個人簡介

　　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.

　　作為一個積極快樂的照明設計師，金康云在韓國照明界已經摸爬滾打了19年，如今是De&c照明設計的首席執行官。

　　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，金康云從廣告公司的美術編輯轉行當上了照明設計師。而當時，照明設計師在韓國并不多見，照明設計也沒有得到足夠的重視。作為這個新興領域的開拓者，金康云最開始只是默默無聞地做著幕后的支持工作，并沒有太多的可發揮空間。但隨著生活水平的提高，照明才漸漸走上了歷史的舞臺。而2002年韓國對戰日本的世界杯比賽正式打開了韓國照明行業的興盛局面。

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

　　《阿拉丁·設計》：您是怎么進入照明行業的?

　　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：我之前是在一個廣告公司當美術編輯，當時我的一個教授就跟我強調過在照明領域深造的重要性。他就是我的伯樂，一眼就看到了我的優勢所在，并指出我積極主動和冷靜沉穩的性格非常適合做燈光設計。所以，在他的建議下，我在1996年正式進入照明設計領域。那時候，我可以說是施工現場最微不足道的設計師了，因為大家都以為照明設計師要做的，就只是簡單的照明數據測算。所以，我告訴自己要努力讓人們知道照明設計的重要性。

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

　　《阿拉丁·設計》：在進入照明行業時，有沒有哪些前輩設計師對您產生過啟蒙影響?

　　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。他是韓國一個很重要的照明設計師，曾經竭力提高照明設計在韓國的認知度，因為當時大家對此還一無所知。作為韓國照明設計的先驅，他不辭勞苦地拜訪相關的政府部門和建筑事務所，向他們闡述燈光設計所能帶來的視覺效果。每當跟他一起討論燈光，我都努力去吸收他的燈光理念，對于是增加還是減少燈光保持清醒的認識。我總是在懷緬他，多希望可以再有一次機會，跟他掏心窩地談論光。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·設計》：燈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：我在中學時代就對藝術非常感興趣，那時候，涂涂抹抹是我繪畫的主要方式。而現在呢?我以“光”為筆，建筑為紙，在夜色中“作畫”。這是一個比繪畫更復雜的過程，因為“光”有著三重重要屬性：亮度、光束角、色溫，它們可以隨著設計師的不同想法而千變萬化。即使是同一個燈具，布置在不同地方，也會呈現不一樣的效果。我認為燈光可以影響人的情感和情緒，所以作為一個燈光設計師，如果我的燈具布置出錯了，那么整個空間都被燈光毀了。但這也正是燈光的魅力所在。一個畫家擁有各色的顏料，而一個燈光設計師所擁有的就是“燈光”。所以每次開始一個新項目之前，我都提醒自己，要對燈光負責。

　　Alighting Design:What is your designphilosophy?

　　《阿拉丁·設計》：您的設計理念是什么?

　　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：韓國照明設計的歷史并不長，我相信盡我所能去推進照明設計的發展是非常有意義的。但說實話，作為一個商業燈光設計師，這些年來直接或間接接觸過那么多項目，我既看到了希望，也碰到過挫折。也是多虧了這些經歷，讓我意識到燈光設計是關乎人的情感感受的，同時，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·設計》：您為不同類型的建筑做過燈光設計，比如車站、體育館、公寓、辦公總部、主題公園，甚至還有古堡，您自己更喜歡或者更擅長那種類型呢?為什么?

　　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：我最近比較沉迷于體育場館的設計項目，除了一些小型體育館，還為2014仁川亞運會的4個比賽場館做了燈光設計，包括體操場館、橄欖球館、羽毛球館和射箭館。在設計過程中，我發現4個看起來十分相像的場館都有各自的設計理念，這里面大有講究。