在海外专辑第一百二十四期 – 杜思宇

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海外存知己，天涯若比邻。在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。第一百二十四期为您介绍的是毕业于罗德岛设计学院、现工作于Olin Studio 的杜思宇。 A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.124 episode features Siyu Du who graduated fromRISDand is now working forOlin Studio.

走出舒适圈，看看外面的世界。 Step out of your comfort zone and take a look at the world outside. 印象最深刻的是自己思想的变化，逐渐觉得世界人民无论国籍种族，本质以及追求的目标都是相似的，只是不同环境下的不同表达方式。最开始的文化冲击，例如美国的学习氛围，聚会文化，职场文化甚至生活方式，逐渐演变成反思和认同。 What left the deepest impression on me was the change in my own thoughts. Gradually, I came to feel that people around the world, regardless of nationality or race, have similar essences and goals; they just express them differently in various environments. The initial culture shock, such as the learning atmosphere in America, the party culture, workplace culture, and even the lifestyle, gradually evolved into reflection and identification. 亲人，朋友和治安。 Family, friends, and public safety 短期没有回国发展的打算。但是会尽可能多回国陪伴家人。 I don’t have plans to return for career development in the short term. However, I will try to go back as often as possible to spend time with my family. 说清晰是不准确的，只能说更全面一点。内外的时候接受到的信息不同，看到的视角不同。我非常喜欢在同一项目，同一事件上同时看中英文的言论，会清晰的发现所在立场不同，观点也许有相似但是很难一致。任何观点都是必须有环境作为立场的，没有绝对的客观。 It’s not accurate to say it’s clearer, but rather it’s more comprehensive. The information received and perspectives seen are different when looking from the inside and outside. I really enjoy reading both Chinese and English commentaries on the same project or event, where it becomes clear that the standpoints are different. The viewpoints might be similar, but it’s hard to be completely consistent. Any viewpoint must be based on a context, there is no absolute objectivity. RISD是相对比较传统的学校，追求脚踏实地的理解空间，以人和不同生物的尺度理解空间，环境为本，提供价值，在此基础上追求设计的自我表达。学习当中非常强调动手能力却也鼓励形而上和天马行空的思考。 RISD is a relatively traditional school that pursues a grounded understanding of space, interpreting space from the scale of humans and various organisms, focusing on the environment as the foundation, and providing value. On this basis, it pursues self-expression in design. The learning process emphasizes hands-on ability but also encourages metaphysical and imaginative thinking. Olin也是一家相对传统的公司，重视空间的营造和景观的功能性。项目的可建成性会在设计最初期的时候就给予很多的考虑。在项目中后期对于细节的控制和项目建成后的可持续性有近乎偏执的追求。如果论人数，OLIN目前已经是美国前几大的纯景观设计公司了，作为女性执掌的公司，这里没有那种冷淡的“大企业”氛围，反而自上而下的努力营造一种家庭的氛围，年近古稀的老板最喜欢是邀请一堆人去她家开一些美食主题party。 Olin is also a relatively traditional company that values the creation of spaces and the functionality of landscapes. The buildability of a project is given considerable consideration right from the initial design phase. There is an almost obsessive pursuit of detail control in the later stages of the project and sustainability after its completion. In terms of staff size, OLIN is now one of the largest landscape-only design firms in the United States. As a female-owned company, it doesn’t have the impersonal ‘big corporation’ atmosphere. Instead, there is a top-down effort to create a familial atmosphere. The nearly septuagenarian boss’s favorite thing is to invite a bunch of people to her home for gourmet-themed parties. RIchard Long. 他很多雕塑作品以及大地艺术在我看来就是利用场地本有的东西来建立人为的秩序，有些秩序很微妙，有些又非常具有冲撞性，但是都不觉得突兀，这大概就是我理解在景观设计中刨去功能之后最精彩的内核。另外我个人非常喜爱他对岩石这一“单一”元素的解构与重塑。 Richard Long’s many sculptures and land art, in my view, are about using what is naturally present in a site to establish an artificial order. Some of these orders are subtle, while others are quite impactful, but none feel out of place. This is probably what I consider the most fascinating essence of landscape design, once you strip away the functional aspect. Additionally, I have a personal fondness for his deconstruction and reshaping of rocks, a ‘singular’ element. 在设计出发点上会有一个尺度比较小的东西，有时候小到接近工业设计或者匠人的范畴，作品存在非常多实体的实验性的模型，有一些非常具象化的“动手能力”，虽然不得不承认工作中确实电脑绘图还是效率高，但是在绘图风格上一直去作不同的一些尝试，尤其希望自己不只局限于电脑绘图而是以中比较混合的模式。 In terms of design starting points, there’s often something on a smaller scale, sometimes so small it approaches the realm of industrial design or craftsmanship. The works involve many physical, experimental models, and some very tangible ‘hands-on skills’. Although I have to admit that computer-aided drawing is more efficient in practice, I always try different drawing styles, especially hoping not to be limited to computer graphics but to adopt a more mixed mode. 本科的时候就一直再看，看了有十几年了。做的越来越好越来越全面了！在学术出版上如果能有更多的合作就更好了。 I have been following it since my undergraduate days, for over a decade now. It’s getting better and more comprehensive! It would be even better if there could be more collaboration in academic publishing. W O R K 01. 维护生机盎然的水渠 – 原始灌溉系统下的文化景观 PRESERVE VIBRANT ACEQUIA: INDIGENOUS IRRIGATION TECHNOLOGY BASED CULTURE LANDSCAPE ADVANCED DESIGN STUDIO DATE: NOV, 2017 TYPE: ACADEMIC, GROUP RESEARCH, INDEPENDENT DESIGN TUTOR: PROF. EMILY VOGLER

Acequia 是一个古老的重力驱动洪水灌溉系统，它延伸并穿梭于阿尔伯克基市。目前，Acequia 被称为“沟渠”，并被广泛视为城市中的遗留空间。然而，Acequia 系统内嵌着丰富的文化知识，为水和绿色稀缺的密集城市布局提供了河岸廊道。由于维护不足和农业退化，沟渠堤岸被冲刷水流严重侵蚀。设计的目标是使用模块化系统来解决侵蚀问题，同时也旨在振兴这些沟渠空间，并提供一个不同的视角。 The Acequia is an ancient gravity driven flood irrigation system that stretches and weaves through the city of Albuquerque. Currently the Acequia is referred to as “ditches” and is widely considered as left over spaces in the city. Embedded with immense cultural knowledge, however, the Acequia system provides riparian corridors spliced into a dense city fabric where water and green are scarce. Due to the low maintenance and agriculture degradation, the ditch banks are drastically eroded by water brushing through. The Goal of the design is to use a modularized system to solve the erosion problem as well revitalized these ditch spaces and attempts to offer a different lens.

探索始于对灌溉系统本身的理解，包括整体水循环系统以及为控制和维护系统所开发的各种古老机制。 The exploration starts with the understanding of the Irrigation system itself including the overall water cycling system and different ancient mechanisms developed to control and maintain the system.

作为一个灌溉系统，它不可避免地与生态及人们的居住环境紧密相连。为了振兴这个系统，我拟定了两个主要方法——对当地称为“Bosque”的生态栖息地的振兴，以及对现有沟渠渠道的侵蚀控制。 As an irrigation system, it inevitably tied closely to the ecology as well as people’s living habitat. In order to revitalize the system, two major approaches have been identified- the revitalization of the ecological habitat locally called “Bosque”, and erosion control of the existing ditch channels.

杨树是Bosque系统中的关键物种，无论在生态价值还是文化价值方面都占有重要地位。它需要洪水来繁殖，但现在却难以应对日益变干的Rio Grande洪水。设计的目标方法一即使是利用沟渠系统沿线的空地，通过可控洪水来培育杨树林以达到振兴生态栖息地的目的。 Cottonwood trees are the key species in the Bosque system both in ecological and cultural value. It needs flood to reproduce while now struggling with nowadays more and more volatile flooding in Rio Grande. The proposal is to foster cottonwood fields with controlled flooding utilizing vacant lots along the ditch system so it functions as an ecological revitalization boosting point.

同时，设计提出了一种模块化堤坝系统，旨在减轻渠道的侵蚀。在确定了两大目标方法之后，我投入了大量的时间去优化设计这个模块化系统，包括他的形态，安装，材料以及生产等等。最早的形式推敲开始于折纸，之后3D建模并进行3D打印。通过3D打印出来的模块在基于沙的水台上进行测试，这种模块可以很好的防止水对河岸的侵蚀并且可以用来捕捉水流中颗粒，尤其在真实环境中可以用来收集漂浮的杨树种子。同时我还进行了大量的材料测试，在各种可能性的材料中，最终选定以烧制粘土作为主要材料。当地的洪水平原有大量优质的粘土可以作为来源，而且无论吸水性还是耐水性抑或是外观都非常符合我的期望。在课程的最终，我利用CNC车床制作塑料模具用以浇灌石膏模具，最后利用石膏模具翻模成陶土模块。 At the same time, a modularized embankment system has been proposed to mitigate the erosion on the channel as well as harvest cottonwood seed working together with the cottonwood field. The modules have been 3D printed to test the performance of erosion control on a sand based water table. A type of locally sourced clay has been identified and tested to be used on the final fabrication of the module.

这个studio项目最大的亮点是不同尺度之间的转换以及要求比较高的动手制造能力。在进行设计的时候，思维会非常跳跃的从整个城市灌溉生态系统转换到大小不足半米的模块上。如果说对于大尺度的思考上还停留在纸面和数据上，那么模块的设计以及制作就会扎扎实实的把项目和场地相连。这种大小尺度的转换以及通说动手制作带给我的灵感在之后的工作学习中一直贯穿。 The biggest highlight of this studio project is the transition between different scales and the requirement for a high level of hands-on manufacturing ability. During the design process, the thinking leaps dramatically from the entire city’s irrigation ecosystem to modules less than half a meter in size. If the thinking about the larger scale still remains on paper and data, then the design and construction of the modules will solidly link the project with the site. This transition between large and small scales, as well as the inspiration from hands-on manufacturing, has continuously permeated my work and studies thereafter.

02. 生长的净化系统 LIVING FILTER ECOLOGY | SITE | DESIGN STUDIO DATE: MAY, 2016 TYPE: ACADEMIC, INDEPENDENT TUTOR: PROF. THEODORE HOERR

这个设计项目针对工业遗留下来的污染问题，专注于土地和水域的修复与复兴。策略包括通过建立一个逐步的植物群落来实现生态恢复，这些植物群落特别挑选用于修复被污染的土壤。同时，提出引入滤食性贝类物种，如牡蛎、贻贝、蛤蜊和扇贝，以自然净化相邻的河流。此外，一个综合的水管理系统，包括雨水花园、地下水箱和沉淀池，旨在减轻暴雨径流造成的污染物渗漏风险。这个修复过程的核心是将与该地点历史紧密相关的元素结合进来。反映该地点工业遗产的石结构、网状物和桩基被巧妙地融入设计中。这些特色不仅促进了生态修复，而且创造了供公众互动的空间。这些区域作为教育和娱乐平台，让游客能够见证景观的转变，并参与环境恢复的持续过程。 This design project addresses the legacy of industrial pollution at the site, focusing on remediation and rejuvenation of both land and water. The strategy involves a phased ecological restoration through the establishment of a progressive plant community, specifically curated to rehabilitate the contaminated soil. Concurrently, the introduction of filter-feeding shellfish species such as oysters, mussels, clams, and scallops is proposed to naturally purify the adjacent river. Additionally, an integrated water management system, featuring rain gardens, subterranean tanks, and sedimentation pools, is designed to mitigate the risk of pollutant leaching caused by stormwater runoff. Integral to this remediation process is the incorporation of historical elements intrinsic to the site’s past. Stone structures, netting, and pilings, reflective of the site’s industrial heritage, are thoughtfully integrated into the design. These features not only facilitate ecological rehabilitation but also create interactive spaces for public engagement. These areas serve as educational and recreational platforms, allowing visitors to witness the transformation of the landscape and engage with the ongoing processes of environmental restoration.

项目的探索开始与对场地历史以及现在环境的研究。研究尤其关注场地土壤和水流的污染问题。我发现场地中总体来看存在两大类污染，有毒物质的污染以及营养物污染。有毒物污染是为大的固体颗粒，由于工业与建造造成的残留。营养物污染多来自于废水排放等等。除了理论上的研究，我还制作了抽象化的手工模型来表达场地的现状。 The exploration of the project begins with a study of the site’s history and current environment. The research particularly focuses on the pollution issues of soil and water flow at the site. I found that there are generally two major types of pollution present on the site: toxic substance pollution and nutrient pollution. Toxic pollution consists of large solid particles, residues caused by industry and construction. Nutrient pollution often comes from wastewater discharge, etc. In addition to theoretical research, I also created abstract handmade models to represent the current state of the site.

利用生态的手法来净化场地成为了这个项目的主要目标。通过研究，我决定提出一个人工干预的植物的自然演替系统，用该系统来净化土壤中的污染物。同时双管齐下，利用4种不同的贝类有计划分批次分地点的投入水中，来净化水中不同的污染物。 Utilizing ecological methods to purify the site became the main goal of this project. Through research, I decided to propose a human intervened natural succession system of plants to purify the pollutants in the soil. At the same time, taking a two-pronged approach, I plan to use four different types of shellfish, strategically introduced in phases and at different locations in the water, to purify various pollutants in the water.

最终场地的设计呈现出一个生态半岛，用以减缓水流速度达到更高的净化效果。同时在沿岸设计不同层级的步道系统以及多种有趣的活动设施，并将很多场地上本就存在的元素融入到这些活动设施以及活动场地中去，包括碎石剧场，攀岩，划艇，木桩阵以及兜网。场地的最终形态将会是居民的社区公园，同时也是生态群落的社区公园。 The final design of the site presents an ecological peninsula, intended to slow down the flow of water for more effective purification. Along the coast, different levels of trail systems and a variety of interesting activity facilities are designed, integrating many elements already present on the site into these facilities and venues, including a gravel amphitheater, rock climbing, kayaking, piling arrays, and netted areas. The ultimate form of the site will be a community park for resident communities, as well as a community park for the ecological communities.

以生态的手段治理生态，人与自然共同相处从来都是现代景观中的核心议题。这个项目是我在RISD第二个学期的项目，从整个项目的叙事就可以看出，在这个项目中我的探索是以非人生物的角度去开始看待这个场地的，人的的活动以及介入是在后期再加以融合。这在一定程度打破了完全以人为中心的设计思考思路。 Managing ecology with ecological means, and the coexistence of humans and nature, has always been a core issue in modern landscape design. This project was my second-semester project at RISD, and from the narrative of the entire project, it can be seen that my exploration started from the perspective of non-human organisms in viewing this site. Human activities and interventions were integrated later on. This approach, to a certain extent, breaks away from the completely anthropocentric design thinking.

03. 不可见因子们 INVISIBLE ELEMENTS DESIGN PRINCIPLE STUDIO DATE: NOVEMBER, 2015 TYPE: ACADEMIC, INDEPENDENT TUTOR: PROF. SUZANNE MATHEW

这应该是RISD最核心传统的课程，基本可以说代表了RISD的景观课程风格 – 注重观察体会与动手。整个课程要求学生完全摒弃电脑绘图，如同匠人一般用最基础的绘图以及模型制作工具表达自己。在这个课程中，学生的设计以及思考关注于自然现象-如风、光、湿度，地形，土壤，地质运动，水流以及植物群落。项目开始于对自然的观察以及记录，结束于设计一个室外的“教室”用以体验式教学。 This should be considered the most core traditional course at RISD, essentially representing the style of RISD’s landscape courses – emphasizing observation, experience, and hands-on practice. The course requires students to completely abandon computer-aided drawing, expressing themselves like artisans using the most basic drawing and model-making tools. In this course, students’ designs and thoughts focus on natural phenomena – such as wind, light, humidity, topography, soil, geological movements, water flow, and plant communities. The project starts with the observation and recording of nature, ending with the design of an outdoor ‘classroom’ for experiential teaching.

课程的起始即全程使用基础的测量和绘画工具，甚至禁止使用除了黑白以外的色彩。我用炭笔，碳粉，铅笔记录下观察和体会到的每一个元素以及自然现象。这些东西无时无刻不存在我们的周围，只因我们作为人类我们过于熟悉他们，反而他们通常成为了“不可见”。最开始的观察体会就是让我忘记这些不可见的常识，重新打开感官去理解他们，理解他们如何存在，如何作用于彼此。一旦当你感受到平面的图纸已经难以表达这复杂的系统，我就开始付诸手工三维模型。手绘和手工模型无疑是非常耗时的，但正式这一笔一划和一榫一卯绘制让我不断搭建外界与大脑和手的联系 – 学会如何观察，研究以及输出。 The course begins and continues with the use of basic measuring and drawing tools, even forbidding the use of colors other than black and white. I used charcoal, graphite powder, and pencils to record every element and natural phenomenon I observed and experienced. These things are always around us, but as humans, we are too familiar with them, and they often become ‘invisible’. The initial observation and experience was about forgetting these invisible commonplaces, reopening my senses to understand them, how they exist, and how they act upon each other. Once you feel that flat drawings are insufficient to express this complex system, I began to create handmade three-dimensional models. Hand drawing and model making are undoubtedly time-consuming, but it is precisely this meticulous process of drawing and assembling that continuously builds the connection between the external world, my brain, and hands – learning how to observe, research, and output.

项目最后我选定了海边一块横跨三个生态系统的地块。这里有森林，咸淡水混合湿地，以及沙滩。这个体验式的教室意图用一些列空间意向去强调了不可见的“threshold”。这种生态的系统的区别本质是来源于水的含盐度 – 一种“不可见”的因子，设计意图利用地形的塑造来产生不同形态的潮池，配合弯度长度不同的步行栈道在不同的生态系统下停留，让本来我们习以为常甚至不可见的三种生态系统间空间的转换变得明显且有仪式感。在整个系统的关键转换区域嵌入人的活动聚集空间，满足对于“教室”的活动需求。 For the final project, I selected a site by the sea that spans across three ecosystems: forest, brackish wetland, and beach. This experiential classroom is intended to emphasize the invisible ‘thresholds’ through a series of spatial intentions. The distinction between these ecological systems fundamentally stems from the salinity of the water – an ‘invisible’ element. The design aims to use the shaping of the terrain to create different forms of tide pools, accompanied by deck promenades of varying curves and lengths that linger in different ecosystems, making the transition between the three familiar, and even invisible, ecosystems become apparent and ceremonial. In the key transition areas of the entire system, spaces for human activities are embedded to meet the ‘classroom’s’ functional needs. 尽管我在来RISD之前以及有了景观建筑的背景，但是不得不承认这个课程重新奠定了我对景观设计的基础理解。这种基础不仅仅局限于技术技巧，同时扩展到了思考方式和理解场地和现实世界的方式。 Although I had a background in landscape architecture before coming to RISD, I have to admit that this course reestablished my fundamental understanding of landscape design. This foundation is not limited to technical skills, but also extends to ways of thinking and understanding the site and the physical world.

04. 充满活力的地下世界 VIBRANT UNDERGROUND MASTER THESIS DATE: JAN, 2018 TYPE: ACADEMIC, INDEPENDENT TUTOR: PROF. MICHAEL BLIER

研究生的毕业设计，是一项在导师指导下的独立探索研究项目。导师最开始给的切入点是一个词汇“sublime”。这个切入点是非常形而上的，我们的首要任务是定义自己的“sublime”，无论你的语言背景是什么，即使进行再多的历史和语言学研究，每个人都会有主观的诠释。这个词没有直接对等的中文，在我的研究语境里面大概可以翻译为“崇高感”，“庄严感”。这项研究的目标是通过构建地下“sublime”，来振兴和重新利用被废弃的地下地铁站和月台，提升人们对城市地下重要性的认识。整个调查分为三个阶段进行。第一阶段，通过哲学、音乐、绘画和建筑研究来定义“sublime”，进一步将“sublime”定义为自然“sublime”和科技“sublime”。第二阶段，以地下空间作为“sublime”的载体，以纽约地铁为例，重点阐述城市地下空间对城市可持续性的重要性，并探讨对已经遗弃的地下空间的再利用的方法和可能性。第三阶段，实验从理解、抽象和解构曾对地铁系统产生作用的自然和技术力量开始。最后提出了一个试点提案，将抽象的理论转化为空间和活动。 This was my graduate thesis, an independent exploration and research project guided by my mentor. The initial point of entry given by the mentor was the concept of ‘sublime.’ This starting point was profoundly metaphysical, and our primary task was to define our own ‘sublime.’ Regardless of one’s linguistic background, when attempting to define an abstract and sophisticated emotional descriptor like ‘sublime,’ each individual inevitably brings a subjective interpretation, despite extensive historical and linguistic research. This term doesn’t have a direct Chinese equivalent, but in the context of my research, it can be approximately translated as ‘a sense of sublimity’ or ‘a sense of solemnity.’ The goal of this research was to construct an underground ‘sublime’ to revitalize and repurpose the abandoned subway stations and platforms, thereby enhancing the awareness of the significance of the urban underground. The entire investigation was divided into three phases. The first phase involved defining ‘sublime’ through research in philosophy, music, painting, and architecture, further categorizing ‘sublime’ into ‘natural sublime’ and ‘technological sublime.’ The second phase treated the underground space as a carrier of ‘sublime,’ taking the New York subway as an example, emphasizing the importance of urban underground spaces for urban sustainability and exploring methods and possibilities for repurposing these abandoned spaces. The third phase began with experiments to understand, abstract, and deconstruct the natural and technological forces that once acted upon the subway system. Finally, a pilot proposal was made, transforming abstract theory into spatial and programmatic interventions.

所有项目和研究均源于对“崇高”（sublime）概念的理解与探索。通过对历史和艺术的深入研究，我逐渐领会到“崇高”是一种充满矛盾和对立的情绪体验，例如火山喷发时所激发的恐惧与兴奋并存的复杂感受。这种“崇高”的情感对人类具有巨大的吸引力，从众多艺术作品中我们可以看出，这种奇观式的崇高与庄严体验是人们所向往的。我试图通过分析图和导向图来解构这种情绪的构成元素，以及其与空间和时间的关系。随着研究的深入，我发现“崇高”情绪在现代社会已分化为两个主要分支：自然“崇高”和科技“崇高”。我用一系列的视觉拼接来直观展示“崇高”的含义。通过对这种情绪的深入探究，我认为地下空间，特别是城市地下空间，是展现“崇高”情感的理想载体，它同时融合了自然与科技的“崇高”。 All projects and research stem from an understanding and exploration of the concept of ‘sublime.’ Through in-depth studies of history and art, I have come to realize that ‘sublime’ represents a conflict-ridden and contradictory emotional experience. For instance, the simultaneous fear and excitement evoked by a volcanic eruption encapsulate this complex sentiment. ‘Sublime’ holds a significant allure for humanity, as seen in numerous artworks, where this awe-inspiring and solemn experience is greatly sought after. I attempted to deconstruct the components of this emotion and its relationship with space and time through analytical and directional diagrams. As the research progressed, I identified two modern branches of ‘sublime’: the natural ‘sublime’ and the technological ‘sublime.’ I used a series of visual juxtapositions to intuitively express the essence of ‘sublime.’ Through this extensive exploration of emotion, I found that underground spaces, especially urban underground spaces, are ideal carriers of the ‘sublime’ emotion, blending both natural and technological aspects of ‘sublime.’

在探索地下空间的研究中，纽约的地铁系统无疑是城市最宏伟的地下空间系统之一。我们对当前运营的地铁空间非常熟悉，这种熟悉感往往减弱了“崇高”情绪的激发。相反，那些被遗弃的地铁站因其陌生性、反自然性和一定的恐怖感，成为了激发“崇高”情绪的最佳催化剂。同时，这些地下空间曾经耗费巨额投资建设，却因规划和城市更新而被废弃，这本身就是一种巨大的资源浪费。在我的研究中，我打算利用“崇高”这一情绪作为吸引人们的工具，以此来激活和振兴这些被遗弃的地下空间，使其重新成为城市的宝贵空间资源，并作为城市绿地网络的地下延伸。 In exploring underground spaces, the New York subway system undoubtedly stands as one of the most magnificent subterranean systems in the city. We are quite familiar with the currently operational subway spaces, and this familiarity often diminishes the evocation of the ‘sublime’ emotion. In contrast, abandoned subway stations, with their unfamiliarity, unnaturalness, and a sense of dread, act as the best catalysts for stimulating ‘sublime’ emotions. Moreover, these underground spaces, originally constructed with substantial investment, have been discarded due to planning and urban renewal issues, representing a significant waste of resources. In my study, I plan to use the emotion of ‘sublime’ as a tool to attract attention, aiming to reactivate and rejuvenate these abandoned spaces. My goal is to transform them back into valuable urban spaces, serving as underground extensions of the city’s green network.

深入探究激发“崇高”情绪的根源，实际上来自于人类对力量的敬畏。物体空间的变化都是力量作用的结果，如果这种作用超出了观察者的理解和控制范围，那么其表现就会引发观者产生“崇高”的情感。在地下空间的研究中，我首先探寻自然“崇高”的力量源泉。将时间尺度拉长观察，可以发现科技“崇高”实际上起源于自然“崇高”，并与之形成循环。对地下空间“崇高”情绪的激发始于对自然地下空间的研究。自然界中地下空间的形成是由多种力量作用所致，其中最主要的包括水流侵蚀、化学反应和地质运动。基于它们的形态特征，我将其类比于山体上的常见生态群落。接着，我选择了一个典型的废弃地铁站，通过拼贴和实体模型的方式来探究其空间所产生的情感冲击力。 A deeper inquiry into what sparks ‘sublime’ emotions essentially stems from the human reverence for power. The transformation of spatial objects is the result of force, and when this force exceeds an observer’s understanding and control, it evokes ‘sublime’ feelings. In the study of underground spaces, I first explore the sources of natural ‘sublime’ forces. Extending the temporal scale reveals that technological ‘sublime’ actually originates from natural ‘sublime’ and forms a cycle with it. The study of stimulating ‘sublime’ emotions in underground spaces begins with research into natural subterranean formations. These natural underground spaces are shaped by various forces, the most significant being water erosion, chemical reactions, and geological movements. Based on their morphological characteristics, I liken them to common ecological communities found in mountainous areas. Subsequently, I selected a typical abandoned subway station and used collages and physical models to investigate the emotional impact of its space.

城市地下空间无疑是人类建筑科技的杰作。在我看来，科技“崇高”所体现的力量主要在于建设和运用地下空间及其设施的科技。最终，我对自然与科技“崇高”进行了抽象的图示化表达。为了更直观地体验这种力量，我制作了一系列实验性的石膏模型。在这些模型中，使用石膏来模拟岩石和土壤，以观察各种自然和人为力量对其造成的形变及其展现方式。 Urban underground spaces are undoubtedly a testament to human architectural technology. In my view, the force embodied in technological ‘sublime’ primarily lies in the technology used for constructing and utilizing these underground spaces and their facilities. Ultimately, I abstractly illustrated both natural and technological ‘sublime.’ To gain a more intuitive experience of this force, I created a series of experimental plaster models. In these models, plaster is used to simulate rock and soil, allowing for the observation of the deformations and manifestations caused by various natural and artificial forces.

借助力的表现形式作为灵感，我设计了一系列的空间形态，作为“崇高”情感的体现。在此项目中，我希望通过植物的加入，使废弃的地铁站不仅成为一处奇观，还能成为适合人们参观和活动的空间。为了保证植物的生存，我还对地铁空间的可能绿色能源、采光和可持续利用进行了可行性研究，以促进其绿色发展。 Using the manifestations of force as inspiration, I developed a series of spatial forms to express the ‘sublime’ emotion. In this project, I aim to transform abandoned subway stations into not just spectacles but also spaces suitable for public engagement and activity through the integration of plants. To sustain plant life, I conducted feasibility studies on potential green energy sources, lighting, and sustainable utilization of the subway spaces to foster their green development.

在纽约众多废弃地铁站中，我对它们进行了分类，并尝试将之前设计的空间类型应用于实际尺度。我挑选了其中一个废弃地铁站，结合先前的形态研究，重新规划了这一站点，将其转变为集社区舞台和咖啡厅为主的地下社区公园。对我而言，这次探求极为独特。它从一个抽象的“情绪”形容词出发，展开探索，并最终将其应用于实践。在当代景观设计中，宏大叙事往往旨在解决问题，而以人的感受为核心的景观探索无疑同样具有极大的魅力和趣味性。 Among the numerous abandoned subway stations in New York, I categorized them and attempted to apply the spatial types developed in my earlier designs to a realistic scale. I selected one of these abandoned stations and, based on my previous research on forms, repurposed it into an underground community park centered around a community stage and a café. This exploration was uniquely significant to me. It began with an abstract adjective describing an “emotion,” unfolded into a broader investigation, and culminated in practical application. In contemporary landscape design, grand narratives are often problem-solving focused. However, a landscape inquiry centered on human emotions is undeniably fascinating and engaging in its own right.

05. 光之迷宫 LIGHT MAZE INSTALLATION WORKSHOP DATE: SEP, 2015 TYPE: ACADEMIC, TEAMWORK TUTOR: PROF. BEVERLY CHOE; PROF. JUN SATO

这个workshop也算是RISD的标志性课程了，每年都会有不同的外聘大师或者教师来主导，我们那年是来自日本的建筑结构大师佐藤淳。项目由我们十二名学生共同协作，连续两周在森林中建造一个金属装置。我们的探索重点在于铝板的材料特性，着重于空间围合和光线操控，装置的建造地点在罗德岛巴灵顿的提林哈斯特农场。整个结构完全由铝材自身维持。该装置由三种不同单元组成，每个单元由四种独特的模块构建而成。这些模块巧妙地由一百零八块3英尺（约1米）见方、四分之一英寸（约6.35毫米）厚的铝板制作，展示了铝材在户外环境中的多功能性和强度。 This workshop is also considered a signature course at Rhode Island School of Design (RISD), with different renowned masters or professors leading it each year. In our year, the leader was Jun Sato, a master of architectural structures from Japan. Situated in Tillinghast Farm, Barrington, RI, this project represents a collaborative effort of twelve students who dedicated two weeks to constructing a metal installation in the forest. Our exploration centered around the material properties of aluminum sheeting, with an emphasis on creating spatial enclosures and manipulating light. The structural integrity was maintained solely by the aluminum itself. The installation comprised three distinct units, each constructed from four unique module types. These were ingeniously crafted from one hundred and eight 3-feet square aluminum sheets, each a quarter-inch thick, showcasing the versatility and strength of the material in an outdoor setting.

与以往纸上规划不同，这个装置从一开始就注定要实际建造。对材料和结构的深入理解是确保其可建造性的关键。项目初期，我们使用一英寸见方的锡箔作为模型材料，通过直接手工折叠和弯曲这些小方块，开发出了一套快速建造的模组。同时，我们还制作了按比例的锡箔纸模型。 Unlike previous theoretical designs, this installation was destined for actual construction from the start. A profound understanding of materials and structure was crucial to ensure its buildability. In the initial phase of the project, we used one-inch square tin foil as the model material. By manually folding and bending these small squares, we developed a set of modules that could be constructed rapidly. Additionally, we created scaled models using tin foil to further refine our design.

模型开发成功后我们将其电脑建模并绘制成直观的图纸，同时微调了很多模组角度保证我们对空间的围合意向可以清晰的呈现。在这个过程中佐藤淳教授帮忙建立了力学模型进行计算并给与了结构优化的建议，在开始建造之前确保该装置的结构理论可行性。 After the successful development of the modules l, we created computer models and drafted intuitive drawings. During this process, we finely adjusted the angles of the modules to ensure that our intention of spatial enclosure was clearly articulated. Professor Jun Sato assisted in establishing a mechanical model for calculations and provided recommendations for structural optimization. All these efforts were aimed at ensuring the theoretical feasibility of the structure before commencing actual construction.

最终的实际建造过程分为两个主要部分。首先，我们将每片铝材制成单独的模组，由于使用了曲线弯折技术，为了确保每件的一致性，我们特制了木制的夹具和固定装置。这一部分的工作是在室内的木工房模型室完成的。第二部分是将这些初步拼装的模组全部运至现场，并在那里由大家共同完成组装。这是我在景观设计生涯中的第一个“建成项目”。完成这个项目，我对单一材料和结构的理解深度远远超出了我之前的经验。这样一个多人合作、共同努力的workshop，让我们汗水相连，至今回想起来都让我感到微笑与感动。 The final construction was divided into two main parts. First, each aluminum sheet was fashioned into individual modules. Due to the use of curved bends, we crafted wooden jigs and fixtures to ensure consistency among the pieces. This part of the work was completed in an indoor woodworking model room.The second part involved transporting all the preliminary assembled modules to the site, where everyone collaboratively worked on the final assembly. This was the first “completed project” in my landscape architecture career. Undertaking this project significantly deepened my understanding of a single material and its structure, far beyond my prior knowledge. The collaborative and coordinated nature of this workshop, where we all worked together and sweated it out, still brings a smile to my face and moves me when I think back on it.

06. 沃尔克中心城市综合体 VALLCO TOWN CENTER – THE RISE DATE: 2018-NOW TYPE: PROFESSIONAL PROJECT FIRM: OLIN Architect: RVA

毕业后我负责的第一个项目，没想到直到现在还未完工。由于种种原因，项目一度暂停。在这个团队中，我总共工作了四年，从一名初出茅庐的新人成长为能够管理和负责重要设计与沟通的专业人员。这个项目从一开始就设定了极高的基调和愿景。一旦建成，其绿色屋顶将成为有史以来建在结构之上最大的公共可进入景观之一。这一建设将代表在城市环境中融入一个庞大自然系统的独特机会，实现人与环境的共生。屋顶的开放空间旨在提供多样的生态系统服务，比如提升植物生物多样性、为候鸟和传粉昆虫提供栖息地、改善空气质量、加强暴雨水管理、减少城市热岛效应，以及带来运动和自然互动的诸多健康益处。项目的核心景观设计理念是融合基于Santa Clara Valley的历史自然和文化景观，以便为城市环境提供一系列自然生态系统，并能应对如长期干旱和全球气温升高等挑战性气候条件。 The first project I undertook after graduation is yet to be completed, surprisingly. Due to various reasons, it was temporarily halted, during which time I engaged in other projects. Over four years with this team, I evolved from a novice to managing and being responsible for significant portions of design and communication. The project set a very high bar from its inception. Once completed, its green roof will be one of the largest publicly accessible landscapes ever constructed on a structure. It represents a unique opportunity to integrate a large natural system into the urban environment, fostering a symbiosis between humans and nature. The open spaces on the roof are designed to provide a variety of ecosystem services: enhancing plant biodiversity, offering habitats for migratory birds and pollinating insects, improving air quality, strengthening stormwater management, reducing the urban heat island effect, and numerous health benefits from physical activity and interaction with nature. The fundamental concept of the landscape design is to integrate the historical natural and cultural landscape based on Santa Clara Valley, enabling the project to provide a range of natural ecosystems for the urban environment and to withstand challenging climatic conditions such as prolonged droughts and rising global temperatures.

原始的绿色屋顶项目愿景包括了城市农场种植园与自然景观在垂直方向上的结合。然而，由于预算等因素，城市农场和种植园最终不得不被取消。幸运的是，竖向的穿插结合和与地面相连的坡屋顶设计得以保留。项目同时致力于在城市环境中复原当地自然环境的不同植被类型。屋顶的高度随着坡度的变化，呈现出由海拔变化而形成的真实自然植物群落的特征。 The original vision for the green roof project included a combination of urban farms and natural landscapes in a vertical integration. However, due to budget and other constraints, the urban farms and gardens were regrettably omitted. Fortunately, the vertical integration and the sloped roof that connects with the ground were retained. The project also focuses on replicating different types of vegetation native to the local natural environment within the urban setting. The height of the roof varies with the slope, reflecting the real natural plant communities that change with altitude.

这个项目最大的建成性挑战在于在屋顶上复刻自然景观。为此，我们进行了大量研究，关注屋顶的坡度以及如何在不超过结构承受力的前提下塑造地形和种植多样的植被类型。 The greatest challenge in realizing this project was replicating a natural landscape on the roof. To address this, we conducted extensive research on the roof’s slope and how to sculpt the terrain and plant various types of vegetation without exceeding the structural load capacity.

作为一个综合体，这个项目旨在打造成为区域内的商业中心。除了屋顶景观作为项目的亮点外，我们还精心设计了地面层的街道景观和两个城市广场。其中一个广场设计作为写字楼的主要入口景观，而另一个广场则作为商业区的核心户外集会场所。在屋顶公园之上，还设有一层室外露台景观，作为高端住宅的附属设施，形成了一个空中花园。 As a comprehensive development, this project is dedicated to becoming a commercial hub in the region. Apart from the rooftop landscape being the highlight, we also meticulously designed the streetscape at the ground level and two urban plazas. One plaza serves as the main entrance landscape for the office buildings, while the other acts as the central outdoor gathering space for the commercial district. Above the rooftop park, there is an additional layer of outdoor terrace landscape, serving as an amenity for high-end residences, akin to a sky garden.

虽然只是一个项目，但它实际上涵盖了公共景观设计的所有类型。通过参与这个项目，我对几乎所有类型的景观项目的设计、结构和施工难点都有了更深入的理解。同时，我还学会了使用BIM等绘图和管理软件。由于项目规模庞大，团队成员众多，加上与各类其他学科的顾问和供应商的协作，这为我工作生涯打下了一个全面的基础。 Although it was a single project, it encompassed all types of public landscape design. Participating in this project significantly enhanced my understanding of the design, structure, and construction challenges associated with almost every type of landscape project. I also gained proficiency in drawing and management software like BIM. The project’s large scale and the extensive team, coupled with collaborations with consultants and suppliers from various disciplines, laid a comprehensive foundation for my professional career.

07. 哈德逊办公楼 HUDSON COMMONS DATE: 2017 TYPE: PROFESSIONAL PROJECT FIRM:TERRAIN WORK ARCHITECT: KPF

在2017年的三个月的实习期间，我主要参与了一个非常成功的项目，该项目不仅顺利建成，还忠实地体现了最初的设计概念。位于曼哈顿第九大道441号的Hudson Commons是一个具有创新性的商业办公空间，采用了Terrain Work独特的“城市山地”景观设计。这种设计理念巧妙地融合了不同高度上的植物群落、地层和空间规划，打造出三种独特的体验空间：The Grove、The Glades和The Apex。The Grove位于第9层，提供了一个树木茂盛的区域，适合进行户外工作和会议。在结构的中部，The Glades以其带有雕塑感的松树梯田景观为特色。而在顶部的The Apex，则以高山植物和醒目的花岗岩巨石为特点，提供了壮观的哈德逊河和城市标志性建筑的视角，与纽约市的天际线完美融合。 During my 3-month internship in 2017, I was fortunate to be involved in a project that was not only successfully completed but also faithfully implemented the original concept. Hudson Commons, located at 441 Ninth Avenue in Manhattan, is an innovative commercial office space featuring the unique “Urban Mountain” landscape design by Terrain Work. This concept ingeniously integrates plant communities, stratification, and spatial planning at different elevations, creating three distinctive experiences: The Grove, The Glades, and The Apex. On the 9th floor, The Grove offers a shaded area suitable for outdoor work and meetings. In the middle of the structure, The Glades showcases a terraced landscape with sculptural pine trees. At the top, The Apex features alpine plants and striking granite boulders, offering spectacular views of the Hudson River and iconic city buildings, seamlessly blending with the New York City skyline.

依照“城市山地”的总体设计概念，我负责设计并呈现了多种空间以及功能性的节点。整个铺装设计极具创意：我们从自然岩石表面的纹理出发，进行了抽象处理，并定制了五种不同的水泥砖，通过随机组合来模拟山地的效果。在Apex区域的景观设计是整个概念表达的亮点。这里我们放置了多个中空的岩石，并结合了景天属植物，从而营造出一种山顶的氛围。Terrain Work是一家极具创意的公司，无论在设计还是表达上都充满了大胆的尝试。在纽约这样的高楼大厦之上玩转岩石的体验，我相信在任何其他地方都是独特的。 Aligned with the overarching concept of “Urban Mountain,” I was responsible for designing and depicting various spatial and functional nodes. The paving design was particularly intriguing; it started with an abstraction of natural rock textures, leading to the customization of five types of concrete bricks. These were randomly arranged to mimic the effect of mountainous terrain. The landscape design in the Apex area is a highlight of the conceptual expression. Here, we placed several hollow rocks and incorporated Sedum plants, effectively creating the feel of a mountaintop.Terrain Work is a highly creative company, renowned for its bold endeavors in both design and expression. The experience of manipulating rocks against the skyline, as we did, is an experience I believe to be unrivaled atop any skyscraper in New York.

08. 沙漠风暴行动纪念园 DESERT SHIELD DESERT STORM MEMORIAL DATE: 2020-NOW TYPE: PROFESSIONAL PROJECT FIRM: OLIN Architect: CSO

位于华盛顿DC林肯纪念碑旁的这个项目具有重大的政治意义。我非常荣幸能作为主要景观建筑设计师参与其中。该项目旨在纪念90年代初美国领导的沙漠风暴行动，这一行动阻止了伊拉克对科威特的侵略，是海湾战争中的重要多国联合战役。项目中我们与雕塑家紧密合作，设计灵感源自沙漠沙丘，引导游客沿着刻有关键元素的路径前进，展现冲突的动态变化，象征美国军人的勇气，并展示全球团结的统一盾牌。作为景观设计师，我负责细节设计、与艺术家的协作以及与其他机构的沟通。这座纪念碑融合了艺术与历史，为反思自由和集体努力提供了一个深刻的空间。 The project, located next to the Lincoln Memorial in Washington, D.C., holds significant political importance. I am honored to have been a key landscape architect involved in this project. It commemorates the early 1990s’ Operation Desert Storm, led by the United States, which halted Iraq’s invasion of Kuwait, marking a pivotal multinational campaign in the Gulf War. In collaboration with sculptors, the spatial design, inspired by desert dunes, guides visitors along a path marked with key elements: depicting the dynamic nature of the conflict, sculptures symbolizing the bravery of American soldiers, and a unified shield representing global solidarity. As the landscape designer, my role encompassed detailed design, collaboration with artists, and liaising with other organizations. This monument, blending art and history, provides a profound space for reflecting on themes of freedom and collective effort.

游客沿着通往场地中心的蜿蜒路径行走，会看到起伏不定的曲线形地形，其形状和质感让人联想到沙漠中的沙丘。穿越这条路径的过程中，游客会遇到一系列代表冲突主题的三个元素。地缘政治和区域背景，以及冲突的速度和规模，通过一幅描绘一只翱翔的鹰和隼的电影般的浮雕来呈现，象征着从冲突爆发到科威特解放的历程。纪念碑的核心元素是代表全球合作、共享服务和牺牲精神的统一盾牌，它位于一个绿洲般的小树林中，融合了水景，并刻有参与联盟的每个国家的象征标志。最后一个元素是位于另一侧的刻有铭文的曲面墙，明确阐述了该行动的主题和重要性。 Visitors walking along the winding path towards the center of the site encounter undulating curvilinear terrain, reminiscent of desert dunes in shape and texture. As they traverse this path, a series of three elements unfolds, each representing the main themes of the conflict. The geopolitical and regional context, as well as the speed and scale of the conflict, are symbolized by a cinematic bas-relief depicting soaring eagles and falcons, framing the progression of the conflict to Kuwait’s liberation. The centerpiece, a unified shield, commemorates the global collaboration, shared service, and sacrifice central to the memorial. Nestled in an oasis-like grove with water features, the shield bears emblems of each coalition nation. The final element is a curved wall on the opposite side, inscribed with different quotes, elucidating the theme and significance of the operation.

在这个项目中，与雕塑家和喷泉艺术家合作无疑是我最有趣的体验。他们的工作几乎完全在三维空间内进行，涉及大量的3D打印和粘土造型等流程。这些艺术家对艺术细节的理解和表达力超乎寻常，但在整体环境融合和表达的准确性方面，我们景观设计师的作用至关重要。特别是在如此高调的政治性景观项目中，对准确性的追求甚至达到了咬文嚼字的程度。 In this project, collaborating with the sculptors and fountain artists was undoubtedly my most fascinating experience. Their work was almost entirely in three-dimensional space, involving extensive use of 3D printing and clay modeling. These artists possess an extraordinary understanding and ability to express the nuances of artistic details. However, as landscape architects, our role was crucial in ensuring the integration and accuracy of the overall environmental expression. Particularly in such a high-profile political landscape, our pursuit of precision and accuracy was of the utmost importance, down to the finest detail.

参与这种具有极高政治、军事和文化意义的项目，对我这样的外国人来说，体验确实是非常新奇的。这个项目让我对美国文化和政治中的自信有了更直接和深刻的理解。 Participating in a project with such significant political, military, and cultural implications was indeed a novel experience for me as a foreigner. This involvement provided me with a more direct and profound understanding of the confidence inherent in American culture and politics.

09. 美国国家海军博物馆 NATIONAL NAVY MUSEUM DATE: 2023 TYPE: PROFESSIONAL PROJECT FIRM: OLIN Architect: BIG

和明星建筑事务所BIG合作的一个竞赛，最终进入到前5名并在华盛顿DC的海军营地进行展览。灵感来自美国海军与全球水体的联系，这个设计构想了一个互动水元素丰富的“水中博物馆”，旨在增强访客体验并纪念海军历史。作为首席景观建筑师，我将博物馆融入包括码头和散步道的水景中。设计亮点包括主入口的幕式喷泉和仿海洋广场，以及设有宁静瀑布的纪念花园，营造出宁静的环境氛围。 Inspired by the U.S. Navy’s connection with global water bodies, this design envisions a ‘Museum in Water’. It features interactive water elements, from still, reflective pools to dynamic fountains, enhancing visitor experiences and commemorating the Navy’s history and future operations. The museum, akin to a ship, is integrated within a waterscape that includes piers and promenades. As the lead landscape architect, I developed this water-centric concept, choreographing spatial sequences within the waterscape. Key features include scrim fountains near the main entry for versatile event hosting, and a plaza that evokes the vastness of the ocean. The design also incorporates a Memorial Garden with an ‘island’ plaza and tranquil waterfalls, creating a serene atmosphere and aural backdrop.

我们团队共同编排了水域内的空间序列。水元素在博物馆北端主入口附近创造了戏剧性的展示效果，那里的幕式喷泉可根据不同大小的活动关闭。广场的大规模和开放性质让访客感受到身处开阔海洋的感觉。喷泉在建筑立面和荣誉庭院内的宏观展品上创造了美丽的倒影，那里是举行仪式的地方。水元素也出现在纪念花园中，创造了一个“岛屿”广场，提供了宁静的氛围和冷却效果。低矮的种植平台旁边是小瀑布，为座位提供了舒适的背景声音。 Together with our team, we choreographed the spatial sequence within the water. The water elements create a dramatic display of the museum’s macro artifacts particularly at the northern end of the site near the main entry which is surrounded by scrim fountains that can be turned off to accommodate events of various sizes. The larger scale of the plaza and its open quality evokes for visitors the sense of being on the open ocean. The fountains create beautiful reflections of the building facade and the macro artifacts located within the Honor Court where ceremonies occur. Water is also present in the Memorial Garden creating an “island” plaza and providing a calming atmosphere and cooling effect. Low planted terraces provide seating next to small waterfalls creating a pleasant backdrop of sound.

受沿海平原生态启发，该地区从海洋过渡到森林，提供多样化区域：开阔的水域、类似海岸线的沿岸带、多样性的湿地，以及拥有梯田和溪流的郁郁葱葱、树木丰富的林地。 Inspired by Coastal Plain ecology, this site transitions from ocean to woodland, offering diverse zones: open water, shoreline-like littoral, diverse wetlands, and lush, tree-rich woodlands with terraces and streams.

荣誉庭院是一个多功能广场，适用于海军人员、退伍军人和公众，提供可关闭喷泉的仪式空间，反映了建筑和海军文物。码头贯穿整个场地，作为一个有木质甲板和长椅的行人散步道，树木为其提供遮荫并展示海军文物。南端的咖啡露台增强了游客参与度，即使博物馆关闭时也是如此。博物馆后面的纪念花园提供了一个宁静的环境，有茂密的植被、水景和梯田，非常适合各种活动和事件。顶部的屋顶露台提供了对国会大厦和阿纳科斯提亚河的全景视图。像所有竞赛项目一样，这个项目的进展非常紧张和高压。除了最终成果令人满意外，我还有幸多次与BIG创始人Bjark Ingels共同开会。在项目初期的概念阶段，我向他汇报了我们的一版方案。会后，在火车站的快餐店意外遇见了去买汉堡的他，让我很激动。本科时期我非常喜欢BIG，所以在偶遇Bjark的时候，我有点紧张到不知如何聊天。 The Honor Court at this site is a versatile plaza for Navy personnel, veterans, and the public, offering a space for ceremonies with fountains that can be turned off for events, and reflecting the building and naval artifacts. The Pier extends across the site, acting as a pedestrian promenade with wood decking and benches, shaded by trees and displaying naval artifacts. The Cafe Terrace at the southern end enhances visitor engagement, even when the museum is closed. Behind the museum, the Memorial Garden offers a serene setting with lush plantings, water features, and terraces, ideal for various activities and events. At the top, the Roof Terrace provides panoramic views of the Capitol and Anacostia River. Like all competitive projects, this one was fast-paced and high-pressure. Besides the satisfactory final outcome, I had the privilege of attending several meetings with Bjark Ingels, the founder of BIG. During the initial conceptual phase of the project, I presented one of our proposals to him. After the meeting, I coincidentally saw him buying a burger at a fast-food restaurant in the train station, which was quite exciting for me. Having been a big fan of BIG during my undergraduate studies, I was embarrassingly tongue-tied when I unexpectedly encountered Bjarke.

10. 扩展 Expanded fields DATE: 2015-2018 TYPE: INDEPENDENT 不知道是受学校的影响还是出于个人爱好，或许两者都有，我对亲手制作的事物有着浓厚的兴趣。在主要课业之余，我投身于一些手绘、摄影以及家具的设计和制作。对木工的喜爱甚至一度让我考虑深入学习家具设计。这种小尺度的艺术和设计制作似乎能够很好地弥补景观设计中大尺度设计无法实现的遗憾。 Whether influenced by my school or driven by personal interest – perhaps a combination of both – I have a strong passion for hands-on activities. Beyond my primary studies, I engaged in hand-drawing, photography, and the design and creation of furniture. My fondness for woodworking even led me to consider pursuing furniture design more seriously. Engaging in these smaller-scale artistic and design pursuits seems to effectively compensate for the limitations of implementing large-scale designs in landscape architecture.

在海外时间：2015年起，8年有余 When: Since 2015, over 8 years 在海外地点：2015-2018 年在罗德岛州，普罗维登斯市； 2018至今在宾夕法尼亚州，费城。 Where: Providence, RI ; Philadelphia, PA 姓名：杜思宇 Who: Siyu Du 籍贯：内蒙古 From: Inner Mongolia, Baotou 学校or工作单位：罗德岛设计学院 ; Olin Studio. School/Firm: Rhode Island School of Design/ Olin Studio 联系方式：mdusiyu@gmail.com