Alighting: How do you define yourself as a lighting designer?

　　《阿拉丁》：作为一名灯光设计师，您怎么评价您自己?

　　CJ Brockway: Technically, a lighting designer is half-artist, half-engineer, someone who understands how light behaves scientifically and can help to aesthetically manipulate our perceptions of space.

　　CJ：从技术上讲，灯光设计师一半是艺术家，一半是工程师，他们既懂得灯光的科学工作原理，又能从审美上影响我们对空间的感知。

　　Alighting: What is your design philosophy?

　　《阿拉丁》：您的设计理念是什么?

　　CJ Brockway: What a big question! I don’t know if I have an established design philosophy yet. I appreciate the mentorship of some of the fantastic designers I’ve had the opportunity to work for. I suppose right now I feel like saying, “Don’t be afraid to try something new, and then take the time to make it work”.

　　CJ：好大的话题!我不知道我是否确立了自己的设计理念。我很感激自己曾有幸为一些出色的设计师工作，并且从他们的言传身教中成长起来。我此刻很想说：“不要害怕做新的尝试，别着急，花点时间让它为你所用。”

　　Alighting: What attract you the most? The process of designing, the sense of achievement after finishing a work, or something else?

　　《阿拉丁》：是什么让您觉得快乐?灯光设计的过程?还是灯光作品带来的成就感?还是别的什么?

　　CJ Brockway: Both. If you don’t like the process of design then you’ve picked the wrong field. Our work can be grueling with long hours, fast deadlines, technical rigor… but also with beauty, free flowing creativity, social engagement, and environmental importance. Seeing completed projects is icing on the cake.

　　CJ：两者都有。如果不热爱设计的过程，那么你就入错行了。长时间的工作会让人筋疲力尽，还有迫在眉睫的截止时间和严格的技术要求……但当然也伴随很多美好的事、自由流淌的创造力、社会交往，还有环境保护的重要意义。而看到作品出炉更是锦上添花。

　　Alighting: Is lighting design a very popular occupation in America?

　　《阿拉丁》：灯光设计师在美国是一个受欢迎的职业吗?

　　CJ Brockway: No. I don’t think lighting design is very popular anywhere!

　　CJ：不，我觉得灯光设计在任何地方都不是一个大众型的职业!

　　Alighting: There is no doubt that you are a lighting designer with rich experience. Why did you choose lighting design as your Major in college?

　　《阿拉丁》：毫无疑问，您是一个阅历非常丰富的照明设计师。请问您大学时为何会选择照明设计作为您的专业?

　　CJ Brockway: I studied theatrical lighting design in college. It was the perfect blend of art and science. I liked the hands-on aspect of theatrical design and instant gratification of seeing one’s work put on stage. I now like the permanence of architecture, but always like to mock-things-up to make sure my expectations are correct on how light works. Calculations and renderings often lie.

　　CJ：我在大学期间学习的专业是舞台灯光设计，它完美地融合了艺术和科学。那时候，我喜欢亲自动手设计舞台的过程，喜欢看到自己的作品出现在舞台上那一瞬间的满足感。但我现在更喜欢建筑的持久性，经常会通过实景模拟确定灯光的效果是否符合我的期望，因为照度计算和渲染图经常会说谎。

　　There are so few schools IN THE WORLD that teach architectural lighting design, most people come to our profession without formal training. For this reason it is very important for us to understand and mentor young designers who work at our firms, and contribute time and energy in support of the educational institutions around us.

　　在全世界范围之内，开设建筑灯光设计专业的学校是如此之少!大多数人没有经过专业的教育而自学成才。正因为如此，理解和引导在这个领域工作的年轻设计师，贡献出一些时间和精力来支持我们周围的教育机构显得如此之重要。

　　Alighting: You had done jobs related to lighting such as being a stage lighting distributor and a lighting programmer. Do those experiences helpful to your current job?

　　《阿拉丁》：您做过一些跟灯具有关的工作，例如舞台灯具分销商，照明程序员。您认为这些经历对您现在的工作有帮助吗?

　　CJ Brockway: Absolutely. I think a hands-on approach to lighting helps one to better understand how light works. Lighting controls seems to be one of the most difficult aspects of our jobs, with constantly changing technology. It’s not necessary, but perhaps useful to understand the binary world of DMX.

　　CJ：绝对是有帮助的。我认为各种与灯具有关的实践经验能够让人更好地理解灯光。随着技术的不断发展，照明控制似乎成为了我们工作中最困难的部分之一，虽然这不是必须的，但它也许会对理解DMX的二元制世界有帮助。

　　I also found it useful to work for a short time in sales, and as an electrician. It’s good to know what it takes to procure lighting, as well as to feel comfortable getting your hands dirty. Oh, and it was good practice climbing ladders!

　　短暂的灯具销售和电气工程师的经验也让我受益匪浅。你可以从中了解到灯具的发光原理，并且对弄脏双手这样的事感到怡然自得，噢，还有，你还可以练习爬梯子!

　　Alighting: You have done lighting design for different types of building. Is it a challenge to design lighting for variety of building types?

　　《阿拉丁》：您做过很多不同类型建筑的照明设计，为各种类型的建筑做照明设计是否是很大的挑战?

　　CJ Brockway: Yes, I do think it is a challenge, because some spaces have special requirements for types of products use and human functions that light needs to serve. For example, the type of lighting required for an MRI (Magnetic Resonance Imaging) suite will be very different than a restaurant, or an office, or a convention center. But, the properties of light and how it behaves in space are the same.

　　CJ：是的，的确是一个挑战。因为一些空间对灯具产品的类型和人性化的功能有特殊的要求。比如说，一个 MRI磁共振成像室对灯光设计的要求，是远远不同于一个餐馆或者办公室或者会议中心的。但是，光的属性以及它在空间上如何表现这一点是相同的。

　　Alighting: You have clients not only from the United States, but also from China, Russia and other countries. How do you meet the cultural needs of different countries?

　　《阿拉丁》：您做的项目不仅在美国，还有在中国、俄罗斯等不同的国家。您如何考虑不同国家的文化需求?

　　CJ Brockway: Good question. Some say that people in different countries like different types of lighting. Perhaps this is true. The science of the eye, however, works the same.

　　CJ：问得好。有些人说，不同国家或地区的人偏好不同类型的灯光。这也许是真的，然而，人眼的工作原理都是一样的。

　　I’ve also heard it said that Chinese people prefer cool color temperature light. My experience has shown this to potentially be false. Yes, for a long time many spaces were lit with cool and low cost fluorescent lamps, but I have received requests from clients in China for warmer color temperature light in interior spaces. People everywhere want light to be comfortable, not harsh and glaring.

　　我还听说，中国人偏好冷色温的光，但我的经验告诉我这可能是错误的。是的，在很长一段时间里，很多地方都使用了低成本、冷色的荧光灯，但我也收到了一些中国客户在室内使用更暖色温的灯光的要求。不管来自哪里，人们都希望灯光是舒适的，而不是粗糙的、刺眼的。

　　As to how to meet cultural needs of different countries, I think every client is different, even within the same culture/country, and requires investigation to their specific needs as part of normal project research.

　　至于如何满足不同国家或地区的文化需求，我认为每一个客户都是不同的，即使是在同一个国家或相同的文化环境下，他们的需求也会有所不同。因此应该将对他们具体需求的调查研究纳入到常规的项目研究里面去。

　　Alighting: How to balance of the functionality and aesthetics in a lighting design?

　　《阿拉丁》：照明如何能做到功能性与审美性兼顾?

　　CJ Brockway: As a “designer”, the balance of functionality and aesthetics is a normal part of the design process. To answer “how” would be to describe the normal course of our work.

　　CJ：作为一个设计师，平衡功能性和审美性就是设计过程的一部分。要说到“怎么做”可能就要描述我们常规的设计流程了。

　　I will say that many designers are artists at heart, and especially during the beginning portion of a project it is important to think about the artistry of a space, how it wants to feel, look, and the story the space should communicate about a client’s brand. After sufficient exploration we get technical, and figure out how to make a design work!

　　我会说，很多设计师在内心里面其实是一个艺术家，尤其是在一个项目开始的时候，思考空间的艺术性是非常重要的——它需要给人什么样的感觉，什么样的外观，以及通过空间怎样传达客户品牌故事。经过技术层面的充分论证与探索，我们找到完成这件设计作品的方法。

　　Alighting: What do you think is the most important factor for a lighting design?

　　《阿拉丁》：您认为做灯光设计最重要的因素是什么?

　　CJ Brockway: People. We should always think about the people who have to work in the spaces we design. What do they need? How do they want to feel? Lighting for visibility and emotion.

　　CJ：人。那些将要在我们设计的空间里工作的人，是我们要时刻考虑到的。他们需要的是什么?他们想要得到什么样的感受?灯光设计应该为视觉和心理的双重感受服务。

　　Second, sustainability. I know you didn’t ask, but I want to mention the importance of the decisions we make relative to energy efficiency and the future of our planet. Will the lights we specify today be in landfills in 10 years? Is it better to have a cheaper product or a higher quality product that will last longer? Is it appropriate to illuminate a boring architectural fa?ade, or would our communities benefit from a bit more darkness? Let’s save the fa?ade lighting for special cities and locations only – not everywhere!

　　其次是可持续性。我知道你们没有问及，但我想强调，我们今天所做的关乎能源效率以及地球未来可持续发展的决定是至关重要的。我们今天所用的灯具十年之后会被废弃在垃圾填埋场吗?是使用一个成本更低的产品好，还是一个质量更优寿命更长的产品好?一个平淡无奇令人乏味的建筑真的适合用灯光去照亮吗?也许我们的社区在黑暗之中更能享得一份安宁?何不让我们把外立面照明应用在那些特殊的城市和地区，而不是任何地方!

　　I may be shooting myself by saying this, but let’s push back on the clients who think they want something super fancy and bright, just to make a temporary statement. Soon their neighbor will want it too.

　　我这似乎是在搬起石头砸自己的脚，但我们想一想那些客户，他们希望做出一些充满想象力、非常酷炫的东西来，却不知道这些都是过眼云烟，很快，他们的邻居也会想要并且做出类似的效果。

　　Alighting: Have you ever done lighting design for private residence? What about your house?

　　《阿拉丁》：您是否为私人住宅做过灯光设计?您家里的灯光是否经过您的特别设计?

　　CJ Brockway: Yes. Private residences can be very fun, and also mind-blowingly difficult! Home-owners usually care very much about the space where they live, so much so that every decision weighs 1000 kilos. We carefully select lights to fit their budgets, and later focus lights in their personal space. We get to know them. Often we make friends and hopefully obtain repeat work or recommendations to their friends.

　　CJ：有。私人住宅的设计很有意思，但同时也异常地困难。住宅的主人们通常会非常在意他们居住的空间，所以我们做灯光设计的每一个决定都似有千斤重。首先我们会细心选择符合屋主预算要求的灯具，随后再从中挑选适合他们私人空间的灯具，因此我们必须尝试去了解他们。通常我们会和他们成为朋友，也希望由此获得相同的工作或者被推荐给他们的朋友。

　　My house? Ha! I’m a lighting designer. I can’t afford the lighting I most want to specify! Actually I think lighting designers often make many small choices about their living spaces, place lights carefully, use dimmers everywhere… I like a little color, maybe an uplight tucked into a corner or two, and I think about how my house looks from the street!

　　我的房子?哈哈!我是一个照明设计师，但我却负担不起自己最想要的灯光效果。事实上，我觉得照明设计师经常会在他们的生活空间里做很多小小的设计，仔细地摆放灯具，或者到处放置调光器。我个人喜欢加上一点点色彩，或者在角落里塞一两个向上投光灯。并且，我还会考虑我的房子在街道上看起来的效果。

　　Alighting: You have been a lighting designer for almost 15 years engaged in a lot of amazing lighting design projects, some of which won awards. Which project is your favorite design? Which do you think represents the highest level of your design? Good if you can share with Chinese readers.

　　《阿拉丁》：您做了15年的照明设计，也取得了不俗的成就。其中哪个作品您最喜欢?或者哪个作品代表了您的最高水平?请跟中国的读者分享一下。

　　CJ Brockway: I feel most proud of projects I have the luxury of working on from start to finish. Often these are in the US, but think they are representative of high quality, thoughtful design. It is too hard to select a favorite, so here are three very different projects that each exemplify the importance of design FOR PEOPLE.

　　CJ：那些我有幸从开始到结束都全程参与的项目都让我感到很自豪。通常这些项目都在美国，但都是高品质和精心设计的代表，很难选出一个最喜欢的。以下三个不同的项目都很好地佐证了“设计为人”的重要性。

　　项目1：

　　Name: University of San Francisco School of Science and Innovation

　　Design By: NBBJ

　　Completed Year: 2013

　　Area: San Francisco, California USA

　　项目名称：旧金山大学科学与创新学院

　　设计机构：NBBJ

　　完工年份：2013年

　　所在地：美国加利福尼亚州旧金山市

　　A simple corridor at the new School for Science and Innovation at the University of San Francisco is a compelling experience to walk through, Considering both natural and electric light. It exemplifies.

　　旧金山大学科学与创新学院里面的一条简单的走廊，从中穿行的体验非常吸引人。在很好地考虑自然光和人造光上，它是一个典范。

　　项目2：

　　Name: PACCAR Imax Theatre

　　Designed By: NBBJ

　　Completed Year: 2013

　　Area: Seattle, Washington USA

　　项目名称：佩卡 IMAX电影院

　　设计机构：NBBJ

　　完工年份：2013年

　　所在地：美国，华盛顿，西雅图

　　With limited budget and clear design story, visitors to the Paccar Imax Theatre are treated to historical images of the 1962 World’s Fair in Seattle, in a venue that is now easy to maintain with operable overhead rigging and controls. The design pays tribute to the original architect and design visionary, Charles Eames. See before photo, calculation study and final result.

　　佩卡Imax 电影院的灯光设计有着明确的主题，但预算却十分有限。现在，来到电影院的游客可以欣赏到1962年西雅图世界博览会的精彩图片，我们通过悬挂在空中可操作的杆状装置和调光控制设备来给这个观赏空间营造一个良好的灯光环境。这个设计是对原建筑师和设计大师Charles Eames的致敬。如图所示，是改造前的照片，照度计算模拟研究和最终效果。

　　项目3：

　　Name: Large Software Company

　　Designed By: NBBJ

　　Completed in: 2012

　　Area: Beijing, China

　　项目名称：一家大型软件公司的办公大楼

　　设计机构：NBBJ

　　完工时间：2012

　　所在地：中国，北京

　　The lobby of this computer company’s research and development headquarters in Beijing features exciting, integrated, colorful animated lighting treatments, encouraging staff to feel motivated and proud of where they work.

　　这家电脑公司的研发总部位于北京，它的大堂以令人兴奋的、一体化的、充满活力的彩色灯光为特征，激起员工积极向上的情绪和对自己工作的地方的自豪感。