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·設計》：您是怎樣將自己的照明事業從舞臺娛樂燈光，到建筑燈光和藝術裝置轉變的?這幾個不同領域之間有什么聯系?

　　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：我認為很大程度上是因為經濟形勢和機遇。在做建筑照明時，我嘗試把舞臺燈光的設計手法應用融入其中。其他一些業主們看了覺得很喜歡，問我可不可以也給他們的房子做這樣的設計。這是很自然而然的轉換，當人們愿意給你機會讓你嘗試，那你就去嘗試吧!藝術裝置也是一樣的。可以這樣說，在你的內心里應該有一個渴望，并且努力向公眾訴說。藝術裝置也一樣，也是來源于訴說和表達的欲望。

　　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.

　　三個領域之間又是很不一樣的。藝術裝置和舞臺娛樂項目里面會涉及到很多文化、系統性的元素，而建筑照明則更多地與生態學和設計思路相關，這也是我們可以借鑒用在舞臺和藝術領域的。我想，不同領域之間是相通的，這很有利于將三者融會貫通。

　　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·設計》：您和很多著名品牌，比如愛馬仕、可口可樂等都有過合作，您覺得燈光可以為品牌帶來什么?

　　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：我認為燈光設計對品牌精神的外化表現是負有直接責任的。我想大部分的品牌都知道燈光設計的重要性，除非他們是傻子。

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

　　《阿拉丁·設計》：您在世界各地都有合作客戶，您是怎樣滿足不同國家的文化需求的?

　　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：我想人們之所以會來找我們做設計，是沖著我們獨特的設計風格、設計理念和解決方案而來的。舉個例子，韓國的客戶并不希望我們提供韓國風的照明設計，他們希望將我們的知識和風格應用到他們的項目中。這也是在俄羅斯工作時面對的首要問題，他們說我不要什么俄羅斯特色，不如來點你們自己的特色吧?所以當你問起文化的問題，我并不是十分在意。我想這也是我們在全球各地都有設計項目的原因——將我們的獨特風格融入具體項目中。

　　當然，當我們去到一個新的國家，我們會去看、去聽、去感受，這些我們感受到的東西會在某些方面對我們有所影響，但不意味著我們必須將這些影響應用在項目上面。我覺得最重要的是，人們喜歡我們，是因為他們喜歡把我們的設計風格揉入他們項目中。

　　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·設計》：可以跟我們聊聊您在2015米蘭世博會上的作品“生命之樹”嗎?其設計概念和最終的呈現效果是怎樣的?

　　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：這里面包含了“日不落”的概念，成功滿足了對燈光的表現和控制的要求。“日不落”的概念只是第一步。然后，我們將世博會上的重要象征、重要特點爛熟于心，消化再現為“生命之樹”的重要設計元素。有些象征元素甚至在世博會創辦之前就已經在其他建筑上出現了。我們希望經過一天的觀展之后，來自世界各地的游客可以在這里稍作歇息，花上十分鐘的時間，好好看看這些生命的構成元素，以及意大利的文化符號。生命的元素表現了我們對于破壞大自然與人類之間和諧關系的愧疚，我們希望在這個項目中重現人類與自然的和諧。這是基本的概念，其他則是將美麗的文化符號轉換成科技元素。

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

　　《阿拉丁·設計》：您有為自己的房子做照明設計嗎?是什么樣的?

　　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：當然有。我的房子里70%的燈都是白熾燈，其余2,700K的LED高質量暖光源，大多用在廚房、衛生間和浴室。在我的房子里，你絕對找不到任何熒光燈或者緊湊型熒光燈。我有很多很老的燈具或者藝術燈具，所以我只會選用與之匹配的白熾燈。另外，一些60年代意大利古老燈具跟LED搭配起來也很協調。

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

　　《阿拉丁·設計》：對于年輕設計師們有什么建議嗎?

　　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年的時間去理解和學習照明。今天如果有人給我看一張照片或者問我一個照明上的問題，我95%的把握可以看出其中的關鍵并給出一個合理的解決方案。我想對年輕設計師說的是，跟有經驗的人取經吧，有很多值得你去學習和探索的東西。照明并不是那么簡單，因而跟世界各地有經驗的人共事就顯得非常必要了。我的建議是，在獨立做你自己的設計之前，用3-5年的時間去跟獨立設計師學習，積累經驗。

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

　　《阿拉丁·設計》：能給我們分享一些您自己最喜歡的作品嗎?

　　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：我最喜歡的自己的作品……我想是正在做的這個或者是未來將要做的某個吧。目前為止，沒有哪個作品我覺得是完美的，很多都或多或少有點缺陷，有時候甚至是很糟糕的。要我說，我最滿意的作品大概還在我的腦子里。