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。