Alighting Design: How did you expand your lighting career from Entertainment to Architecture and Art installation? What’s the connection between different lighting fields?

　　《阿拉丁·设计》：您是怎样将自己的照明事业从舞台娱乐灯光，到建筑灯光和艺术装置转变的?这几个不同领域之间有什么联系?

　　KV: I think it’s relevant to the economics and opportunity. I was lighting buildings refering to the way we do entertainment projects. People saw the big bangs. They were delighted and asked me: I want to have this performance on my building, can you do that? It’s simply transformation about the opportunity and economic when people say I want you to try this and I say thank you, so let me try. At some point, you have the eager inside you that you have something to say and try talking to the public. The art installation also comes from having something to say, wanting to express yourself.

　　KV：我认为很大程度上是因为经济形势和机遇。在做建筑照明时，我尝试把舞台灯光的设计手法应用融入其中。其他一些业主们看了觉得很喜欢，问我可不可以也给他们的房子做这样的设计。这是很自然而然的转换，当人们愿意给你机会让你尝试，那你就去尝试吧!艺术装置也是一样的。可以这样说，在你的内心里应该有一个渴望，并且努力向公众诉说。艺术装置也一样，也是来源于诉说和表达的欲望。

　　The connection between them is very different. There are culture, systems and other element inside both art installation and entertaiment projects, while architectures have a lot to do with ecological and design thinking and we also bring them into entertainment and art. It’s very energizing between the different fields, and it’s helpful to involve between them.

　　三个领域之间又是很不一样的。艺术装置和舞台娱乐项目里面会涉及到很多文化、系统性的元素，而建筑照明则更多地与生态学和设计思路相关，这也是我们可以借鉴用在舞台和艺术领域的。我想，不同领域之间是相通的，这很有利于将三者融会贯通。

　　Alighting Design: You have cooperated with many famous brands such as Hermès and Coca-Cola. What do you think brands can benefit from lighting?

　　《阿拉丁·设计》：您和很多著名品牌，比如爱马仕、可口可乐等都有过合作，您觉得灯光可以为品牌带来什么?

　　KV: I think lighting is legally responsible for the visible expression of energy. I guess most of the brands know that lighting is a very important part, if they don’t, they are stupid.

　　KV：我认为灯光设计对品牌精神的外化表现是负有直接责任的。我想大部分的品牌都知道灯光设计的重要性，除非他们是傻子。

　　Alighting Design: With clients from different countries, how do you meet the cultural needs of different countries?

　　《阿拉丁·设计》：您在世界各地都有合作客户，您是怎样满足不同国家的文化需求的?

　　KV: I think when people come to us, they come for our special style, philosophy and solutions. When you go to Korea, they don’t want us to offer Korean lighting design. They want to apply our knowledge and style to their projects. That’s also the first problems when you work in Russia. They said I don’t want a Russian style, how about your style? So when you ask about culture, I don’t really care and I think that’s why we work all over the world, because we can apply our unique style to the projects.

　　We go to a new country, we see, we smell, that constantly influence us in a way. But it doesn’t always mean we apply that in the project, it could be influence in some way. The most important thing is people love us because they love our style into their projects.

　　KV：我想人们之所以会来找我们做设计，是冲着我们独特的设计风格、设计理念和解决方案而来的。举个例子，韩国的客户并不希望我们提供韩国风的照明设计，他们希望将我们的知识和风格应用到他们的项目中。这也是在俄罗斯工作时面对的首要问题，他们说我不要什么俄罗斯特色，不如来点你们自己的特色吧?所以当你问起文化的问题，我并不是十分在意。我想这也是我们在全球各地都有设计项目的原因——将我们的独特风格融入具体项目中。

　　当然，当我们去到一个新的国家，我们会去看、去听、去感受，这些我们感受到的东西会在某些方面对我们有所影响，但不意味着我们必须将这些影响应用在项目上面。我觉得最重要的是，人们喜欢我们，是因为他们喜欢把我们的设计风格揉入他们项目中。

　　Alighting Design: Could you tell us about your work “Tree of Life” for the Milan EXPO 2015? What’s the design concept? How is the performance?

　　《阿拉丁·设计》：可以跟我们聊聊您在2015米兰世博会上的作品“生命之树”吗?其设计概念和最终的呈现效果是怎样的?

　　KV: It’s a great meet of showing lighting and control inside a permanent insolation. It’s the first phase that we approach it as the permanent insolation. The second, as the unique features and unique positions are very important symbols for the EXPO, we took these things in mind as designing elements of “Tree of Live”. There’re many symbols that become part of structures exist much longer than EXPO itself. In this project, we want to accommodate people from global at the end of the day, and keep them for about 10 minutes to look at the element of life, and the element of Italian culture. The element of life is our struggle with the nature, the guity of destroying the relationship between human and nature. The harmony of man and nature is what we want to show in the project. That’s the basic concept, the rest is to translate the beautiful culture to technical elements.

　　KV：这里面包含了“日不落”的概念，成功满足了对灯光的表现和控制的要求。“日不落”的概念只是第一步。然后，我们将世博会上的重要象征、重要特点烂熟于心，消化再现为“生命之树”的重要设计元素。有些象征元素甚至在世博会创办之前就已经在其他建筑上出现了。我们希望经过一天的观展之后，来自世界各地的游客可以在这里稍作歇息，花上十分钟的时间，好好看看这些生命的构成元素，以及意大利的文化符号。生命的元素表现了我们对于破坏大自然与人类之间和谐关系的愧疚，我们希望在这个项目中重现人类与自然的和谐。这是基本的概念，其他则是将美丽的文化符号转换成科技元素。

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

　　《阿拉丁·设计》：您有为自己的房子做照明设计吗?是什么样的?

　　KV: Yes, of course. About 70% in my house is incandescent bulbs, and the rest very high quality LEDs with warm temperature of 2,700K, which I only use in the kitchen, toilet and bathroom. I use absolutely not in my house is fluorescent or compact fluorescent bulbs. I have quiet a few really old luminaires, light arts in my house, that’s one of the reason why I stay with incandesent bulbs. Some luminaires from the 60s Italy work the best with the LEDs.

　　KV：当然有。我的房子里70%的灯都是白炽灯，其余2,700K的LED高质量暖光源，大多用在厨房、卫生间和浴室。在我的房子里，你绝对找不到任何荧光灯或者紧凑型荧光灯。我有很多很老的灯具或者艺术灯具，所以我只会选用与之匹配的白炽灯。另外，一些60年代意大利古老灯具跟LED搭配起来也很协调。

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

　　《阿拉丁·设计》：对于年轻设计师们有什么建议吗?

　　KV: It took me 20 years to understand lighting. Today anybody who show me a picture or a problem, for 95% I can see and explain the problem and get to the solution. My advice to the young designers is to get experience from the experienced people. There’s so much you can learn and achieve. Working with experienced people from worldwide has become so necessary. Lighting is not that easy. My biggest advice is to gain 3 to 5 years’ of experience of independent lighting designers before you start your own project.

　　KV：我花了20年的时间去理解和学习照明。今天如果有人给我看一张照片或者问我一个照明上的问题，我95%的把握可以看出其中的关键并给出一个合理的解决方案。我想对年轻设计师说的是，跟有经验的人取经吧，有很多值得你去学习和探索的东西。照明并不是那么简单，因而跟世界各地有经验的人共事就显得非常必要了。我的建议是，在独立做你自己的设计之前，用3-5年的时间去跟独立设计师学习，积累经验。

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

　　《阿拉丁·设计》：能给我们分享一些您自己最喜欢的作品吗?

　　KV: I would say it’s the one that we’re making and will be making in the future. Those are always my favorite projects. None of project we have done so far is perfect, a lot of them have loss, sometimes it’s awful. I would say that my favorite projects are the ones that lain on my head.

　　KV：我最喜欢的自己的作品……我想是正在做的这个或者是未来将要做的某个吧。目前为止，没有哪个作品我觉得是完美的，很多都或多或少有点缺陷，有时候甚至是很糟糕的。要我说，我最满意的作品大概还在我的脑子里。