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。