金康云：以“光”為筆，建筑為紙

　　個人簡介

　　Kim Kang woon has been working as a happy and delightful lighting designer for about 19 years in Korea. He is now the CEO of De&c Design Company.

　　作為一個積極快樂的照明設計師，金康云在韓國照明界已經(jīng)摸爬滾打了19年，如今是De&c照明設計的首席執(zhí)行官。

　　Kim started his career at an editorial design department of an advertising agency, and changed his occupation as a light designer later. At that time, “l(fā)ighting designer” was very uncommon in Korea, and the gravity of the light design wasn’t taken serious enough. Being a pioneer of a new field, Kim started to play the role of a background, supporting the whole picture, rather than being too proactive. As the quality of life grew, the importance of lighting was taking its role to play. 2002, Korea vs Japan World Cup was a turning point of this kind of phenomenon.

　　差不多是在20年前，金康云從廣告公司的美術編輯轉行當上了照明設計師。而當時，照明設計師在韓國并不多見，照明設計也沒有得到足夠的重視。作為這個新興領域的開拓者，金康云最開始只是默默無聞地做著幕后的支持工作，并沒有太多的可發(fā)揮空間。但隨著生活水平的提高，照明才漸漸走上了歷史的舞臺。而2002年韓國對戰(zhàn)日本的世界杯比賽正式打開了韓國照明行業(yè)的興盛局面。

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

　　《阿拉丁·設計》：您是怎么進入照明行業(yè)的?

　　KKW: When I started this job, I did the editorial design at an advertising agency. In the meantime, one of my professors emphasized the importance of designing and learning in the field. He also had an eye for catching what I am good at and said that I have two characteristics such as activeness and calmness. He thought that I would be suitable for designing light because of my characteristics. So I started working in the field of the lighting design thanks to his suggestion in 1996. I was the most timid lighting designer in the construction field at that time. People thought that all a lighting designer had to do was just to demonstrate a simple lighting calculation data. So I had to show people how important the role of lighting design.

　　KKW：我之前是在一個廣告公司當美術編輯，當時我的一個教授就跟我強調過在照明領域深造的重要性。他就是我的伯樂，一眼就看到了我的優(yōu)勢所在，并指出我積極主動和冷靜沉穩(wěn)的性格非常適合做燈光設計。所以，在他的建議下，我在1996年正式進入照明設計領域。那時候，我可以說是施工現(xiàn)場最微不足道的設計師了，因為大家都以為照明設計師要做的，就只是簡單的照明數(shù)據(jù)測算。所以，我告訴自己要努力讓人們知道照明設計的重要性。

　　Alighting Design: When you started in lighting, was there anydesigner ever making influence on you?

　　《阿拉丁·設計》：在進入照明行業(yè)時，有沒有哪些前輩設計師對您產(chǎn)生過啟蒙影響?

　　KKW: Mr. Lee who passed away long time ago was a lighting designer in Korea. He did his best to let people know the importance of lighting design in Korea. At that time, Korea had no idea about designing light. Plus, he was the senior designer who stepped in to introduce the visual effect of the lighting design to government offices and construction firms that had not been interested in the importance of it. When I had conversations with him about light, I tried to accept his idea of light. I got to be very aware ofthe importance of increasing and decreasing light. If I have a chance to meet him, I would like to have a heart-to-heart with him about light. I always miss him.

　　KKW：我印象最深的是已故的李先生。他是韓國一個很重要的照明設計師，曾經(jīng)竭力提高照明設計在韓國的認知度，因為當時大家對此還一無所知。作為韓國照明設計的先驅，他不辭勞苦地拜訪相關的政府部門和建筑事務所，向他們闡述燈光設計所能帶來的視覺效果。每當跟他一起討論燈光，我都努力去吸收他的燈光理念，對于是增加還是減少燈光保持清醒的認識。我總是在懷緬他，多希望可以再有一次機會，跟他掏心窩地談論光。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·設計》：燈光最吸引您的是什么?

　　KKW: I have been interested in art since I was a high school student. At that time, painting was my primary material for drawing but what about now? My job is to paint buildings with LIGHT as a drawing tool. This light is divided into three things such as brightness, beam angle and color temperature according to the kinds of light and can be very changeable depending on what idea the lighting designer has and how he or she designs light. Plus, LIGHT will have various aspects with same light depending on how the lighting designer plans the placement of the light. I also think that LIGHT has the power of affecting people’s feeling. If I, as a lighting designer, made a wrong decision on the placement of light, the light would ruin all of the given space. This is the attractive point of designing light. A painter has various colors of paints and a lighting designer has LIGHT. Whenever I start a new project, I keep the responsibility of light as a lighting designer in mind.

　　KKW：我在中學時代就對藝術非常感興趣，那時候，涂涂抹抹是我繪畫的主要方式。而現(xiàn)在呢?我以“光”為筆，建筑為紙，在夜色中“作畫”。這是一個比繪畫更復雜的過程，因為“光”有著三重重要屬性：亮度、光束角、色溫，它們可以隨著設計師的不同想法而千變萬化。即使是同一個燈具，布置在不同地方，也會呈現(xiàn)不一樣的效果。我認為燈光可以影響人的情感和情緒，所以作為一個燈光設計師，如果我的燈具布置出錯了，那么整個空間都被燈光毀了。但這也正是燈光的魅力所在。一個畫家擁有各色的顏料，而一個燈光設計師所擁有的就是“燈光”。所以每次開始一個新項目之前，我都提醒自己，要對燈光負責。

　　Alighting Design:What is your designphilosophy?

　　《阿拉丁·設計》：您的設計理念是什么?

　　KKW: Korea has the short history of designing light. I believe that developing the field of designing light could be a great asset. But I would like to be honest when it comes to light, I, as a commercial designer controlling light in terms of space, have seen both hope and frustration by light through a lot of direct or indirect projects. Thanks to these experiences, I became awarethat designing light is related to the emotions of people and try to reduce distorting light.

　　KKW：韓國照明設計的歷史并不長，我相信盡我所能去推進照明設計的發(fā)展是非常有意義的。但說實話，作為一個商業(yè)燈光設計師，這些年來直接或間接接觸過那么多項目，我既看到了希望，也碰到過挫折。也是多虧了這些經(jīng)歷，讓我意識到燈光設計是關乎人的情感感受的，同時，也在于消除不健康的光。

　　Alighting Design:You have done lighting design for different types of architectures such as station, stadium, apartment, headquarter building, theme park and even an old castle, which do you think you are more adept or interest in? Why?

　　《阿拉丁·設計》：您為不同類型的建筑做過燈光設計，比如車站、體育館、公寓、辦公總部、主題公園，甚至還有古堡，您自己更喜歡或者更擅長那種類型呢?為什么?

　　KKW: Recently, I am interested in designing lighting for sports facilities. While designing light for small sports facilities in the meantime, I designed light for the Gymnastics & Rugby & Badminton & Archery stadiums in the 2014 Asian Games in Incheon. After designing light for those four stadiums, I found out that all of the stadiums have their own concept even though they look similar.

　　KKW：我最近比較沉迷于體育場館的設計項目，除了一些小型體育館，還為2014仁川亞運會的4個比賽場館做了燈光設計，包括體操場館、橄欖球館、羽毛球館和射箭館。在設計過程中，我發(fā)現(xiàn)4個看起來十分相像的場館都有各自的設計理念，這里面大有講究。

　　There are many international sports events such as the World Cup and Olympics apart from annual national sports events. I think the Olympics is one of the biggest sports events along with the World Cup. I am recently designing the lighting for the speed skating and ice hockey stadiums of the Winter Olympic which will be held in Pyeongchang, Korea in 2018. I feel great responsibility and honor as a lighting designer about this opportunity. Unfortunately, because of the economic crisis, the Korean athletic circles are asking to reduce the budget. Despite this situation, I am working hard to design the best light for the stadiums within the budget. I have a presentation of the lighting design in a government office soon. What I have to do now is just to keep going ahead accordingly.

　　除了國內的年度體育賽事，許多國際比賽比如世界杯和奧運會，也都輪番上演。我想奧運會和世界杯一樣，都是世界上最大型的體育盛事之一。所以我也很榮幸，現(xiàn)在正在為2018年的韓國平昌冬奧會做短道速滑和冰球場館的燈光設計。但是由于經(jīng)濟問題，韓國體育圈申訴要削減預算。不論如何，我正努力在預算范圍內將兩個場館的燈光做到最好。很快我就要向政府部門闡述我的燈光設計方案了，現(xiàn)在只能一往無前了!

　　Alighting Design:Are most of your projects in Korea? How to meet the culture needs?Is there any Korea characteristic in your works? What is it?

　　《阿拉丁·設計》：您的作品大多數(shù)都在韓國嗎?在您的作品中有體現(xiàn)什么韓國特色嗎?

　　KKW: I am working on a project for the Middle East and Africa with Korea as the center from the past. When it comes to the design method, I would like to say the approach of traditional building and modern Gothic building. There is a kind of paper, Hanji (Traditional Korean paper) that is handmade from mulberry trees. Koreans traditionally used it to cover doors. When it comes to beautiful design methods, Koreans put importance on the gleaming silhouette through the door covered by Hanji when the light is turned on in the dark. Women traditionally wore Hanbok clothing. This Hanbok expresses a morphological ship shape in the arm part of it and inner beauty. This expression of Hanbok catches my eyes because of its own beauty. Like this, I prefer to design indirectly rather than directly. I set a goal of designing light in the case of the traditional building. First, there are five traditional colors in Korea. So I use these five colors to make people feel comfortable when they look at the traditional building. I also apply the Gothic or Renaissance style, which is not common in Korea, to the traditional building’s lighting design in order to demonstrate luxurious silhouettes for people.

　　KKW：一直以來都是以韓國為中心，在中東和非洲也有項目。說到設計手法，我想有傳統(tǒng)建筑與現(xiàn)代哥特式建筑的區(qū)別。在韓國有一種傳統(tǒng)紙張“Hanji”，是用桑樹手工制作出來的，常用于糊窗戶。晚上，當燈亮起來，透過紙糊的窗戶，可以隱隱約約看到室內人或物的剪影，非常美妙!過去韓國女人穿的韓服，手臂部分呈船狀，呈現(xiàn)一種內在美。我被這種美打動了，希望能將其間接地應用在燈光設計上。所以我給自己布置了一道題——為一座韓國傳統(tǒng)建筑設計燈光。首先，我運用了韓國非常傳統(tǒng)的五個顏色，讓人一眼就認出并產(chǎn)生認同感;另外，我也把在韓國不常見的哥特式或復古風格融入進去，使燈光呈現(xiàn)出豐富的層次和內涵。

　　Alighting Design: You have been in the lighting design profession for 19 years, what’s its development path in Korea?

　　《阿拉丁·設計》：您在照明設計領域已經(jīng)超過19年，照明設計在韓國的發(fā)展軌跡是怎樣的?

　　KKW: There is KALD, which is the Korea Lighting Designer Association. I have been a member of this association for more than 10 years and doing various kinds of events of the lighting design such as seminars or festivals. Plus, as you know, I annually take part in ALDF (Asia Lighting Design Forum) and have my eyes on interacting with other designers as a Korean lighting designer. I recently started lecturing at a university and meet many students there. I gladly share practical knowledge with students through the lecture. Above all, the local government of Korea puts importance on the process of design review and I also work as a member of design council in the field of the public design and the sign design.

　　KKW：以我自己為例吧。我們有一個韓國照明設計師協(xié)會(KALD)，我在10年前就成為其中一員，并積極參加協(xié)會舉辦的論壇等許多活動。另外，我也經(jīng)常出席亞洲照明設計論壇(ALDF)，增進和其他國際照明設計師的交流。最近我也開始在一所大學里面講課，我非常樂意把我的知識和實踐經(jīng)驗傳授給我的學生們。更重要的是，韓國政府也越來越重視設計考察，成立了多個顧問團，我自己也有參與其中，負責公共設計和標識設計領域的顧問工作。

　　Alighting Design: What’s the biggest change of both the industry and yourself?

　　《阿拉丁·設計》：這些年來，韓國照明行業(yè)最大的變化是什么?你自己又有什么變化?

　　KKW: I think lighting design can also be changed according to the recent trends like fashion.

　　As fashion designers produce new items, it seems to be a bit hard for the lighting industry to keep up with the rapid pace of change like LEDs. That is why the lighting designers should be very sensitive about the ability to cope with this situation, though it would be hard. The Light Pollution Prevention Act was enacted in February, 2012. The regulation of excessive light is being controlled in order to prevent abuse of light but there is a possibility to demoralize the lighting designers when it comes to using their creativeness when designing light. So, lighting designers including me need to find a solution.

　　KKW：我認為燈光設計應該緊跟當下的流行趨勢，比如可以跟隨時裝設計的步伐。時裝設計師需要不停地設計出新產(chǎn)品，但對照明設計行業(yè)來說，比如LED就很難跟上這種迅速的步伐。因此，照明設計師必須培養(yǎng)自己隨機應變的能力，雖然很難。2012年2月，韓國政府頒布了燈光污染防治法案。這項法案能夠有效控制燈光的濫用，但同時也讓照明設計師陷入窘境，更需要他們在設計燈光的時候做好充分的考量。包括我自己在內，我們都在努力尋求一個解決的方法。

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

　　《阿拉丁·設計》：您在中國有項目嗎?您怎樣看待目前中國照明設計行業(yè)的發(fā)展?

　　KKW: I am planning to do several projects based on lighting displays regardless of the size of the project. I am sure it would be really helpful when working with Chinese lighting designers. This is because they have the advantage of looking at the project in a big way. I, as a Korean lighting designer, tend to see the details carefully for lighting design. So I think this combination between Korean and Chinese lighting design would lead to a great result.

　　KKW：我正計劃在中國做一些燈光展示類的項目，我相信跟中國設計師的合作定能獲益良多。因為他們更擅長于從宏觀角度來審視一個項目，而我，作為一個韓國設計師，則更傾向于關注細節(jié)。兩者相結合，我想肯定能達到最完美的效果!

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

　　《阿拉丁·設計》：您有為自己的房子設計燈光嗎?是什么樣子的?

　　KKW: I moved to a new house and I wanted to decorate it by myself. So I had conversations with an interior designer. I designed indirect light instead of direct one. This is because I want my family to feel comfortable when coming back home. For example, I replaced the light on the wall into LED lamp in order to feel comfortable. I also put the stand light to attain brightness and feel getting healed. I used the product of Italian S-company, which isa decorated point during the day. My children are very satisfied with it.

　　KKW：之前我剛搬入新房子，就想著自己裝修，也找來一位室內設計師征求他的意見。為了讓家人感受到舒適的燈光環(huán)境，我采用的都是間接光。比如，我將壁燈換成了LED燈，布置了落地燈，讓燈光溫和而舒適。我也用了印度S公司的燈具產(chǎn)品，晚上照明，白天裝飾，我的孩子們對此非常滿意。

　　Alighting Design: What’s your advice to the young designers?

　　《阿拉丁·設計》：對于年輕設計師們，您有什么建議?

　　KKW: When I meet university students, I ask them what advantages they would have if they become a light designer. Then they answer me that they are good at programing. But, in order to be a good lighting designer, programing skill plays a minor role in terms of lighting design. They should understand space because light is a tool for space. In my case, I take pictures by myself and see other s’ pictures of light to expand this understanding. When it comes to designing light, this kind of work would be very helpful for lighting designers to understand the space and the emotional design approach only with the floor plan and the images.

　　KKW：在學校上課的時候，我問這些大學生們，如果他們成為了照明設計師，那他們的優(yōu)勢在哪里?他們回答說他們擅長于規(guī)劃方案。但其實，規(guī)劃方案只是照明設計中的一個小角色。要想成為一名合格的照明設計師，他們必須理解空間，因為“光”只是用來表現(xiàn)空間的工具。就我自己而言，我會自己拍下一些照片，然后觀察對比別人拍的照片，以增強對空間的理解。這樣的練習能幫助照明設計師在只有建筑平面圖和實景圖的情況下更好地理解空間，并找出適當?shù)脑O計方案。