Paulina Villalobos: 燈光設計理念先行

　　個人簡介

　　Paulina Villalobos在位于智利北部的阿卡塔馬沙漠長大，這是世界上最干燥的地方，接受著異常強烈的太陽輻射，同時也擁有便于天文觀測的清澈天空……也許這都是Paulina迷戀上“光”的伏筆。Paulina畢業(yè)于智利大學建筑學院，在某次設計大賽中憑借一個文化中心的建筑項目脫穎而出，此后便在圣地亞哥開始了三年的建筑師生涯。隨著經驗的積累，她漸漸發(fā)現(xiàn)光在建筑中的重要性，開始輾轉日本、德國和瑞典，尋求系統(tǒng)、專業(yè)的學習。幾年后她回到智利，成立自己的燈光工作室DIAV(Dise?o Iluminación Arquitectura Verde)，專注燈光設計和能源顧問。

　　2005年到2008年期間，Paulina被任命為智利一本建筑雜志的主編，同時，她也是技術雜志《Alumundo》關于燈光設計的專欄作者。2006年，她與Luxia照明合作開展名為Noche Zero的光研究項目。從2008年開始，Paulina受聘為瑞典皇家理工學院燈光設計研究生專業(yè)的講師。此外，她也經常給智利建筑師們授課，培訓照明相關知識。

　　Alighting Design: How did you get into the lighting industry?

　　《阿拉丁·設計》：你是怎樣進入照明行業(yè)的?

　　PV:I started working in a big office when I graduate as an Architect, and discovered there was a very specific specialization for the lighting, which is the nicest part people worried about among all the construction issues.

　　PV：我剛畢業(yè)是在一家大型設計公司當建筑師，當時就注意到燈光這個特殊的范疇，這也是整個工程項目中最讓人賞心悅目的部分。

　　Two years later I design my first building (by myself!) a Cultural Center, then I realized I had no clue about lighting! So I decided to go abroad and studied to improve my architectural skills. I went to Germany for a Master course in Architectural Lighting Design in Wismar, after finish it I went to Sweden to study more about light, at KTH in Stockholm. I felt in love with light. I forgot that I was an Architect! Now I consider myself as a Lighting Designer.

　　兩年后我獨立完成了自己的第一個建筑作品——一個文化中心，并意識到我對燈光一無所知!我決定出國深造，在德國維斯馬完成建筑燈光設計的碩士課程之后，又繼續(xù)前往瑞典皇家理工學院學習。這時候我已經愛上了“燈光”，忘卻了建筑師的身份?，F(xiàn)在，我把自己看作是燈光設計師。

　　I started my own company DIAV in 2005, with one desk and my laptop. Since then it has being growing little by little. Now, to celebrate the 10 years of DIAV I came to Asia to try this challenging and vibrant context.

　　2005年我成立了自己的公司DIAV，從只有一張桌子一臺電腦一點一點發(fā)展起來。十年后的今天，我們來到亞洲，希望能在這片充滿挑戰(zhàn)和活力的土地上繼續(xù)學習和成長。

　　Alighting Design: Were there designers that influenced you when you started in lighting?

　　《阿拉丁·設計》：在你進入照明行業(yè)時，有沒有哪個前輩設計師對你產生過啟蒙影響?

　　PV: My first heroes were my teachers and mentors. I can recall Jan Ejhed and Kai Piippo from Sweden, Vesa Honkonen from Finland, Erick Selmer from Norway, Louis Claire from France, Kaoru Mende from Japan. Later, after finish my studies I can mention the inspiration and energy from Gustavo Avilés from Mexico and Martin Lupton from UK. I think all of them influence me in the way to approach the work and to make me wonder “That is the mood and ambiance in which I want to work”.

　　PV：有，我的老師們，像瑞典的Jan Ejhed、Kai Piippo，芬蘭的Vesa Honkonen，挪威的Erick Selmer，法國的Louis Claire，日本的Kaoru Mende;也包括踏出校門之后遇到的精神導師Gustavo Avilés(墨西哥)和Martin Lupton(英國)。他們都在我的照明事業(yè)上推波助瀾了一把，讓我知道，這就是我想要的工作。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·設計》：燈光最吸引你的是什么?

　　PV: The power of light is to be used as a tool of space design , to create mood and emotion. It’s very technical, but the main guide is artistic. Design with light is about understanding the space to be lit and the people who will use it and feel it. Sometimes it is like working with music, which is immaterial, you just can imagine the final result.

　　PV：燈光最大的魅力在于營造空間氛圍和情緒。事實上，充滿技術性的燈光設計其實是由藝術性來引導的。設計師既要充分理解空間的結構，也要了解使用者的體驗和感受，所以，燈光設計有時候就像無色無形的音樂，你只能靠想象力。

　　But what it really fascinates me is the design process, the creativity to deliver a design concept that will be experienced in an architectural space or in a landscape or urban place. In that process I have fun and enjoy doing it.

　　但真正吸引我的是設計的過程，把充滿創(chuàng)意的構想實踐在具體的建筑、景觀和城市規(guī)劃中，正是我的志趣所在。

　　Alighting Design: What is your design philosophy?

　　《阿拉丁·設計》：你的設計理念是什么?

　　PV: Design with a concept. To deliver a concept you need to brainstorm with your head, heart and guts. I also make the exercise to treat the architectural or landscape project as a person, and ask him/her: How do you wish to be lit?

　　PV：遵循你的設計概念，而設計概念通常源自于殫精竭慮的頭腦風暴。我會把建筑或者景觀項目想象成一個“人”，然后問他：“你希望怎樣被照亮?”

　　You can solve a problem by distributing luminaires with a nice layout and calculating the lighting levels, but that is not design. The design process must start with a concept design, which will be the guidance to work with the light.

　　當然，漂亮的布燈和準確的照度計算能解決照明的具體問題，但那不是燈光設計。設計必須從設計概念開始，因為它將是后面工作的總指揮。

　　Alighting Design: What do you think of the relationship between architecture and light? How do you fuse them?

　　《阿拉丁·設計》：你怎樣看待建筑與照明的關系?怎樣將二者融合?

　　PV: The design process between architecture and lighting is very similar. In the way I was trained to be an architect, first you have to gather information and make an analysis of the context, climate, culture, functions, budget, timing, how people will use it, expectations and so on. Also there is a research for inspiration, find similar projects, and innovative solutions, after that comes the brainstorm for the concept or main ideas. The tools in architecture to develop those ideas are solid and concrete to work with shapes and space. But light is immaterial, so the tool is more poetic, even though the process is very similar. Light is for the people and the architecture, so you have to understand the building as good as the people who will use it.

　　PV：建筑和照明的設計過程非常相似。作為建筑師，首先你必須搜集大量的資料，從中分析環(huán)境、氣候、文化、功能、預算、時間，以及使用者的期望等。然后你得尋求靈感，分析相似的項目，尋找革命性的解決方案，之后就是關于整個設計概念的頭腦風暴。盡管過程相似，但不同的是，建筑需要跟固態(tài)的有形的建筑材料打交道，而光是無形的，充滿詩意的。燈光是為人和建筑服務的，作為燈光設計師，必須把自己放在使用者的位置上，更好地解讀建筑。

　　Alighting Design: It seems you have done more lighting design projects than architecture these years, why? Is it what you expect?

　　《阿拉丁·設計》：這些年來你做的燈光設計項目比建筑項目還多，這是你預期的嗎?

　　PV: I felt in love with lights, so I decided to focus on that, and never again promote myself as an architect. And I also rejected a few architectural projects at the beginning of my career as a lighting designer. Another important factor was the market. 10 years ago in Chile -when I started- there were too many architects and few lighting designers.

　　PV：我已經愛上燈光，也決定“忠貞不二”了。所以我開始不把自己當作建筑師，也推掉了一些建筑項目。另一方面，市場環(huán)境也是重要原因。要知道，十年前我剛出道的時候，在智利已經有太多的建筑師，而燈光設計師卻很少。

　　Alighting Design: What kind of lighting design would you prefer? Why?

　　《阿拉丁·設計》：你喜歡的燈光項目有什么特點?為什么?

　　PV: The lighting designs which are in coherence with the architecture and most of all, those designs that can tell a story or produce positive emotions.

　　PV：燈光必須和建筑協(xié)調一致，更重要的是能夠講述故事或者激發(fā)積極情緒。

　　Alighting Design: You have clients from different countries. How do you meet the cultural needs of different countries?

　　《阿拉丁·設計》：你的客戶來自不同國家，要怎樣滿足不同國家或民族的文化需求?

　　PV: I had clients from Chile (South America), UK (Europe), Singapore and probably soon from Malaysia (Asia). It’s very important to live in the culture, of course it will never be enough. Also it’s always good to be part of a multicultural team, so there will be at least one person in the team who is more aware of the cultural differences, the dos and don’ts.

　　PV：我的客戶來自智利(南美洲)、英國(歐洲)、新加坡(亞洲)，很快還會有馬來西亞的。體驗和了解當?shù)氐奈幕苡斜匾€不夠，最好是組建一個多元文化的團隊，那么至少會有人對其中的文化差異有所了解，知道有所為有所不為。

　　It is very important to understand that the lighting concept is “born” from the specific climate, culture, urban context and a specific building in which will be embedded. So is good to know that good lighting design is never a “copy-paste” solution but a specific proposal for a specific project.

　　設計師必須明確的是，燈光設計概念應該從特定的風土人情、文化背景、城市特質以及特定建筑的內涵中孕育而生，是針對特定項目的專屬定制，絕不是拙劣的復制粘貼。

　　Alighting Design: Have you got projects in China? How do you think of the lighting design industry in China?

　　《阿拉丁·設計》：你在中國有項目嗎?你如何看待中國照明行業(yè)的發(fā)展?

　　PV: Just one. I did the architectural lighting design for the Chilean Pavilion for the Universal Expo in Shanghai 2010. The client was the Chilean Government and we provide all the information to the local lighting designer (Teamslitek), for translation and implementation.

　　PV：我在中國只有一個項目，是受智利政府委托設計的2010年上海世博會智利館。當時我們委托了當?shù)氐臒艄庠O計團隊上海鼎晟照明為我們做翻譯和工程施工。

　　The First thing that impressed me was the scale of projects and the speed to do them.

　　In China everything is another scale: HUGE. I remember talking to Rocky Lui–my local consultant and Chinese partner for the project in Shanghai-I was very proud because I did the lighting design for one of the biggest towers of South America, about 130,000 m2. He was doing maybe 3 projects like this at the same time!

　　這個項目給我的第一印象是它的規(guī)模之大和建設速度之快。在中國，所有東西都可以用一個字來形容：大。我記得我曾對這個項目的中國顧問和合作伙伴Rocky Lui說，我之前完成了一個130,000平方米的塔樓，堪稱南美之最，我感覺很自豪——然而卻被告知，類似的項目他在中國已經做過3個!

　　So China is a unique place of growth and speed, for anyone who has never visit Asia is very difficult to imagine. I think related to lighting industry the world is yours. Nowadays almost everything comes from China, from the best to the worst LED technology.

　　所以說，中國是一個發(fā)展很快的獨特國度，這是沒到訪過亞洲的人無法想象的。我想未來的照明的天地是屬于中國的，從最差的到最好的，現(xiàn)在幾乎所有東西都來自中國。

　　Alighting Design: Did you do the lighting design for your own house? What is it like?

　　《阿拉丁·設計》：你有為自己的房子設計燈光嗎?是什么樣的?

　　PV: I did not design my house. It’s a flat from the 60s with an amazing view of the sunset.

　　My place has being changing with me; some areas I love and others are terrible because I use them to test lights meanwhile I’m waiting for the perfect light… I think I will change the corridor and the balcony as soon as I finish this interview.

　　PV：我沒有給自己的房子做“設計”。我的房子是60年代的一所公寓，在黃昏下是絕美的風景線。這些年來它的燈光一直在隨著我的想法改變，有些地方我很喜歡，也有一些因為被我用于測試燈光而顯得一塌糊涂，而我還在尋求最完美的燈光……說起來，做完這個采訪之后，我想我要去把走廊和陽臺的燈給換了。

　　So my room, living and dinning room have incandescent for human activities. The rest is LED, down light or floodlight. I love incandescent for houses! Because it has the best color rendering, can produce beautiful shades, the dimming is so smooth, the warm light makes everyone looks cute and there is little blue wavelength which is healthy at night. The government will ban it, so I stored some incandescent to ensure my mood for the next decade.

　　我的房間、客廳和餐廳用的都是白熾燈，其余就是LED筒燈和泛光燈。我很喜歡白熾燈，因為它擁有非常優(yōu)秀的顯色性，可以形成完美的光影效果，同時調光過渡自然，暖光還能把人照得更漂亮呢!而且，燈光中包含的藍色主波長在夜晚是很有利于健康的。所以盡管政府已經明令禁用白熾燈，我還是收藏了一些以備后用。

　　Alighting Design: As a lecturer, what’s your advice to the students and young designers?

　　《阿拉丁·設計》：作為一名大學講師，對于學生或者年輕設計師，你有些什么建議?

　　PV: Something amazing about being young is the “uncertainty”. If you don’t know what you want is great, that means you have to explore. It’s important to know what you don’t want and don’t do it. Under any circumstance! Uncertainty invites you to be risky, just do it. If it doesn’t work, or you fail, nothing terrible will happen.

　　PV：年輕最大的奇妙之處在于“不確定性”，你不知道自己想要什么沒有關系，那意味著你可以去探索和發(fā)現(xiàn)。但你必須知道自己不想要什么，并且在任何環(huán)境下都不要做自己不想做的事。當“不確定性”盛情邀請你去探險，只管去吧!最壞的后果不過是失敗而已。

　　This profession is universal, you are working with light, everyone can understand it, so travel with it, you can work or study anywhere in the world! Travel and experience another culture will expand your mind; if you don’t know what it will happen is even better. Uncertainty is the best way to discover and enjoy surprises.

　　照明行業(yè)是無國界的，燈光是全球通用的語言，可以帶你游歷世界。游歷可以開闊眼界，增長見聞。雖然未來尚未可知，但未知是一場最美妙的冒險。

　　Alighting Design: Could you share with us some of your favorite projects?

　　《阿拉丁·設計》：請給我們分享幾個你自己最喜歡的項目吧。

　　PV: Church, Asilo del Carmen, The Seed, Chilean Pavilion Shanghai World Expo, Brunapoli Restaurant, Fa?ade lighting Concept for Entel Data Center…

　　PV：比如卡門教堂、上海世界博覽會智利館“種子”、Brunapoli餐廳、Entel數(shù)據中心立面照明等。