记者：您认为欧洲设计师的特点是什么？
James: 欧洲的设计师特别是北欧的设计师，在建筑中运用大量的玻璃幕墙，然而在中国甚至包括我的国家-澳大利亚，也很少见。我们国家与中国南方一样气候炎热，因此也存在和中国南部一样的问题：如果我们在建筑中采用更多的玻璃，从而来引进更多的自然光，但同时我们也引入了更多热量。我们需要更多的能量增加空调的效能，我们需要更好地调温方案以降低室内的温度。所以某种程度上，采用玻璃幕墙并没有达到预期效果。关于这个问题我们需要依托现代科技在引入自然光的同时又避免带来热量的智能玻璃。
Editor: What’s the feature of European designers based on your
understanding?
James: the lighting designers in Europe, particularly in Northern Europe;
they are able to use a lot of glass in the building, something t we are unable
to do a lot in this region; even in Australia where I come from. We share
similar hot weather to Southern China, so it’s also the problem: if we
increase the area of glass in the building to let in more daylight, we also
run the risk of bringing in more heat into the interior space. This would
require more energy to make the air conditioner work harder, and we may
need a bigger conditioning plant. So, in one way it defies the purpose.
So what I would like to do is to refer the question because I think modern
technology now is creating very interesting intelligent glazing which can
bring in the light and keep out the heat.
编辑：请问目前欧洲的状况如何？能否通运用技术实现上述这一点？
James: 欧洲目前还没有实现这一点。全球的照明设计师都需要在自然采光的计算与预算方面有更深入的研究。从而能在这方面有所设计。多年前我也从事过关于自然采访计算方面的培训。但很多设计师对此并不感兴趣，因此专业设计师协会（PLDA）意识到我们需要在自然采光、自然采光技术培训我们的成员，以便他们应用到实际项目设计中，同时也需为客户、户主提供这样的培训机会。
Editor：What’s the condition at present in Europe; have you achieved it
by using the technology on this aspect?
James: We have not achieved it in Europe. Lighting designers around the
world need more education in terms of being able to handle the appropriate
daylighting concepts, calculations and predictions; then we can design this
stage. Some Lighting Designers have trained in daylighting design; many
years ago I trained in daylighting calculations. But not so many Lighting
Designers are very comfortable with it, so PLDA realizes that we need to
provide more education for our members on the subject of daylighting
theory and daylighting techniques, so they can become comfortable with
designing it. And also I think education should go to the greater public,
like the clients, and building owners.
记者：请问通过什么方式进行培训？
James: 一是对于我们的会员与学员，通过与更多大学合作，培训一些本科生与硕士生。确保他们讨论、讲解与检验每一个理论。并且他们把技术、材料结合考虑。二是对于我们的专业会员，通过杂志文章、社论来表达他们的看法，同时配合一些相关研讨会。三是展会，比如光亚展，法兰克福展以及意大利国际照明展（Euroluce）， 两年一届的意大利国际照明展是国际双年展（Salone Ufficio）的一部分。不仅为我们的成员，也为业主搭建了一个交流的平台,业主可以学习如何合理应用自然光，在保持成本运营的同时能适当提高房屋的租金。
Editor: In which kind of format to do such kind of education?
James: I think for our members and our students members, we need to do
more work with universities, and students of bachelor and master degree
majoring in lighting design should be taught. So we need to make sure that
they are talking about and teaching, testing each principle. And they are
also considering with current technology and materials as the first thing.
The second area is for our existing professional members; we need to
produce magazine articles and editorials to show their opinions, and we
also need some seminars for our members. And the third area is fairs, such
as the Guangzhou International Lighting Exhibition. Frankfurt fair and the
Euroluce fair in Milano, especially the Euroluce with every second year is
a part of Salone Ufficio. So we can create a platform not just for our
members but for the building owners and building designers to understand
how to use daylight while keeping the operating costs within reasonable
limits.
记者：您认为光亚展与法兰克服展最大的不同是什么？
James: 我个人认为，法兰克福展展出分为灯具和光源，尤其侧重后者。在欧洲， 我们仍旧在探讨金属卤化灯,高压钠灯，当然也有LED,LED作为固态照明的一部分。而在光亚展中，我觉得似乎 LED 占统治地位。在欧洲与澳大利亚好像没有这么多琳琅满目的 LED。
Editor: What is the biggest different between Guangzhou
International Lihgitng Exhibition and the Frankfurt fair?
James: In my opinion, the Light+ Building in Frankfurt includes more
variety of luminaries and light sources; it’s much greater in terms of light
sources. In Europe, we are still considering about metal halide, high
pressure sodium as well as LED which is only one of the family of solid
state lighting (SSL). In Guangzhou Lighting Fair, LED dominates the market,
but we have not seen so much LED in Europe or in Australia where I come
from.
编辑：不久前 PLDA 与 GSC 合作成立创意中心，请问该中心的成立对中国照明发展有何意义？
James: 该创意中心的成立是为改变广东照明的现状或对广州照明市场的看法。我认为广东集中全国80%的光源与灯具。但只有其中约30%收益。广东政府意识到为改变这一现状，价格需要调整，质量也需要提高，业内的看法也需要改变。因此我们如何做到这一点？他们采取了一系列措施，其中之一就是建立这个照明研发中心，他们邀请PLDA参与，我们介绍一些国际有经验的设计师来到中国研制高规格的产品。希望广州的制造商能够迎接这一挑战，这就是该创意交流中心存在的意义。
Editor: What’s the meaning of the founding of GSC cooperated
with PLDA?
James: The center was set up to change the current status quo or the
perception of the market in Guangdong. I think Guangdong produces 80%
of the light sources and luminaires from all of China, but only 30% of the
sales/profit volume.
记者：您怎么看待中国的照明设计师？
James: 基于我在中国的经历，我很欣赏中国照明设计师的工作，是高质量的。遗憾的是，这里很多设计师只负责理念设计，然后将理念转交给客户，我不知道之后的进展。但是在欧洲、美国、澳大利亚，设计师完全参与从理念到设计过程、细节设计，及后期的帮助与咨询。这是主要的不同之处。世界其他地方的照明设计师工作流程更长，相对而言中国的比较短，只限于理念，然而我要强调的是中国的一些项目中设计师参与到整个照明设计流程中，但这样的案例比较少。因此 PLDA 佛山的办公室让客户认识到照明设计师全程参与的重要性。同时，我们希望向中国推荐我们的专题讨论，通过不同的模型实践改善中国照明现状。
Editor: How do you think of Chinese lighting designers?
James: based on my experience in China, I was impressed by the work of
Chinese lighting designers. It’s of a high quality. Unfortunately, many of
the lighting designers here are only asked to do the concept. And then
they hand the concept over to the clients. I do not know what happens
after that. But in Europe, America and Australia, the lighting designers
are engaged to prepare the concept, the design development, detail design
and then assist and provide consultancy during the construction phase.
So that is the major difference. The work flow in the rest of the world for
lighting designers is much longer; it seems that it is quite short in China.
What I should emphasize is that in some Chinese projects, designers should
be asked to be involved in the whole lighting design process. But not so
often as we are. The PLDA office which will be in Foshan city will be used
to educate the clients to realize the advantages of having the lighting
designers at all stages. At the same time, we hope to recommend our
workshop program to China and to improve China’s condition based on
the practice of different models.
