經(jīng)濟的衰退也呈現(xiàn)出一定程度的倒退，但是行業(yè)是在不斷地成熟，現(xiàn)在有一些很好的教育項目，吸引了有良好照明基礎知識的年輕人從事這個職業(yè)。我想，待歐洲恢復經(jīng)濟，這個行業(yè)將會有很大的發(fā)展空間。
Alighting: Did you do the lighting design for your own house? What is it like?
《阿拉丁》：您有為自己的房子做燈光設計嗎?它是怎樣的?
Kevan Shaw: I live in a flat built over 200 years ago with many original features. The lighting is fairly simple and uses traditional lighting positions and many floor and furniture mounted lamps for flexibility. I have a bit of a collection of classic designer lights that I like and use. It would be different if I could build a house for myself, then I would have lighting fully integrated into the design from the beginning but I would still keep some of the classic design fittings I have now.
K.S.: 我住在一間有著200年以上歷史的公寓，它有很多原始的特征。燈光設計很簡單，燈具大多安裝在傳統(tǒng)的照明位置上，比如地板啊，家具啊，注重燈光的靈活性。我收藏了一些經(jīng)典的燈飾設計，這些是我比較喜歡的，也是經(jīng)常用的。如果我自己建一個房子就會不一樣。我會從設計之初就完全融于燈光的元素，同時還是會保留一些我現(xiàn)在使用的經(jīng)典燈飾。
Alighting: Could you share with us some of your favorite projects?
《阿拉丁》：您最喜歡的案例有哪些?
Kevan Shaw: This is difficult as I always have most enthusiasm for the projects I am working on at the moment. We have just completed a scheme for the Scottish Parliament building that has been very challenging but the results are really appreciated by the people who work there, I don’t think I have ever had so many people thanking me for the outcome of a project before. I am proud of all my projects no matter how small or large.
K.S.: 這個問題很難回答。我總是對目前在做的項目抱有最大的熱情。我們剛剛完成了一個蘇格蘭議會大廈的項目，非常有挑戰(zhàn)性，但結果很受認可。從來沒有如此多人對我的設計作品表示出如此多的感謝。我為我的每個項目，無論大小，都感到驕傲。
Last week I visited the Turell Skyspace at Craignour Estate in the North of Scotland. These Skyspaces are real triumphs of lighting experience and even worth the freezing cold and wind-blown snow that we experienced on this trip! I have seen a few and each one seems to capture the different skies and climatic variations of their locations.
日前，我參觀了蘇格蘭北部Craignour郡的“James Turrell Skyspace”裝置藝術，一路都風雪交加，寒氣逼人，但這些天宇的燈光設計是真正的鼓舞，讓我們覺得不虛此行。我看了幾個，每一個都似乎捕捉到了不同的天空以及不同位置的氣候變化。
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