金康云：以“光”为笔，建筑为纸

　　个人简介

　　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.

　　作为一个积极快乐的照明设计师，金康云在韩国照明界已经摸爬滚打了19年，如今是De&c照明设计的首席执行官。

　　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, “lighting 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，金康云从广告公司的美术编辑转行当上了照明设计师。而当时，照明设计师在韩国并不多见，照明设计也没有得到足够的重视。作为这个新兴领域的开拓者，金康云最开始只是默默无闻地做着幕后的支持工作，并没有太多的可发挥空间。但随着生活水平的提高，照明才渐渐走上了历史的舞台。而2002年韩国对战日本的世界杯比赛正式打开了韩国照明行业的兴盛局面。

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

　　《阿拉丁·设计》：您是怎么进入照明行业的?

　　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：我之前是在一个广告公司当美术编辑，当时我的一个教授就跟我强调过在照明领域深造的重要性。他就是我的伯乐，一眼就看到了我的优势所在，并指出我积极主动和冷静沉稳的性格非常适合做灯光设计。所以，在他的建议下，我在1996年正式进入照明设计领域。那时候，我可以说是施工现场最微不足道的设计师了，因为大家都以为照明设计师要做的，就只是简单的照明数据测算。所以，我告诉自己要努力让人们知道照明设计的重要性。

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

　　《阿拉丁·设计》：在进入照明行业时，有没有哪些前辈设计师对您产生过启蒙影响?

　　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。他是韩国一个很重要的照明设计师，曾经竭力提高照明设计在韩国的认知度，因为当时大家对此还一无所知。作为韩国照明设计的先驱，他不辞劳苦地拜访相关的政府部门和建筑事务所，向他们阐述灯光设计所能带来的视觉效果。每当跟他一起讨论灯光，我都努力去吸收他的灯光理念，对于是增加还是减少灯光保持清醒的认识。我总是在怀缅他，多希望可以再有一次机会，跟他掏心窝地谈论光。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·设计》：灯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：我在中学时代就对艺术非常感兴趣，那时候，涂涂抹抹是我绘画的主要方式。而现在呢?我以“光”为笔，建筑为纸，在夜色中“作画”。这是一个比绘画更复杂的过程，因为“光”有着三重重要属性：亮度、光束角、色温，它们可以随着设计师的不同想法而千变万化。即使是同一个灯具，布置在不同地方，也会呈现不一样的效果。我认为灯光可以影响人的情感和情绪，所以作为一个灯光设计师，如果我的灯具布置出错了，那么整个空间都被灯光毁了。但这也正是灯光的魅力所在。一个画家拥有各色的颜料，而一个灯光设计师所拥有的就是“灯光”。所以每次开始一个新项目之前，我都提醒自己，要对灯光负责。

　　Alighting Design:What is your designphilosophy?

　　《阿拉丁·设计》：您的设计理念是什么?

　　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：韩国照明设计的历史并不长，我相信尽我所能去推进照明设计的发展是非常有意义的。但说实话，作为一个商业灯光设计师，这些年来直接或间接接触过那么多项目，我既看到了希望，也碰到过挫折。也是多亏了这些经历，让我意识到灯光设计是关乎人的情感感受的，同时，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·设计》：您为不同类型的建筑做过灯光设计，比如车站、体育馆、公寓、办公总部、主题公园，甚至还有古堡，您自己更喜欢或者更擅长那种类型呢?为什么?

　　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：我最近比较沉迷于体育场馆的设计项目，除了一些小型体育馆，还为2014仁川亚运会的4个比赛场馆做了灯光设计，包括体操场馆、橄榄球馆、羽毛球馆和射箭馆。在设计过程中，我发现4个看起来十分相像的场馆都有各自的设计理念，这里面大有讲究。

　　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.

　　除了国内的年度体育赛事，许多国际比赛比如世界杯和奥运会，也都轮番上演。我想奥运会和世界杯一样，都是世界上最大型的体育盛事之一。所以我也很荣幸，现在正在为2018年的韩国平昌冬奥会做短道速滑和冰球场馆的灯光设计。但是由于经济问题，韩国体育圈申诉要削减预算。不论如何，我正努力在预算范围内将两个场馆的灯光做到最好。很快我就要向政府部门阐述我的灯光设计方案了，现在只能一往无前了!

　　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·设计》：您的作品大多数都在韩国吗?在您的作品中有体现什么韩国特色吗?

　　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：一直以来都是以韩国为中心，在中东和非洲也有项目。说到设计手法，我想有传统建筑与现代哥特式建筑的区别。在韩国有一种传统纸张“Hanji”，是用桑树手工制作出来的，常用于糊窗户。晚上，当灯亮起来，透过纸糊的窗户，可以隐隐约约看到室内人或物的剪影，非常美妙!过去韩国女人穿的韩服，手臂部分呈船状，呈现一种内在美。我被这种美打动了，希望能将其间接地应用在灯光设计上。所以我给自己布置了一道题——为一座韩国传统建筑设计灯光。首先，我运用了韩国非常传统的五个颜色，让人一眼就认出并产生认同感;另外，我也把在韩国不常见的哥特式或复古风格融入进去，使灯光呈现出丰富的层次和内涵。

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

　　《阿拉丁·设计》：您在照明设计领域已经超过19年，照明设计在韩国的发展轨迹是怎样的?

　　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：以我自己为例吧。我们有一个韩国照明设计师协会(KALD)，我在10年前就成为其中一员，并积极参加协会举办的论坛等许多活动。另外，我也经常出席亚洲照明设计论坛(ALDF)，增进和其他国际照明设计师的交流。最近我也开始在一所大学里面讲课，我非常乐意把我的知识和实践经验传授给我的学生们。更重要的是，韩国政府也越来越重视设计考察，成立了多个顾问团，我自己也有参与其中，负责公共设计和标识设计领域的顾问工作。

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

　　《阿拉丁·设计》：这些年来，韩国照明行业最大的变化是什么?你自己又有什么变化?

　　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：我认为灯光设计应该紧跟当下的流行趋势，比如可以跟随时装设计的步伐。时装设计师需要不停地设计出新产品，但对照明设计行业来说，比如LED就很难跟上这种迅速的步伐。因此，照明设计师必须培养自己随机应变的能力，虽然很难。2012年2月，韩国政府颁布了灯光污染防治法案。这项法案能够有效控制灯光的滥用，但同时也让照明设计师陷入窘境，更需要他们在设计灯光的时候做好充分的考量。包括我自己在内，我们都在努力寻求一个解决的方法。

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

　　《阿拉丁·设计》：您在中国有项目吗?您怎样看待目前中国照明设计行业的发展?

　　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：我正计划在中国做一些灯光展示类的项目，我相信跟中国设计师的合作定能获益良多。因为他们更擅长于从宏观角度来审视一个项目，而我，作为一个韩国设计师，则更倾向于关注细节。两者相结合，我想肯定能达到最完美的效果!

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

　　《阿拉丁·设计》：您有为自己的房子设计灯光吗?是什么样子的?

　　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：之前我刚搬入新房子，就想着自己装修，也找来一位室内设计师征求他的意见。为了让家人感受到舒适的灯光环境，我采用的都是间接光。比如，我将壁灯换成了LED灯，布置了落地灯，让灯光温和而舒适。我也用了印度S公司的灯具产品，晚上照明，白天装饰，我的孩子们对此非常满意。

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

　　《阿拉丁·设计》：对于年轻设计师们，您有什么建议?

　　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：在学校上课的时候，我问这些大学生们，如果他们成为了照明设计师，那他们的优势在哪里?他们回答说他们擅长于规划方案。但其实，规划方案只是照明设计中的一个小角色。要想成为一名合格的照明设计师，他们必须理解空间，因为“光”只是用来表现空间的工具。就我自己而言，我会自己拍下一些照片，然后观察对比别人拍的照片，以增强对空间的理解。这样的练习能帮助照明设计师在只有建筑平面图和实景图的情况下更好地理解空间，并找出适当的设计方案。