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.

　　除了國內的年度體育賽事，許多國際比賽比如世界杯和奧運會，也都輪番上演。我想奧運會和世界杯一樣，都是世界上最大型的體育盛事之一。所以我也很榮幸，現在正在為2018年的韓國平昌冬奧會做短道速滑和冰球場館的燈光設計。但是由于經濟問題，韓國體育圈申訴要削減預算。不論如何，我正努力在預算范圍內將兩個場館的燈光做到最好。很快我就要向政府部門闡述我的燈光設計方案了，現在只能一往無前了!

　　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·設計》：您的作品大多數都在韓國嗎?在您的作品中有體現什么韓國特色嗎?

　　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：一直以來都是以韓國為中心，在中東和非洲也有項目。說到設計手法，我想有傳統建筑與現代哥特式建筑的區別。在韓國有一種傳統紙張“Hanji”，是用桑樹手工制作出來的，常用于糊窗戶。晚上，當燈亮起來，透過紙糊的窗戶，可以隱隱約約看到室內人或物的剪影，非常美妙!過去韓國女人穿的韓服，手臂部分呈船狀，呈現一種內在美。我被這種美打動了，希望能將其間接地應用在燈光設計上。所以我給自己布置了一道題——為一座韓國傳統建筑設計燈光。首先，我運用了韓國非常傳統的五個顏色，讓人一眼就認出并產生認同感;另外，我也把在韓國不常見的哥特式或復古風格融入進去，使燈光呈現出豐富的層次和內涵。

　　Alighting Design: You have been in the lighting design profession for 19 years, what’s its development path in Korea?

　　《阿拉丁·設計》：您在照明設計領域已經超過19年，照明設計在韓國的發展軌跡是怎樣的?

　　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：以我自己為例吧。我們有一個韓國照明設計師協會(KALD)，我在10年前就成為其中一員，并積極參加協會舉辦的論壇等許多活動。另外，我也經常出席亞洲照明設計論壇(ALDF)，增進和其他國際照明設計師的交流。最近我也開始在一所大學里面講課，我非常樂意把我的知識和實踐經驗傳授給我的學生們。更重要的是，韓國政府也越來越重視設計考察，成立了多個顧問團，我自己也有參與其中，負責公共設計和標識設計領域的顧問工作。

　　Alighting Design: What’s the biggest change of both the industry and yourself?

　　《阿拉丁·設計》：這些年來，韓國照明行業最大的變化是什么?你自己又有什么變化?

　　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：我認為燈光設計應該緊跟當下的流行趨勢，比如可以跟隨時裝設計的步伐。時裝設計師需要不停地設計出新產品，但對照明設計行業來說，比如LED就很難跟上這種迅速的步伐。因此，照明設計師必須培養自己隨機應變的能力，雖然很難。2012年2月，韓國政府頒布了燈光污染防治法案。這項法案能夠有效控制燈光的濫用，但同時也讓照明設計師陷入窘境，更需要他們在設計燈光的時候做好充分的考量。包括我自己在內，我們都在努力尋求一個解決的方法。

　　Alighting Design:Have you got projects in China? How do you think of the lighting design industry in China?

　　《阿拉丁·設計》：您在中國有項目嗎?您怎樣看待目前中國照明設計行業的發展?

　　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：我正計劃在中國做一些燈光展示類的項目，我相信跟中國設計師的合作定能獲益良多。因為他們更擅長于從宏觀角度來審視一個項目，而我，作為一個韓國設計師，則更傾向于關注細節。兩者相結合，我想肯定能達到最完美的效果!

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

　　《阿拉丁·設計》：您有為自己的房子設計燈光嗎?是什么樣子的?

　　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：之前我剛搬入新房子，就想著自己裝修，也找來一位室內設計師征求他的意見。為了讓家人感受到舒適的燈光環境，我采用的都是間接光。比如，我將壁燈換成了LED燈，布置了落地燈，讓燈光溫和而舒適。我也用了印度S公司的燈具產品，晚上照明，白天裝飾，我的孩子們對此非常滿意。

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

　　《阿拉丁·設計》：對于年輕設計師們，您有什么建議?

　　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：在學校上課的時候，我問這些大學生們，如果他們成為了照明設計師，那他們的優勢在哪里?他們回答說他們擅長于規劃方案。但其實，規劃方案只是照明設計中的一個小角色。要想成為一名合格的照明設計師，他們必須理解空間，因為“光”只是用來表現空間的工具。就我自己而言，我會自己拍下一些照片，然后觀察對比別人拍的照片，以增強對空間的理解。這樣的練習能幫助照明設計師在只有建筑平面圖和實景圖的情況下更好地理解空間，并找出適當的設計方案。