KOERT VERMEULEN: THINKING ABOUT LIGHTING NOT ONLY DOING LIGHTING

　　KOERT VERMEULEN：要設(shè)計(jì)，更要思考

　　個(gè)人簡介Biography

　　Koert Vermeulen, founder, managing partner and principal designer of ACT Lighting Design. With over 20 years of experience in the fields of architecture, entertainment and art installations, Koert Vermeulen, is today a worldwide renowned lighting designer, with major successes.

　　比利時(shí)ACT Lighting Design燈光設(shè)計(jì)公司合伙人、設(shè)計(jì)總監(jiān)。Koert Vermeulen在照明行業(yè)已有超過20年的經(jīng)驗(yàn)，專注于建筑照明、舞臺(tái)娛樂燈光和藝術(shù)裝置等領(lǐng)域，完成了很多成功的作品，在國際上有很高的知名度。

　　Inspired by the modernity and creativity of his native city, Koert started his career in 1989, when he founded his first professional lighting & sound supply company. After founding ACT lighting design in 1995, Koert started to expand his work to entertainment lighting such as stage plays, urban operas, and then the architectural lighting and art installation, all of which are highly praised.

　　1989年，現(xiàn)代和創(chuàng)新意識(shí)開始滲透Koert的家鄉(xiāng)，深受觸動(dòng)的Koert創(chuàng)立了自己第一家專業(yè)燈具與音響公司。1995年成立了自己的燈光設(shè)計(jì)公司ACT Lighting Design，Koert的路越走越寬。從舞臺(tái)和娛樂燈光開始，漸漸把業(yè)務(wù)范圍擴(kuò)展至建筑和藝術(shù)裝置領(lǐng)域，并且都取得了非常出色的成績。

　　Koert Vermeulen is regularly invited to share his thoughts and expertise, by giving lectures and speeches at conferences. A guest professor from 2004 to 2008 at the prestigious Royal Academy of Fine Arts in Antwerp, teaching a course on “Lighting Design”, Koert is also a member of the International Association of Lighting Designers (IALD) and the Themed Entertainment Association (TEA).

　　工作之余，Koert也常常受邀以講座和會(huì)議演講的形式分享他個(gè)人的理念和專業(yè)知識(shí)。Koert曾于2004年-2008年之間擔(dān)任比利時(shí)安特衛(wèi)普皇家美術(shù)學(xué)院的客座教授，講授燈光設(shè)計(jì)課程。同時(shí)，Koert也是國際照明設(shè)計(jì)師協(xié)會(huì)和國際主題公園協(xié)會(huì)的會(huì)員。

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

　　《阿拉丁·設(shè)計(jì)》：您是怎樣進(jìn)入照明行業(yè)的?

　　KV: It’s the lighting industry that came into me. At the age of 14, I was already watching with lighting, and I knew early at that age that lighting would be my destiny and made decision to do something with lighting. It’s the time that I even didn’t know anything about lighting design. Lighting is just interesting to me. At that age, I started to buy lighting products for all kinds of small parties, fashion shows and concerts in my hometown. From that on, I went into some bigger concerts and worked as a stagehand for the big starts in America, UK, etc. That’s a big chance and I learned a lot of our industry.

　　KV：應(yīng)該說，不是我主動(dòng)走進(jìn)照明行業(yè)，而是它走進(jìn)我的生命。在我14歲的時(shí)候，我已經(jīng)開始跟燈、跟光打交道。也就是在那個(gè)時(shí)候，我就已經(jīng)感覺到這是我的宿命，并下定決心要做出一番成績來，盡管我對燈光設(shè)計(jì)還一無所知。燈光對我有著很不一般的吸引力。我開始在鄉(xiāng)鎮(zhèn)里舉辦的各個(gè)小型聚會(huì)、表演秀或者音樂會(huì)上奔波，為他們采購燈具。這是一個(gè)起步，后來我開始接觸到更大的音樂會(huì)，為來自美國、英國等世界各地的明星做舞臺(tái)管理。這是一個(gè)很重要的際遇，也是我大部分專業(yè)知識(shí)的來源。

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

　　《阿拉丁·設(shè)計(jì)》：在您入行時(shí)，有哪些設(shè)計(jì)師曾經(jīng)影響過您?

　　KV: When I was 14, there was no real lighting designer. People who did lighting did not only lighting, he did everything. He might load the truck, set up the lighting, be the consultant, and at the end of the concert, he put everything back to the truck…I really found out that there was real lighting designer when I was about 18 years old, that I understood there were actually people thinking about how to do lighting, and I thought I should be someone like that, thinking about lighting not only doing lighting. The most influential people were all from the theatre and the concert industry, like Michael, Mark…, they are my heroes. Then later when I was about 20, I started to look at the lighting artists, which I think is the other layer to lighting.

　　KV：可以說，當(dāng)我14歲“入行”的時(shí)候，還沒有真正的燈光設(shè)計(jì)師。那些處理燈光的人并不只是做燈光設(shè)計(jì)，他可能什么都兼顧。比如，在表演開始前他可能需要將燈具裝車，然后負(fù)責(zé)安裝燈具，充當(dāng)顧問，而表演結(jié)束后他再將所有東西搬回貨車上……到真正發(fā)現(xiàn)燈光設(shè)計(jì)師的存在的時(shí)候，我已經(jīng)18歲了。我第一次知道有人會(huì)切切實(shí)實(shí)考慮怎樣表現(xiàn)燈光，我立志要成為這樣的人，要用腦袋去思考，而不僅僅是動(dòng)手去做。對我來說，在職業(yè)生涯上影響我最深的都是來自戲劇和音樂會(huì)領(lǐng)域的大咖，比如Michael, Mark等等，他們都是我心目中的英雄。而到了20歲左右的年紀(jì)，我開始將注意力放在燈光藝術(shù)家身上，我想這是燈光設(shè)計(jì)的另一個(gè)層次了。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·設(shè)計(jì)》：燈光最吸引您的是什么?

　　KV: Lighting is energy, is one of the known energy that can be use in our life. We designers always try to control it. I was finally able to understand a little bit about what we can do maybe about 10 years ago. It still amazed me every day, not only the pure beauty of light, but also about how it influence people, which you can bring into health care or any other field. That’s the energy we actually control and is always possibilities.

　　KV：光是我們生活中已知的可利用能源之一，我們燈光設(shè)計(jì)師總是嘗試去控制它，而我也只是在大概10年前才了解到其中的一些皮毛。對我來說，燈光每天都是新鮮的。吸引我的不僅僅是它美麗的光線，還有它對人造成的影響，它所能進(jìn)入的領(lǐng)域(比如醫(yī)療衛(wèi)生)。這是我們所能控制和利用的，光充滿了可能性。

　　Alighting Design: What is your design philosophy?

　　《阿拉丁·設(shè)計(jì)》：您的設(shè)計(jì)理念是什么?

　　KV: It really depends on the projects. For architectural lighitng, we put human in the middle, and think about what would human beings feel, see, experience about this kind of lighting. You always expect a good show, so you put the human perspective in the middle. When we do architectural lighting and entertainment lighting, the design philosophy will be slightly different. In architectural projects, it’s very much human-centered, while sometimes in entertainment lighitng design, human-centered design could be pushed aside by the ego and the philosophy is more likely directed by the visual effect.

　　KV：我的設(shè)計(jì)理念通常取決于項(xiàng)目本身。對于建筑照明，我們會(huì)將人擺在重心位置，考慮人的感覺、視覺等多方面的體驗(yàn)。舞臺(tái)燈光也是一樣，要想達(dá)到最佳的效果，就必須要把觀眾的視點(diǎn)為主要參考。但建筑照明和舞臺(tái)燈光的設(shè)計(jì)理念又會(huì)有所區(qū)別：建筑照明非常講究以人為本，而舞臺(tái)燈光有時(shí)候則會(huì)受到自我意識(shí)的左右，同時(shí)更加傾向于追隨視覺效果。

　　Alighting Design: How is the lighting profession in Belgium? What changed most over the past 20 years about the industry and yourself?

　　《阿拉丁·設(shè)計(jì)》：在比利時(shí)，照明行業(yè)的發(fā)展如何?過去20年來行業(yè)最大的變化是什么?您自己最大的變化又是什么?

　　KV: The independent lighting design profession is not that huge in Belgium, and I think it’s not really important to a single country, I’d like to see it in the whole Europe. In the past 20 years, I think the influence of lighting designers has increased a lot, we are much more appreciated now than 20 years ago. I think only 5% of the buildings are designed with the lighting designer. That means 95% of the buildings are constructed and designed by other people, the architect, the engineer, the manufacturer, etc. Their influence is much bigger. But the changes I’v seen, is that for quality, people are going into the direction of independent lighting designers. If they really want the quality, they will find them. IALD, association of lighting designers, has getting into the European and the American governments, trying to get influence on regulations and laws. It’s the biggest changes that the quality of lighting becomes a big part with responsibility. With the icon, independent lighting designers really should work hard to continue that.

　　KV：獨(dú)立照明設(shè)計(jì)行業(yè)在比利時(shí)真的太小了，而且我想這對一個(gè)國家來說影響并沒有那么大，所以，我們還是以整個(gè)歐洲為視角吧。過去20年，我感覺照明設(shè)計(jì)師的影響力和自身價(jià)值都有很大幅度的提升。我想，只有5%的建筑的燈光是找專業(yè)設(shè)計(jì)師設(shè)計(jì)的，這意味著剩下的95%都是其他非專業(yè)人員，如建筑師、工程師、燈具廠商等完成的。但我也看到了一個(gè)可喜的變化——對質(zhì)量的追求讓人們對獨(dú)立照明設(shè)計(jì)師趨之若鶩。一些照明設(shè)計(jì)協(xié)會(huì)，像IALD，已經(jīng)漸漸進(jìn)入到歐洲和美國的政府系統(tǒng)，試圖在法律法規(guī)上得到更多的重視?？傊?，最大的變化是質(zhì)量成為了燈光設(shè)計(jì)中一個(gè)重要“義務(wù)”。被貼上這個(gè)標(biāo)簽，獨(dú)立照明設(shè)計(jì)師真的應(yīng)該繼續(xù)努力。