在海外专辑第六十五期 – 王雨嘉

第六十五期为您奉上的是来自哈佛大学设计学院的王雨嘉。

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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。
第六十五期为您奉上的是来自哈佛大学设计学院的王雨嘉。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.65 episode is about Yujia Wang from GSD.

 

为什么出国?
Why going abroad?

希望有一些新的视角和思考。
I hope to bring in new academic perspectives and ideas, as well as new cultural experience.

 

在国外遇到了什么让你印象最深刻的事情?
What impressed you the most when you are abroad?

很多人非常直白的追求自己agenda,自己的work life balance,也尊重对方的时间和选择自由。比如说同样在GSD的景观项目里面,设计和研究上就有很多的视角和方法,能够产生很多方向的内容;同时在自己的时间里又有很多的角色。虽然时间上作为设计行业可能不是那么容易,但我非常喜欢这样的状态,同时也享受一些把兴趣和工作融合的可能性。

A lot of people are very clear and insistent about their own agenda, their time and their own work-life balance. I think this is one of the reasons for the wide variety of approaches and perspectives toward design and research at the GSD, the diverse and inspiring body of student works, and the proactivity. It also allowed many to be top notch in their field of interest other than design. It’s a great thing, very effective and I have a lot of respect for it.

 

最想念祖国的什么?
What do you miss the most about China?

家人们,老朋友们,美食,整体来说是很安心的氛围。噢还有我家的狗。
Obviously families, friends, food, and all the other great things and feelings about home. And my dog too.

 

你会回国吗?为什么?
Will you come back China? Why?

会,家还是在国内,发挥起来也会非常过瘾。不过也想作为在美国、在海外的华人做一些事情,不管历史上的、文化上的还是其他方面,这种转译、桥接我相信都是很有意义的。

I tend to think so. First and foremost are families and friends. The ground for practicing is exciting too both in terms of cultural familiarity and the urban movements there. At the same time exchanges (cultural, historical, professional, etc.) should be both ways and I’m interested to see what I can do while in the U.S.

 

出国后在不同的背景下再看中国是否看得更清晰,有哪些感触?
Is it more distinct to view China in a different environment after going abroad? Any thought?

有时吧,经常会把两边的印象和想法拿出来互相印证和对比。中国当然有进步空间,但也有令人兴奋的优势和长处。但出来之后看国内的时间尺度和维度都有点不一样,觉得特别扁平,每次回国再把三维的印象拿来重新在脑子里印证更新一遍,挺奇特的。

有一些关于行业的感触,离开之后才用一个好像很放大的角度去思考这个行业,并且做一些对比。去年在东京看《土木展》,有特别深的感触,觉得向前看真的非常重要,工程师已经走出来开始谈环境、谈城市,谈生态,那我们呢。学科的自我定位影响的是全社会对这个学科的认知,关乎景观在城市议题上的相关性的建立和延伸,甚至关乎未来的人才储备,其实是非常重要的。同时也希望业内媒体也能够更前瞻、同时易懂地向大众去发出我们声音。

It sometimes does. I often compare with what I know in China with what is here. For China there are of course things to improve on, but its advantages are quite exciting as well. The strange thing, however, is that China becomes really fragmented and flat for me, due to the limited info and the distance. Only when I actually step on Chinese soil can I realign my perception with the three dimensional reality.

There is one specific thing I want to talk about. I only began to look at the discipline in a very zoomed-out way when I left China. I think it’s becoming increasingly obvious to me the importance in establishing the relevance of Landscape Architecture in today and tomorrow’s urban issues. That means stop getting satisfaction from the historical achievements, stop talking only about aesthetics, or only about culture, but think about the capacity of this profession in bringing together all the aspects – social, ecological, economical, aesthetic, cultural, and so on, to respond to complex issues. How we position ourselves will have profound implications on how others perceive us, and perception is so important, from getting commissions to having talented young student join us. I believe this is something we can still improve on in China. I think the professional media is also very important in bringing the frontier of the discipline to the general public.

 

你的学校有哪些教育特点?
What makes the curriculum of your school different from other architecture schools?

GSD可能已经被谈的比较全了吧,我就讲讲自己比较喜欢的几点。一个是设计和研究之中的抽象元素,GSD景观一部分的设计课是非常开放式的,例如去年跟Eelco Hoftman做的题The Possibility of an Island,最后组内做出来的作品在类型、尺度和方向上几无重合。这种题可能不像一些特定类型的景观设计那样有个特定的结果,但是在拿着一个题去解题、立意、尝试不同的方法的时候,能够激发从其他领域的知识转换,或者是去提炼现有的景观手法的原型,把它们回炉重造之后应用到一个新的类型上。这种思维过程我自己认为是收获非常大的。GSD同时也很支持各种形式的研究,有不少可以申请的项目经费是一个方面,同时也有例如Independent Study这样的架构,相当于学校允许用一个学期做一个类似Thesis的项目来代替上一门课,支持学生把自己的研究兴趣以各种方式深入的做下去。当然还有互相交流的氛围,这一点从硬件上来说有Gund Hall的独特设计支撑,软件上来说有各种自发的或者是由学院组织的交流平台。总的来说应该是五个字:你值得拥有

I’m sure GSD has got enough coverage but I’ll highlight a few of the things that I liked a lot. First is the emphasis on research, and on abstracting and prototyping design. We have quite a few open-ended studios, both in Core and in Option. There is of course a more thought-out structure in the Core studio, but regardless, these studios are ones that don’t have a pre-set answer, and not really a precedent to look for. Everything needs to be researched, abstracted, and re-modeled to work under each one’s own thesis. The ability to extract and abstract and to apply it to new set of issues has really helped a lot in my research and design capacity. Second thing is that GSD is very supportive for student’s agenda in research, with the research funds available for application, and structures such as Independent Study. This way, students have the infrastructure to pursue deep of their interests. The peer learning here is also incredible with the unique design of Gund Hall and many different organizations that facilitate exchanges among students.

 

最喜欢的艺术家(绘画音乐电影等广泛范围)是谁?给你创作带来了什么影响?
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

最喜欢的艺术家,想一想应该是维梅尔。最开始了解到他其实跟绘画本身关系不大,而是来自于一本叫做《维梅尔的帽子-从一幅画看全球化贸易的兴起》的书,看书的过程中就细致的跟维梅尔的画作相处了好一段时间,越看越觉得喜欢。后来在波士顿美术馆又看了一个展,很奇怪,维梅尔的作品我见到它几乎都不是那么关乎绘画本身的主题下。这次这个展叫做Class Distinction,讲的是一系列荷兰画家笔下的作品展现的当时不同的阶级生活状况。我自己觉得维梅尔的作品的魅力来自于对生活的一种非常朴实细致的记录,但这个过程中通过展现社会经济方方面面的痕迹,带有了一种时代的力量,同时他选的那一些生活瞬间,和抓取、表现的光影和色彩,又非常的撩人,甚至有一点神性的感觉。这方面比如说跟城市景观及其自然原型之间的关系很相似,例如纽约的Teardrop Park,或者像是Christo的大地艺术,乃至于东方的一些美学,都有一些这样的“借力”和“点睛”的意味在里面。

除此之外,也喜欢看现代艺术的展,每次都能吸收到一些新的表达方式和灵感。

I would say probably Johan Vermeer. I first came to know of his works in the book Vermeer’s Hat: The Seventeenth Century and the Dawn of the Global World. As you can see it’s not really talking about his works, but extending from them. I spent some good time with the book and find the paintings very pleasant and interesting. I did not have the chance to see his work in person until in Boston in an exhibition called Class Distinction, where a set of paintings from a group of Dutch artists was curated to show the living conditions of different Classes at that time. Again not so much about the paintings as objects but more as “windows”. I think many of his works are true and simple documentations of life scenes, which are empowered by the view into the social, economical situation of his age. At the same time the moments of life that he chose, the light and color that he captured are also very compelling and attractive. This in a way echoes what we have in Landscape Architecture. Look at Teardrop Park and how it captured the great geography of the region, for example, or the land art works of Christo.

In addition I like to see just about anything visual. They often give me inspirations for my own expressions.

 

觉得自己的作品集有哪些迷人的特质?
What fascinates viewers the most in your portfolio in your opinion?

哈哈,其实开始的时候没有想着能用迷人这两个字来形容自己的作品,我做东西早期理性偏多,其实现在还是理性,如果理性能算迷人的话。不过在GSD受了很多新的影响,尤其是Martha Schwartz和Eelco Hoftman这两位,再加上表达技法上也在扩展,更多的能够把脑子里的印象式的东西做出来,这也是我现在对自己的作品觉得最喜欢的部分。

I think a lot of my early works are very rational, in fact they still are today. But at the same time for each project I always have an image in my head, which are very emotional, impressionistic and qualitative. This only got stronger at the GSD with the influence of professors like Martha Schwartz, Eelco Hoftman and Bridget Baines. I’m also getting better at materializing and expressing these impressions, having expanded my tool kit quite a bit at GSD. This is what I like the best in my recent works.

 

什么时候开始看谷德网的?有什么建议提供给我们吗?
When did you start to follow gooood? Any suggestions?

应该有五六年了,除了老是数不清有多少o之外(笑)都好。媒体的平台作用真的非常大,不仅面向设计师,也希望把设计师的声音传达给外界。希望能够有更多的好的想法、研究、设计和人能够被大家所知道。

Been a reader for at least five, six years, although still have trouble counting the “o”s. I think a media platform such as gooood has the great capacity of not only providing exchanges within the disciplines, but also expressing our voices to the general public. I hope gooood can bring more of the ideas, researches, designs, and people beyond the boundary of professional dialogues.

 

 

 

W O R K

 

1.
Redrawing Ground and Power

2016 Spring Landscape Core Studio
With Sergio Lopez-Pineiro
Group + Individual Work
Collaborator: Yifan Wang GSD MLA ‘17, et al.

这是一个开放命题的设计,在GSD的景观Core Studio关于Political和Military Landscape的母题下。小组的研究场地在美国华盛顿特区。我们提出了一个关于反纪念碑和去中心化的母题。

这里对这个题的解读从五角大楼开始。五角大楼是美国的军事核心和军事形象代表,其实体也是一个体量庞大的堡垒,但这里面可以找到极少数的软质铺装。这种软质铺装是跟权力有直接关联的,具体表现在:只有美国总统,政府VIP和各国政要会经过的区域才铺设了草坪。

The Landscape Core Studio is an open-ended studio focused on political and military landscape. The site of the Sergio group is in Washington D.C., and we developed through the course of the semester a thesis of de-monumentalization and decentralization.

The critical dissection began with the iconic Pentagon – a fortress, one of the world’s largest office building, and in itself a representation of U.S. Military Power. The construction detail here reveals the power structure: the only places where soft surfaces – i.e. lawns – are found are where the VIPs would pass through. In this way, a relationship is established, that the soft surface indicates, represents, and inscribes power.

河对岸,在拥有众多纪念碑的,毗邻白宫,直通国会山的国家广场,也可以发现这种“政治”在草坪上的投射。国际广场被成为美国的前花园,实际上精心修剪的草坪在这里起了一个非常符号化的作用:它既代表自由文明,又代表控制和恒久的强权,这些的概念本身的冲突性就是很讽刺的。同时,由于对草坪的修剪,抑制了草的生长潜力和恢复力,导致它需要使用大量的资源来维持,并且需要休养期。反而人不能够使用这个空间。这正是与国家广场历史上作为一个向国家政治机器表达民众诉求的场所的精神背道而驰。所以这里提出了一种对于草坪的“理想绿”的质疑,并且提出建立颜色与空间自由、与维护需求、与恢复力和可持续性之间的联系。

The National Mall, often regarded as the front garden of the U.S., is also a projection and inscription of the permanence of power. This is done by imposing control on the color and condition of the ground. It is ironic that the National Mall stands for this permanence and for liberty and democracy, which are contradictory sets of ideas. The maintenance scheme for the idealistic image of the lawn greatly suppresses the resiliency of the plant species, and sometimes prohibits access for people. The proposal questions and challenges this perfect color of green, and instead proposes for realignment with spatial freedom, democracy, resiliency and sustainability.

同时,国家广场的“非自由”属性也体现在空间体验的程式化上。这里通过来自flicker的超过一百万个照片地理信息对人群的分布和集中、兴趣点等进行了分析。可以看到参观者只能遵循一种特定的视角和路径,并且总是集中在一些特定的纪念碑周围。

To further this thesis of democratizing ground, pattern of mass distribution on the Mall is studied. The study found a fixed pattern of concentration and flow, framing the dialogue on the Mall by placing monuments at the center of focus that are viewed in a very specific way. Again an inscription of power and permanence.

作为对这种现象的一个回应,我在这里提出用表面湿度作为一种控制变量,达到临时性的改变空间属性,重新组织空间和路径的目的。这种表面湿度则通过喷淋系统的选择性开启与关闭来进行控制,可以产生从干燥到潮湿再到局部淹水的表面状况,对应不同的使用意愿和方式。这样一来,在几何空间和物件分布保持不变的情况下,实际的使用和占有情况却可以有大量的选择和变化的可能性。此外还提出可以使用临时的栅栏对特定边界进行强化。这张平面图展示了其中的两种组织可能性。左段通过抑制周边绿地的使用,来强化广场,让其中的演讲、示威者的声音能够被更多人听到。右段是一种对国家纪念碑环绕式的参观路径产生的空间中心的一个质疑,鼓励一种更直接的与纪念碑的对话关系。

The proposal used surface condition, specifically humidity as a way to intervene. Using sprinklers, the surface can be dry, moist, wet or flooded, thus altering the pattern of usage without changing the constructed form of the space, but a temporal re-draw of the Mall. This can serve many purposes, from reinforcing the plazas where demonstration happens, to creating new ways to experience the Mall. It is also possible to imagine different vegetative zones beginning to form in response to irrigation conditions.

最后小组基于GSD的Piper Auditorium布置了华盛顿特区1:1000做了一个布展,包括有灯光标示的一英里网格,等比定位的地图,平面图,轴测图,渲染图,3D物件等。各自的项目在华盛顿和反纪念碑和反中心的母题下合为一体。

Finally the group curated together an exhibition, using the Piper Auditorium as a 1:1000 ground of the D.C. Diamond. The exhibition featured all of our individual project under the thesis of de-monumentalization of D.C., with maps, 3D objects, models, diagrams and renderings. The lights represent the one-mile grids of D.C.

 

 

2.
The possibility of islands

2016 Fall Landscape Option Studio
With Eelco Hoftman and Bridget Baines
Individual Work

《岛的可能性》
这是一个开放命题的设计,第一部分是一个关于岛的全球性的探索。这一部分讨论到了岛的自我定义来自于它与文明世界的相对性。这种“相对性”是由文明的“痕迹”而决定的,既包含具有长期属性的聚居点,也包括短期属性的各种“流”,如“小黄鸭”所代表的物质流。

The research began with an exploration of island as a global object. The self-definition of the islands comes from its relativity towards civilization, or traces of civilization. It is established with both long-term structures and settlements, and temporal flows, as illustrated by the Friendly Floatees.

这个部分对这一动一静两重因素的叠加作用进行了阐释,并提出让“岛”作为动态物件参与到全球性的流之中,赋予它对前述的“相对性”进行主动调节的能力。探索了几种形态和功能原型,并用水流模拟软件进行了测试。

An index is established to illustrate the dynamic of both. It is proposed that an island should be a participant of the global flows as a dynamic object, in a way that would give it the ability to determine and change its relativity towards civilization, and thus constantly redefining its identity. A few morphological and functional models were proposed and tested with simulation software.

第二部分选择东京湾作为场地,首先分析了它的现状,得出一个主要的生态环境问题,即内湾的海水富营养化导致溶氧量低下的问题。图中的红蓝色示意性地分析了淡水和海水交换,水流,及溶氧量的问题,分析提取于相关的东京湾海域和生态环境研究资料,主要是同行评议论文。

Then zooming in from the global and abstract scale, the proposal chose Tokyo Bay as its site. The identified issue with Tokyo Bay was eutrophication leading to low level of dissolved oxygen especially in the center of the inner bay area. In this stage, a body of research was assembled on the topic of Tokyo Bay ecological conditions and water quality/ exchange.

这里确立了以水流和氧流为主要着眼点。这样形成了一套策略,一是基于对船只的一些基本研究,提出利用东京湾的海上交通路径上产生的水流和氧流。通过对交通路径的重新安排,得到形同水上的割草机的效果。二是利用人造岛,对水体进行增氧,此处船只也可起到扩散和混合作用;并增强已有的湾内海流,和促进内外湾对流。三是利用人造岛形成防波堤,对湾内的淡水和海水流进行进一步的整理和增强。这条的线索可以说是这一个设计的理性面。

Here the focus is on improving water and oxygen flow. Based on understandings of maritime traffic pattern and on the way the hull and the prop interact with water, it is proposed that Tokyo Bay traffic pattern be re-organized so that the ships can be essentially “mowers” which constantly move, aerate and mix the surface. Artificial islands can be beacons and regulators that govern the new navigational rules. The islands themselves can also aerate water and enhance existing water flow and exchange. Reorganization of flows in this way becomes the rational side of the proposal.

另外一方面,我一直以来对这种城市边的海岛的有一些印象式的图景,因为岛的另一个属性是,它是一片介于海和陆地之间的中间地,带有一些世外桃源的意味。这里提出了山、水、林、田四个基本景观元素对这个海上空间和围合进行构建,在空间原型上进行了一些尝试,通过造山找到一种外显而内隐的效果,并且结合一些印象上的追求展开制作了几处不同的场景,也可以说是场所,我自己最喜欢的一副是这幅叫做“在地全球主义”的,讲的是全球物质流在某个片刻汇集此地的一种夸张的想象,外来的、错位的、但是是充满吸引力和童真的图景。这正是一个岛屿作为中间地,与嘈杂、高压、高度秩序化的大都市形成的对比和自我定位。

On the other hand, I worked on to explore the impressionistic images I have for this unique middle ground between land and sea, which gives it this sense of utopia. Here the attempt was to create a spatial enclosure and definition by using four basic landscape elements proposed: mountain, water, forest and field. The enclosure formed, primarily by the floating mountains, is one that opens up at certain directions, while closing in at others. Placing in close proximity of the Tokyo Metropolitan, this is a way to make the reality landside fragmented, while creating a small world with the fields, caves, mountains, waterfronts, wind turbines, etc. I then went on to make a few renderings depicting the character and quality of these scenes. My favorite is this “micro globalism”, which is an exaggerated imagination of different global flows coming together at one point, bringing together all kinds of exotic, misplaced creatures. This is the compelling image that an island can offer, being so close to a city yet so distant, so wild, and so different.

这样一来产生了一个具有两重性的关于岛的设想。水下是一种理性的、功能性的对于海水质量的改善,水面是一种感性的、桃源式的新公共场所的构建。同时,在东京湾的项目可以说很难避开上世纪的代谢运动,我认为,这种对动态而非静态的认知,对增长的反思,以及对相对性和生态过程的强调,可以说是一种对于新陈代谢的重新解读。

So here it is, an interpretation of the possibility of islands. It is divided along the waterline, with underwater being the rational, functional machine to improve water quality and ecological conditions, and the above water being the imaginative, utopia kind of new public grounds. It is difficult to shy away from the Metabolism Movement last century, and my argument is that the recognition of the dynamics and the flows, the questioning of relentless growth, and the emphasis on relativity and process, represent a more metabolic interpretation of Metabolism.

 

 

3.
Urban Joint

2015 Fall Landscape Core Studio
With David Mah
Group Work with Yun Shi GSD MLA ‘17

这个项目是与石韵一起合作的GSD景观Core Studio的Final Project,历时大约一个月。场地为哈佛位于Allston的新地块的开发。这个项目提出一种具有灵活性的发展框架,着眼于解决长期的、大尺度的、多利益相关方的城市发展项目所面临的不确定性,并希望确保大学项目的所应有的公共属性。

This was a four-week final project by the team of Yun Shi and myself during Landscape Core III at the GSD, which looked at Harvard’s new urban development in Allston. The core of this proposal was a flexible and adaptive development framework that addresses the uncertainty of similar large scale, long term, and multi-stakeholder projects. Our hope was to keep the land as open and public as the University should be.

这里我们选取了圆作为一个概念性的单元体,将整个片区的开发分段到多个单元体的开发,单元体的大小可以随当时的需求相对灵活的进行调整,与之配套的设定了一系列的开发规则,以确定不同大小的单元体内部的指标,如容积率,建筑占地率,区内和区间交通,内部公共空间等。

Here we chose circle as the geometry for our conceptual urban units. These units were of variable sizes depending on the need, and provided a way to phase the urban scheme into developments of each unit. A set of rules was created to govern various aspects of the units, including COV/FAR, circulation stormwater management, porosity, public space etc, depending on the unit’s size. These rules give definition of the urban fabric of the units but allow flexibility for development.

同时,由于这种几何形体天然无法充分利用面积,这些无法被开发的中间地则成为一个生态基底,并且可以在其中置入一些公共的功能,并且连接现有的绿地系统。针对水岸难以到达和使用的现状,通过以曲代直和扩展服务的策略,达到延长和强化公共河岸线的效果。

At the same time, the geometry had an inherent inefficiency, as they cannot fully align with one another along the edge. These undeveloped lands in-between of the urban units then became the ecological matrix, and where public functions can also be inserted. In this way, certain social amenities and ecological services can always be guaranteed regardless of the changes along a complex and long-term urban development. The public land added to the current green space system in Boston, and also expanded public access to the Charles River waterfront.

 

 

4.
Infrastructure as Intriguing Landscape: Boston Climate Change 2060

2017 Spring Landscape Option Studio
With Martha Schwartz and Markus Jatsch
Individual Work

这个项目着眼于地球气候变化和城市的应对之策。通过前期研究,主要发现了两个层次的问题。一是由海平面上涨带来的对城市整体性的风险,即大量的主要城区都有水灾淹没的威胁。

这里提出了一个波士顿的海防体系,主要是三个分段,总共约5公里长,最深处约20余米的海堤,与周边的地貌加在一起形成一个闭环,可以将上涨的海水隔绝在波士顿海湾之外,内外交通则通过船闸实现。

Climate Change is an inevitable challenge in the years to come, and cities will be the forefront of the fight against it. For a costal city such as Boston, the risks are on two levels. First, a system-wide risk brought by the rising sea level, i.e. a lot of the key urban areas are prone to being flooded and underwater.

As a response, I proposed the Boston Seawall, a defense line for the entire city. It consisted three segments, which totaled 5 km in length, with greatest depth at around 20m. This closed the geometrical defense line that naturally existed, and it would be able to stop the rising water level outside of the Bay. A ship lock would be in place to allow maritime traffic to pass through.

同时提出,这个海堤不应仅仅是简单的基础设施,而是可以基于它打造一条波士顿的新海岸线,在湾侧可以植入丰富的社会和生态可能性,包括转移一些受到威胁的沙丘植物群落,创建湿地,以及设计沙滩、剧场、水岸和水上活动等。在海侧亦结合“生态海堤”的概念,通过对预制模组的设计,提供一些动植物吸附生长的机会。同时通过一些出入口、台阶的设置,保持海侧的可达性。

However, it is proposed and emphasized that the Seawall should not be seen as merely a hard infrastructure. The proposal envisioned a new coastline for Boston, with rich opportunities for both social and ecological uses on the bay side. This would include transferring endangered sand dune communities, creating artificial wetlands, and inserting beaches, theatres, and waterfront activities. On the ocean side, it would incorporate the idea of living seawall, using unique prefabricated concrete modules to host certain species. People will continue to have access to the ocean front.

同时,现有的研究显示气候变化不可避免的会带来如降水不均、极端气温等问题,由于这些都是非常当地化的问题,这里通过设计典型街区的方式进行干预。我的研究区域里的城市肌理类型上比较单一,大多是方格网街区和排屋,但路的宽度和后院大小则有较大不同,相应的一共选择了三处典型街区进行设计。

设计背后主要的论点是以街区为单位的利益和风险共通体,即:在内涝或是极高温时,每一座房屋都会受到同等的威胁,并且它们很难独自对抗这种系统性的风险,而在社区尺度上应对则有效得多。因此产生社区尺度上的新基础设施和景观。

The second level of risks is the consequences of Climate Changes on people and local communities. These consequences include extreme temperatures, polarized precipitation pattern, etc, which, according to researches on the topic, will be witnessed even if the world reaches Carbon Neutral today. They were addressed with street level designs of three street typologies within the Study Area.

The argument was that it would no longer be effective or possible altogether to fight the risks on individual-basis. Instead, the effective scale would be community scale, with members sharing the risks and the infrastructure that would protect them. This then brings new opportunity in community level infrastructure and landscape design.

第一个典型设计通过减少路面面积,在中间形成一个公共空间,提供集水和遮阴的功能。通过分段的方式,带来社区的认知和辨识度。第二个典型设计通过微地形处理和预埋水箱等,使街区内的后院在暴雨时成为整个社区的“海绵”,收集到的水又可在缺水时期为社区花园提供灌溉。在平日,这个共享空间能够植入一些社区功能,如都市农业等。第三个典型设计,即使在后院较窄的社区,也可以形成一系列稍小的微地形,加入一些室外构件作为日常的休闲使用,并连接起来成为一个可探索的线性公共景观。

The first typical design focused on repealing part of the road space to form a large open space in the middle, for water retention, shade, and social ecological uses. It is divided into segments, giving each section a unique language and identity. In the second typical design, it was proposed that the shared open space between row houses to become a community scale water retention facility, using micro topography and underground water tanks. This would protect the every house within the community from being flooded, and the water collected can be recycled to water the plants. The space can be used for things like urban agriculture or community garden during normal days. The third typical street features a much narrower backyard. It was proposed that each four unit share a retention pond, and the spaces connect with each other to form a linear landscape.

总的来说,这个设计强调在设计基础设施,防灾减灾的同时,应该注重景观所能提供的感性的层面,通过场所的设计,为空间注入性格和情感,从而为城市居民创造积极正面的价值,这也正是景观设计的独到之处所在。

In all, the proposal placed great emphasis on the emotional aspect of design, even when dealing with infrastructures and risks. Landscape design can provide a qualitative change for people by creating intriguing places that have strong character and identity. It should never just be about solving problems, and this is what is great about Landscape Architecture.

在海外时间:2013年夏,2015年7月至今
在海外地点:美国,波士顿;英国,卡迪夫
姓名:王雨嘉
籍贯:故乡之一是深圳
学校or工作单位:哈佛大学设计学院
联系方式:wang-yujia.com; ywang@landscapeadvocacy.com

When: 2013 summer, 2015 to present
Where: Boston, USA; Cardiff, UK
Who: Yujia Wang
From: Shenzhen
School/Firms: GSD
Contact: wang-yujia.com; ywang@landscapeadvocacy.com



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