Alighting: How do you define yourself as a lighting designer?

　　《阿拉丁》：作為一名燈光設計師，您怎么評價您自己?

　　CJ Brockway: Technically, a lighting designer is half-artist, half-engineer, someone who understands how light behaves scientifically and can help to aesthetically manipulate our perceptions of space.

　　CJ：從技術上講，燈光設計師一半是藝術家，一半是工程師，他們既懂得燈光的科學工作原理，又能從審美上影響我們對空間的感知。

　　Alighting: What is your design philosophy?

　　《阿拉丁》：您的設計理念是什么?

　　CJ Brockway: What a big question! I don’t know if I have an established design philosophy yet. I appreciate the mentorship of some of the fantastic designers I’ve had the opportunity to work for. I suppose right now I feel like saying, “Don’t be afraid to try something new, and then take the time to make it work”.

　　CJ：好大的話題!我不知道我是否確立了自己的設計理念。我很感激自己曾有幸為一些出色的設計師工作，并且從他們的言傳身教中成長起來。我此刻很想說：“不要害怕做新的嘗試，別著急，花點時間讓它為你所用。”

　　Alighting: What attract you the most? The process of designing, the sense of achievement after finishing a work, or something else?

　　《阿拉丁》：是什么讓您覺得快樂?燈光設計的過程?還是燈光作品帶來的成就感?還是別的什么?

　　CJ Brockway: Both. If you don’t like the process of design then you’ve picked the wrong field. Our work can be grueling with long hours, fast deadlines, technical rigor… but also with beauty, free flowing creativity, social engagement, and environmental importance. Seeing completed projects is icing on the cake.

　　CJ：兩者都有。如果不熱愛設計的過程，那么你就入錯行了。長時間的工作會讓人筋疲力盡，還有迫在眉睫的截止時間和嚴格的技術要求……但當然也伴隨很多美好的事、自由流淌的創造力、社會交往，還有環境保護的重要意義。而看到作品出爐更是錦上添花。

　　Alighting: Is lighting design a very popular occupation in America?

　　《阿拉丁》：燈光設計師在美國是一個受歡迎的職業嗎?

　　CJ Brockway: No. I don’t think lighting design is very popular anywhere!

　　CJ：不，我覺得燈光設計在任何地方都不是一個大眾型的職業!

　　Alighting: There is no doubt that you are a lighting designer with rich experience. Why did you choose lighting design as your Major in college?

　　《阿拉丁》：毫無疑問，您是一個閱歷非常豐富的照明設計師。請問您大學時為何會選擇照明設計作為您的專業?

　　CJ Brockway: I studied theatrical lighting design in college. It was the perfect blend of art and science. I liked the hands-on aspect of theatrical design and instant gratification of seeing one’s work put on stage. I now like the permanence of architecture, but always like to mock-things-up to make sure my expectations are correct on how light works. Calculations and renderings often lie.

　　CJ：我在大學期間學習的專業是舞臺燈光設計，它完美地融合了藝術和科學。那時候，我喜歡親自動手設計舞臺的過程，喜歡看到自己的作品出現在舞臺上那一瞬間的滿足感。但我現在更喜歡建筑的持久性，經常會通過實景模擬確定燈光的效果是否符合我的期望，因為照度計算和渲染圖經常會說謊。

　　There are so few schools IN THE WORLD that teach architectural lighting design, most people come to our profession without formal training. For this reason it is very important for us to understand and mentor young designers who work at our firms, and contribute time and energy in support of the educational institutions around us.

　　在全世界范圍之內，開設建筑燈光設計專業的學校是如此之少!大多數人沒有經過專業的教育而自學成才。正因為如此，理解和引導在這個領域工作的年輕設計師，貢獻出一些時間和精力來支持我們周圍的教育機構顯得如此之重要。

　　Alighting: You had done jobs related to lighting such as being a stage lighting distributor and a lighting programmer. Do those experiences helpful to your current job?

　　《阿拉丁》：您做過一些跟燈具有關的工作，例如舞臺燈具分銷商，照明程序員。您認為這些經歷對您現在的工作有幫助嗎?

　　CJ Brockway: Absolutely. I think a hands-on approach to lighting helps one to better understand how light works. Lighting controls seems to be one of the most difficult aspects of our jobs, with constantly changing technology. It’s not necessary, but perhaps useful to understand the binary world of DMX.

　　CJ：絕對是有幫助的。我認為各種與燈具有關的實踐經驗能夠讓人更好地理解燈光。隨著技術的不斷發展，照明控制似乎成為了我們工作中最困難的部分之一，雖然這不是必須的，但它也許會對理解DMX的二元制世界有幫助。

　　I also found it useful to work for a short time in sales, and as an electrician. It’s good to know what it takes to procure lighting, as well as to feel comfortable getting your hands dirty. Oh, and it was good practice climbing ladders!

　　短暫的燈具銷售和電氣工程師的經驗也讓我受益匪淺。你可以從中了解到燈具的發光原理，并且對弄臟雙手這樣的事感到怡然自得，噢，還有，你還可以練習爬梯子!

　　Alighting: You have done lighting design for different types of building. Is it a challenge to design lighting for variety of building types?

　　《阿拉丁》：您做過很多不同類型建筑的照明設計，為各種類型的建筑做照明設計是否是很大的挑戰?

　　CJ Brockway: Yes, I do think it is a challenge, because some spaces have special requirements for types of products use and human functions that light needs to serve. For example, the type of lighting required for an MRI (Magnetic Resonance Imaging) suite will be very different than a restaurant, or an office, or a convention center. But, the properties of light and how it behaves in space are the same.

　　CJ：是的，的確是一個挑戰。因為一些空間對燈具產品的類型和人性化的功能有特殊的要求。比如說，一個 MRI磁共振成像室對燈光設計的要求，是遠遠不同于一個餐館或者辦公室或者會議中心的。但是，光的屬性以及它在空間上如何表現這一點是相同的。

　　Alighting: You have clients not only from the United States, but also from China, Russia and other countries. How do you meet the cultural needs of different countries?

　　《阿拉丁》：您做的項目不僅在美國，還有在中國、俄羅斯等不同的國家。您如何考慮不同國家的文化需求?

　　CJ Brockway: Good question. Some say that people in different countries like different types of lighting. Perhaps this is true. The science of the eye, however, works the same.

　　CJ：問得好。有些人說，不同國家或地區的人偏好不同類型的燈光。這也許是真的，然而，人眼的工作原理都是一樣的。

　　I’ve also heard it said that Chinese people prefer cool color temperature light. My experience has shown this to potentially be false. Yes, for a long time many spaces were lit with cool and low cost fluorescent lamps, but I have received requests from clients in China for warmer color temperature light in interior spaces. People everywhere want light to be comfortable, not harsh and glaring.

　　我還聽說，中國人偏好冷色溫的光，但我的經驗告訴我這可能是錯誤的。是的，在很長一段時間里，很多地方都使用了低成本、冷色的熒光燈，但我也收到了一些中國客戶在室內使用更暖色溫的燈光的要求。不管來自哪里，人們都希望燈光是舒適的，而不是粗糙的、刺眼的。

　　As to how to meet cultural needs of different countries, I think every client is different, even within the same culture/country, and requires investigation to their specific needs as part of normal project research.

　　至于如何滿足不同國家或地區的文化需求，我認為每一個客戶都是不同的，即使是在同一個國家或相同的文化環境下，他們的需求也會有所不同。因此應該將對他們具體需求的調查研究納入到常規的項目研究里面去。

　　Alighting: How to balance of the functionality and aesthetics in a lighting design?

　　《阿拉丁》：照明如何能做到功能性與審美性兼顧?

　　CJ Brockway: As a “designer”, the balance of functionality and aesthetics is a normal part of the design process. To answer “how” would be to describe the normal course of our work.

　　CJ：作為一個設計師，平衡功能性和審美性就是設計過程的一部分。要說到“怎么做”可能就要描述我們常規的設計流程了。

　　I will say that many designers are artists at heart, and especially during the beginning portion of a project it is important to think about the artistry of a space, how it wants to feel, look, and the story the space should communicate about a client’s brand. After sufficient exploration we get technical, and figure out how to make a design work!

　　我會說，很多設計師在內心里面其實是一個藝術家，尤其是在一個項目開始的時候，思考空間的藝術性是非常重要的——它需要給人什么樣的感覺，什么樣的外觀，以及通過空間怎樣傳達客戶品牌故事。經過技術層面的充分論證與探索，我們找到完成這件設計作品的方法。

　　Alighting: What do you think is the most important factor for a lighting design?

　　《阿拉丁》：您認為做燈光設計最重要的因素是什么?

　　CJ Brockway: People. We should always think about the people who have to work in the spaces we design. What do they need? How do they want to feel? Lighting for visibility and emotion.

　　CJ：人。那些將要在我們設計的空間里工作的人，是我們要時刻考慮到的。他們需要的是什么?他們想要得到什么樣的感受?燈光設計應該為視覺和心理的雙重感受服務。

　　Second, sustainability. I know you didn’t ask, but I want to mention the importance of the decisions we make relative to energy efficiency and the future of our planet. Will the lights we specify today be in landfills in 10 years? Is it better to have a cheaper product or a higher quality product that will last longer? Is it appropriate to illuminate a boring architectural fa?ade, or would our communities benefit from a bit more darkness? Let’s save the fa?ade lighting for special cities and locations only – not everywhere!

　　其次是可持續性。我知道你們沒有問及，但我想強調，我們今天所做的關乎能源效率以及地球未來可持續發展的決定是至關重要的。我們今天所用的燈具十年之后會被廢棄在垃圾填埋場嗎?是使用一個成本更低的產品好，還是一個質量更優壽命更長的產品好?一個平淡無奇令人乏味的建筑真的適合用燈光去照亮嗎?也許我們的社區在黑暗之中更能享得一份安寧?何不讓我們把外立面照明應用在那些特殊的城市和地區，而不是任何地方!

　　I may be shooting myself by saying this, but let’s push back on the clients who think they want something super fancy and bright, just to make a temporary statement. Soon their neighbor will want it too.

　　我這似乎是在搬起石頭砸自己的腳，但我們想一想那些客戶，他們希望做出一些充滿想象力、非常酷炫的東西來，卻不知道這些都是過眼云煙，很快，他們的鄰居也會想要并且做出類似的效果。

　　Alighting: Have you ever done lighting design for private residence? What about your house?

　　《阿拉丁》：您是否為私人住宅做過燈光設計?您家里的燈光是否經過您的特別設計?

　　CJ Brockway: Yes. Private residences can be very fun, and also mind-blowingly difficult! Home-owners usually care very much about the space where they live, so much so that every decision weighs 1000 kilos. We carefully select lights to fit their budgets, and later focus lights in their personal space. We get to know them. Often we make friends and hopefully obtain repeat work or recommendations to their friends.

　　CJ：有。私人住宅的設計很有意思，但同時也異常地困難。住宅的主人們通常會非常在意他們居住的空間，所以我們做燈光設計的每一個決定都似有千斤重。首先我們會細心選擇符合屋主預算要求的燈具，隨后再從中挑選適合他們私人空間的燈具，因此我們必須嘗試去了解他們。通常我們會和他們成為朋友，也希望由此獲得相同的工作或者被推薦給他們的朋友。

　　My house? Ha! I’m a lighting designer. I can’t afford the lighting I most want to specify! Actually I think lighting designers often make many small choices about their living spaces, place lights carefully, use dimmers everywhere… I like a little color, maybe an uplight tucked into a corner or two, and I think about how my house looks from the street!

　　我的房子?哈哈!我是一個照明設計師，但我卻負擔不起自己最想要的燈光效果。事實上，我覺得照明設計師經常會在他們的生活空間里做很多小小的設計，仔細地擺放燈具，或者到處放置調光器。我個人喜歡加上一點點色彩，或者在角落里塞一兩個向上投光燈。并且，我還會考慮我的房子在街道上看起來的效果。

　　Alighting: You have been a lighting designer for almost 15 years engaged in a lot of amazing lighting design projects, some of which won awards. Which project is your favorite design? Which do you think represents the highest level of your design? Good if you can share with Chinese readers.

　　《阿拉丁》：您做了15年的照明設計，也取得了不俗的成就。其中哪個作品您最喜歡?或者哪個作品代表了您的最高水平?請跟中國的讀者分享一下。

　　CJ Brockway: I feel most proud of projects I have the luxury of working on from start to finish. Often these are in the US, but think they are representative of high quality, thoughtful design. It is too hard to select a favorite, so here are three very different projects that each exemplify the importance of design FOR PEOPLE.

　　CJ：那些我有幸從開始到結束都全程參與的項目都讓我感到很自豪。通常這些項目都在美國，但都是高品質和精心設計的代表，很難選出一個最喜歡的。以下三個不同的項目都很好地佐證了“設計為人”的重要性。

　　項目1：

　　Name: University of San Francisco School of Science and Innovation

　　Design By: NBBJ

　　Completed Year: 2013

　　Area: San Francisco, California USA

　　項目名稱：舊金山大學科學與創新學院

　　設計機構：NBBJ

　　完工年份：2013年

　　所在地：美國加利福尼亞州舊金山市

　　A simple corridor at the new School for Science and Innovation at the University of San Francisco is a compelling experience to walk through, Considering both natural and electric light. It exemplifies.

　　舊金山大學科學與創新學院里面的一條簡單的走廊，從中穿行的體驗非常吸引人。在很好地考慮自然光和人造光上，它是一個典范。

　　項目2：

　　Name: PACCAR Imax Theatre

　　Designed By: NBBJ

　　Completed Year: 2013

　　Area: Seattle, Washington USA

　　項目名稱：佩卡 IMAX電影院

　　設計機構：NBBJ

　　完工年份：2013年

　　所在地：美國，華盛頓，西雅圖

　　With limited budget and clear design story, visitors to the Paccar Imax Theatre are treated to historical images of the 1962 World’s Fair in Seattle, in a venue that is now easy to maintain with operable overhead rigging and controls. The design pays tribute to the original architect and design visionary, Charles Eames. See before photo, calculation study and final result.

　　佩卡Imax 電影院的燈光設計有著明確的主題，但預算卻十分有限。現在，來到電影院的游客可以欣賞到1962年西雅圖世界博覽會的精彩圖片，我們通過懸掛在空中可操作的桿狀裝置和調光控制設備來給這個觀賞空間營造一個良好的燈光環境。這個設計是對原建筑師和設計大師Charles Eames的致敬。如圖所示，是改造前的照片，照度計算模擬研究和最終效果。

　　項目3：

　　Name: Large Software Company

　　Designed By: NBBJ

　　Completed in: 2012

　　Area: Beijing, China

　　項目名稱：一家大型軟件公司的辦公大樓

　　設計機構：NBBJ

　　完工時間：2012

　　所在地：中國，北京

　　The lobby of this computer company’s research and development headquarters in Beijing features exciting, integrated, colorful animated lighting treatments, encouraging staff to feel motivated and proud of where they work.

　　這家電腦公司的研發總部位于北京，它的大堂以令人興奮的、一體化的、充滿活力的彩色燈光為特征，激起員工積極向上的情緒和對自己工作的地方的自豪感。