個人簡介

　　Paulina Villalobos在位于智利北部的阿卡塔馬沙漠長大，這是世界上最干燥的地方，接受著異常強烈的太陽輻射，同時也擁有便于天文觀測的清澈天空……也許這都是Paulina迷戀上“光”的伏筆。Paulina畢業于智利大學建筑學院，在某次設計大賽中憑借一個文化中心的建筑項目脫穎而出，此后便在圣地亞哥開始了三年的建筑師生涯。隨著經驗的積累，她漸漸發現光在建筑中的重要性，開始輾轉日本、德國和瑞典，尋求系統、專業的學習。幾年后她回到智利，成立自己的燈光工作室DIAV(Dise?o Iluminación Arquitectura Verde)，專注燈光設計和能源顧問。

　　2005年到2008年期間，Paulina被任命為智利一本建筑雜志的主編，同時，她也是技術雜志《Alumundo》關于燈光設計的專欄作者。2006年，她與Luxia照明合作開展名為Noche Zero的光研究項目。從2008年開始，Paulina受聘為瑞典皇家理工學院燈光設計研究生專業的講師。此外，她也經常給智利建筑師們授課，培訓照明相關知識。

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

　　《阿拉丁·設計》：你是怎樣進入照明行業的?

　　PV:I started working in a big office when I graduate as an Architect, and discovered there was a very specific specialization for the lighting, which is the nicest part people worried about among all the construction issues.

　　PV：我剛畢業是在一家大型設計公司當建筑師，當時就注意到燈光這個特殊的范疇，這也是整個工程項目中最讓人賞心悅目的部分。

　　Two years later I design my first building (by myself!) a Cultural Center, then I realized I had no clue about lighting! So I decided to go abroad and studied to improve my architectural skills. I went to Germany for a Master course in Architectural Lighting Design in Wismar, after finish it I went to Sweden to study more about light, at KTH in Stockholm. I felt in love with light. I forgot that I was an Architect! Now I consider myself as a Lighting Designer.

　　兩年后我獨立完成了自己的第一個建筑作品——一個文化中心，并意識到我對燈光一無所知!我決定出國深造，在德國維斯馬完成建筑燈光設計的碩士課程之后，又繼續前往瑞典皇家理工學院學習。這時候我已經愛上了“燈光”，忘卻了建筑師的身份。現在，我把自己看作是燈光設計師。

　　I started my own company DIAV in 2005, with one desk and my laptop. Since then it has being growing little by little. Now, to celebrate the 10 years of DIAV I came to Asia to try this challenging and vibrant context.

　　2005年我成立了自己的公司DIAV，從只有一張桌子一臺電腦一點一點發展起來。十年后的今天，我們來到亞洲，希望能在這片充滿挑戰和活力的土地上繼續學習和成長。

　　Alighting Design: Were there designers that influenced you when you started in lighting?

　　《阿拉丁·設計》：在你進入照明行業時，有沒有哪個前輩設計師對你產生過啟蒙影響?

　　PV: My first heroes were my teachers and mentors. I can recall Jan Ejhed and Kai Piippo from Sweden, Vesa Honkonen from Finland, Erick Selmer from Norway, Louis Claire from France, Kaoru Mende from Japan. Later, after finish my studies I can mention the inspiration and energy from Gustavo Avilés from Mexico and Martin Lupton from UK. I think all of them influence me in the way to approach the work and to make me wonder “That is the mood and ambiance in which I want to work”.

　　PV：有，我的老師們，像瑞典的Jan Ejhed、Kai Piippo，芬蘭的Vesa Honkonen，挪威的Erick Selmer，法國的Louis Claire，日本的Kaoru Mende;也包括踏出校門之后遇到的精神導師Gustavo Avilés(墨西哥)和Martin Lupton(英國)。他們都在我的照明事業上推波助瀾了一把，讓我知道，這就是我想要的工作。

　　Alighting Design: What fascinates you the most about light?

　　《阿拉丁·設計》：燈光最吸引你的是什么?

　　PV: The power of light is to be used as a tool of space design , to create mood and emotion. It’s very technical, but the main guide is artistic. Design with light is about understanding the space to be lit and the people who will use it and feel it. Sometimes it is like working with music, which is immaterial, you just can imagine the final result.

　　PV：燈光最大的魅力在于營造空間氛圍和情緒。事實上，充滿技術性的燈光設計其實是由藝術性來引導的。設計師既要充分理解空間的結構，也要了解使用者的體驗和感受，所以，燈光設計有時候就像無色無形的音樂，你只能靠想象力。

　　But what it really fascinates me is the design process, the creativity to deliver a design concept that will be experienced in an architectural space or in a landscape or urban place. In that process I have fun and enjoy doing it.

　　但真正吸引我的是設計的過程，把充滿創意的構想實踐在具體的建筑、景觀和城市規劃中，正是我的志趣所在。

　　Alighting Design: What is your design philosophy?

　　《阿拉丁·設計》：你的設計理念是什么?

　　PV: Design with a concept. To deliver a concept you need to brainstorm with your head, heart and guts. I also make the exercise to treat the architectural or landscape project as a person, and ask him/her: How do you wish to be lit?

　　PV：遵循你的設計概念，而設計概念通常源自于殫精竭慮的頭腦風暴。我會把建筑或者景觀項目想象成一個“人”，然后問他：“你希望怎樣被照亮?”

　　You can solve a problem by distributing luminaires with a nice layout and calculating the lighting levels, but that is not design. The design process must start with a concept design, which will be the guidance to work with the light.

　　當然，漂亮的布燈和準確的照度計算能解決照明的具體問題，但那不是燈光設計。設計必須從設計概念開始，因為它將是后面工作的總指揮。

　　Alighting Design: What do you think of the relationship between architecture and light? How do you fuse them?

　　《阿拉丁·設計》：你怎樣看待建筑與照明的關系?怎樣將二者融合?

　　PV: The design process between architecture and lighting is very similar. In the way I was trained to be an architect, first you have to gather information and make an analysis of the context, climate, culture, functions, budget, timing, how people will use it, expectations and so on. Also there is a research for inspiration, find similar projects, and innovative solutions, after that comes the brainstorm for the concept or main ideas. The tools in architecture to develop those ideas are solid and concrete to work with shapes and space. But light is immaterial, so the tool is more poetic, even though the process is very similar. Light is for the people and the architecture, so you have to understand the building as good as the people who will use it.

　　PV：建筑和照明的設計過程非常相似。作為建筑師，首先你必須搜集大量的資料，從中分析環境、氣候、文化、功能、預算、時間，以及使用者的期望等。然后你得尋求靈感，分析相似的項目，尋找革命性的解決方案，之后就是關于整個設計概念的頭腦風暴。盡管過程相似，但不同的是，建筑需要跟固態的有形的建筑材料打交道，而光是無形的，充滿詩意的。燈光是為人和建筑服務的，作為燈光設計師，必須把自己放在使用者的位置上，更好地解讀建筑。