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。
第一百四十六期为您介绍的是毕业于西交利物浦大学 – 利物浦大学 – 密歇根大学 – 哥伦比亚大学，现工作于 Fogarty Finger 的蒋明睿。
A bosom friend afar brings distant land near.
The Oversea album shares the lives of Chinese living abroad with all.
The No.146 episode features Mingrui Jiang who graduated from XJTLU – University of Liverpool – University of Michigan – Columbia University and is now working for Fogarty Finger.
为什么出国？
Why go abroad?
出国学习建筑，是源于一直以来探索世界的愿望。在英国学习期间，我实地参观了许多建筑——从高迪的米拉之家，到勒·柯布西耶的朗香教堂，再到 Vitra Campus 中不同建筑大师的作品，我意识到建筑是对特定文化背景和社会结构的回应。于是在本科毕业后，我选择前往美国，希望在更多元的体系中拓展视野，深化对建筑的理解。
Studying architecture abroad stemmed from my long-standing desire to explore the world. While studying in the UK, visiting works such as Gaudí’s Casa Milà, Le Corbusier’s Ronchamp Chapel, and the Vitra Campus made me aware that architecture is a response to specific cultural contexts and social structures. Thus, after completing my undergraduate studies, I decided to pursue further studies in the United States to broaden my perspective and deepen my understanding of architecture within a more diverse system.
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?
最让我印象深刻的一次经历发生在哥大的秋季学期。当时项目的场地是亚特兰大的 Chattahoochee 砖厂——这里曾是黑奴劳动的地方，承载着难以磨灭的历史创伤，被城市纳入公共空间重建的规划。为了更深入理解这片土地背后的历史，我们抱着试一试的心态，给普利策奖得主、《Slavery by Another Name》的作者 Douglas A. Blackmon 教授写了一封邮件。出乎意料的是，他不仅回复了我们，还欣然接受了线上访谈的邀请。在交流中，他勇于跳出自身白人身份的视角，直面并深入挖掘那段长期被忽视的黑人历史，让我对亚特兰大的城市结构以及美国历史背后的社会议题有了更立体的认识。也正是这次经历，使我深刻意识到：城市设计不仅关乎空间形态，更与历史记忆、社会正义和公共叙事紧密相连。
One of my most memorable experiences occurred during my fall semester at GSAPP, when the project site was the Chattahoochee Brick Company in Atlanta. This former site of enslaved labor carries deep historical trauma and was slated by the city planning department for public space redevelopment. To better understand the historic background, we reached out to Pulitzer Prize–winning journalist Douglas A. Blackmon, author of Slavery by Another Name. To our surprise, he not only replied but also graciously agreed to our virtual interview. In the conversation, he moved beyond his own white identity and courageously discussed the overlooked history of Black Americans, which enriched my understanding of Atlanta’s urban history and broader social issues in the United States. This experience helped me realize that urban design is closely intertwined with historical memory, social justice, and public narrative—not merely spatial form.
最想念祖国的什么？
What do you miss the most about China?
小时候我一直向往去大城市闯荡，然而在纽约这样节奏高度紧凑的城市生活久了，我最想念家乡江南水乡那种不紧不慢的生活：在古镇里消磨些许时光，听一曲悠长婉转的昆曲，看光影在假山与流泉之间漫溯，温暖又惬意。
When I was a child, I always dreamed of venturing into big cities. However, after living in the fast-paced metropolis of New York, what I miss most is the unhurried life of my hometown in the Jiangnan water towns: spending quiet moments in the ancient towns, listening to the lyrical strains of Kun Opera, and watching light and shadow drift over the rockeries and flowing streams—warm and comforting.
你会回国么，为什么？
Will you come back? Why?
这是一个我一直在思考的问题。我并不把“回国”或”留下”视为一个非此即彼的选择。短期内，我希望继续在美国的实践环境中积累经验；从长远来看，我期待参与更多国内的项目，让自己的建筑实践与家乡的发展产生更直接的联系。
This is a question I’ve been thinking about. I don’t see returning home or staying abroad as a strict either-or choice. In the short term, I hope to gain further professional experience in the United States; in the long term, I look forward to participating in more projects in China, allowing my architectural practice to connect more directly with the development of my hometown.
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?
我不认为出国让我更“看清”了中国，但它确实让我对变化更加敏感。每次回国，我都会注意到城市变迁和新锐建筑，这种持续更新的城市面貌，让我更直观地感受到中国发展背后的速度与张力，以及其中并存的多重现实。
I wouldn’t say that going abroad has made me see China more “clearly,” but it has definitely made me more sensitive to changes. Each time I return, I notice urban transformations and cutting-edge architecture. This constantly evolving cityscape allows me to more directly perceive the pace and intensity behind China’s development, as well as the multiple realities that coexist within it.
你的学校有哪些教育特点？
What are the educational characteristics of your school?
在哥大 GSAPP 学习城市设计期间，教育最大的特点是高度跨学科与实践导向，课程设置也相对灵活。学院鼓励我们走出课堂，通过社会调研以及与不同社会群体的交流来理解城市。在项目主任、SCAPE 创始人 Kate Orff 的引导下，课程尤其强调生态保护、自然修复，以及城市与环境系统之间的关系。从纽约的水污染问题，到亚特兰大的种族隔离历史，再到哥伦比亚波哥大的湿地系统，我逐渐认识到，城市并非由单一设计逻辑塑造，而是由生态、基础设施、政策、资本及社会结构共同作用的动态系统，设计需要在多方的协作中寻找切实可行的策略。
During my Urban Design studies at GSAPP, the program was highly interdisciplinary and practice-oriented, with a relatively flexible curriculum. The school encouraged us to step outside the classroom, conducting social research, and engaging with various stakeholders to understand cities. Under the guidance of our director, Kate Orff, founder of SCAPE, the program emphasized ecological preservation, natural restoration, and the relationships between cities and environmental systems. Through projects ranging from water pollution in New York, to the history of racial segregation in Atlanta, to wetland systems in Bogotá, I gradually understood that cities are not shaped by a single design logic but are dynamic systems influenced by ecology, infrastructure, policy, capital, and social structures. Design, in this context, requires collaborative efforts to develop practical spatial strategies.
你现在工作公司的特色和有趣的地方？
What are the distinctive and interesting aspects of the company you are currently working for?
Fogarty Finger 的项目类型丰富，涵盖住宅建筑与室内设计，并常以两者并行的方式提供整合服务，这也是我们事务所的一大特色。公司强调协作与沟通，鼓励团队深入项目各阶段。作为建筑组的一员，我参与了纽约和新泽西的多个住宅项目，包括 245 W 55th St、Nevins Landing 和 1330 Jefferson St。有趣的是在既定的项目框架下，兼顾客户的实际需求与公司的建筑审美，于反复推敲中找到最优解。设计本身就是一个持续迭代的过程，在研讨探索中见证方案成型，这份体验充满了获得感和趣味性。
Fogarty Finger undertakes a diverse range of projects, spanning both residential architecture and interior design. One of the firm’s defining characteristics is its ability to provide integrated services across these two disciplines. The company emphasizes collaboration and communication, encouraging the team to engage at every stage of a project. As a member of the architecture team, I have participated in several residential projects in New York and New Jersey, including 245 W 55th St, Nevins Landing, and 1330 Jefferson St. What I find most engaging is working within a given project framework while balancing clients’ practical needs with the firm’s architectural vision, continuously refining solutions to achieve the best outcomes. Design is a continuous, iterative process, and witnessing a project take shape through discussion and exploration is both rewarding and enjoyable.
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?
我很喜欢韦斯·安德森的电影作品。他在《布达佩斯大饭店》中所呈现的对称构图、鲜明而克制的色彩运用以及层层展开的叙事结构给我留下了深刻印象。被他这种通过画面和色彩营造情绪的手法所吸引，我在密歇根的毕业 thesis 作品中尝试探索色彩与情感在空间中的作用，将其视作一种叙事与感知的工具，而不仅仅是形式或装饰的表达。
I really admire Wes Anderson’s films. In The Grand Budapest Hotel, his use of symmetrical composition, vivid yet restrained color palettes, and layered narrative left a strong impression on me. Inspired by his approach of conveying emotion through imagery and color, I explored the role of color and emotion in space in my thesis project at UMich, treating them as tools for narrative and perception rather than merely as formal or decorative elements.
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?
我的作品集始终围绕一个核心主题：建筑如何与人的情感、记忆以及自然环境建立联系。我关注的不仅是空间的功能或形式美感，更希望通过设计唤起使用者的情感体验，使建筑成为承载记忆的场所——空间的价值在于被使用、被感知、被铭记。
My portfolio consistently revolves around a core theme: how architecture connects with human emotions, memories, and the natural environment. I focus not only on a space’s function or aesthetic form, but also on evoking the emotional experiences of its users through design, making architecture a vessel for memory—the value of space lies in being used, felt, and remembered.
什么时候开始看谷德网的？欢迎你提出建议哦，谢谢。
When did you start to follow gooood? Any suggestions?
我在学生时期就开始关注谷德网了。平台上展示的优秀实践作品和大家的海外经历都给了我很大的启发。希望谷德网能够不断丰富内容与资源，深化交流和讨论，越办越好!
I started following Gooood when I was a student. The outstanding projects and shared overseas experiences on the platform have greatly inspired me. I sincerely hope it continues to enrich its content and resources, foster exchange and discussion, and grow even stronger.
W O R K
01.
空置的价值
The Value of Vacancy
Site Location: Detroit, USA
University of Michigan Thesis Project
“空置的价值”以废弃的底特律帕卡德汽车厂为场地，提出一种以适应性再利用为核心的工业遗存更新策略。设计在保留原有厂房框架结构的基础上，植入不同几何形态与色彩的建筑组件，通过穿插与嵌入的方式重构空间秩序。
The Value of Vacancy proposes an adaptive reuse strategy for the abandoned Packard Automotive Plant. While preserving the original structural framework of the factory, the design introduces architectural components with varied geometries and colors, using interweaving and insertion to reconstruct the spatial order.
新体量的聚集既重塑了旧建筑的视觉形象，也为场地注入新的空间活力。
The aggregation of new pieces would completely alter the appearance of the old structure and bring the lost vitality.
新的建筑群体包含不同类型的住宅与公共建筑，用以保存并展示帕卡德汽车厂的历史。同时，多样化的景观被塑造成公共休憩空间与汽车的户外展示廊道。保留的原有结构为新设计提供支撑，使这一被遗弃的场地得以通过适应性再利用重新激活。
The new collective contains different housing and public buildings to preserve and showcase Packard history. Furthermore, the diverse landscape serves as the public resting space and outdoor gallery of Packard cars. The retained old structure supports the new design to reuse the deserted site adaptively.
通过新旧建筑的并置与对话，项目探索历史与当代之间的张力与共生关系，明快的色彩体系则成为连接过去与现在的情感媒介，赋予工业遗存新的生命。
Through the juxtaposition and dialogue between old and new, the project explores the tension and coexistence between history and contemporaneity, with a vibrant color system acting as an emotional medium that bridges past and present, giving new life to the industrial relic.
02.
城市扩张
Urban Inflation
Site Location: Ann Arbor, USA
Gold Mention, Terraviva Tactical Urbanism Now! Competition
Collaborator: Yinan Fang, Yuxin Lin, Chunyang Xu
本项目提出“城市扩张”的战术性都市介入策略，在安娜堡展开空间实验。通过一套可充气、可移动的“气泡”结构网络，激活安娜堡市中被低效利用的城市空间。这些临时、轻量且成本可控的介入方式，将被忽视或处于过渡状态的城市空隙——如小巷、庭院以及建筑之间的边角空间，转化为充满活力的社会节点，用于公共聚集、休闲活动与交流互动。
Urban Inflation is a tactical urbanism proposal that reactivates underused urban spaces in Ann Arbor through a network of inflatable, movable “bubble” structures. These temporary, lightweight, and cost-effective interventions reactivate forgotten or transitional urban voids—alleys, courtyards, leftover spaces between buildings by transforming them into vibrant social nodes for gathering, play, and exchange.
理解“气泡”的历史对我们的设计至关重要。纵观历史，我们可以看到充气结构所具备的可能性与灵活性几乎是无限的。
Understanding the history of the bubble is crucial to our design. Throughout history, we learn that the possibility and flexibility of inflatable are unlimited.
通过对安娜堡商业区、教育区及公共区域的活动研究，我们提出了周中与周末两种“扩张”模式。气泡结构以周为周期，动态地扩张、收缩、移动与变形，形成一个具有弹性的临时空间系统，灵活适应不断变化的城市环境。此设计不仅是对物理空间的“充气”，更象征性地注入了社会活力与公共生活的可能性。
Based on activity analysis of Ann Arbor’s commercial, educational, and public areas, we proposed weekday and weekend inflation modes. The inflatable bubbles will dynamically expand, contract, move, and morph into different shapes on a weekly cycle, forming a flexible temporary spatial system that adapts to the city’s constantly changing environment. The design not only “inflates” physical space but also symbolically injects social vitality and possibilities for public life.
从小型充气家具到大型城市罩体，该项目引入了不同尺度的充气结构。这些“泡泡”由轻质可回收材料制成，能够轻松组装、移动或放气，展现了一种可持续且可逆的城市空间激活方式。
The project features pneumatic structures of varying scales—from small inflatable furniture to large urban canopies. Made from lightweight, recyclable materials, the bubbles can be easily assembled, moved, or deflated, demonstrating a sustainable and reversible approach to urban activation.
设计不仅是对物理空间的“充气”，更是一种对社会活力与公共生活的隐喻性注入。通过这些介入，Urban Inflation 挑战了建筑与事件、永久性与短暂性之间的传统界限。空间不再固定，它设想了一个会呼吸、不断变化的城市，由使用者不断协商塑造。通过鼓励公众参与和空间重组，项目重新定义了当代环境中“公共空间”的意义——成为一种可适应、共享且充满乐趣的基础设施，支持自发性的互动。
Design here is not merely the “inflation” of physical space, but a metaphorical infusion of social vitality and public life. Through these interventions, Urban Inflation challenges conventional boundaries between architecture and event, permanence and ephemerality. It envisions a city that breathes and transforms, where space is not fixed but continually negotiated by its users. By encouraging public participation and spatial reconfiguration, the project reimagines what “public space” means in a contemporary environment—an adaptable, shared, and joyful infrastructure for spontaneous interaction.
03.
水域重塑：守护者计划
Reclaiming Water: Water Guardians
Site Location: New York, USA
GSAPP MSAUD Summer Studio
Collaborator: Haoyu Hu, Naumika Hejib, Devanshi Pandya
此设计介入旨在通过一系列生态策略改善纽约的水质，包括水体过滤、公众参与以及废水生态化处理。通过运用稳定化、扰动与曝气等生态原理，致力于构建平衡的水生生态系统，并为野生动物及水生生物提供新的栖息地。
The design interventions aim to improve water quality through ecological interventions, using a range of strategies such as water filtration, public engagement, and ecological treatment of wastewater. By applying principles of stabilization, agitation, and aeration, we strive to create a balanced aquatic ecosystem and provide a new habitat for wildlife and marine life.
这一设计策略具备可复制性与适应性，可从兰德尔岛特定场地延伸至其周边环境，并进一步拓展至长岛海峡的更广阔区域，适用于各类硬质与软质景观条件。
These design solutions can be replicated in other similar hardscape and softscape situations, ranging from the specific site of Randall’s Island to its surroundings and extending to the larger context of the Long Island Sound.
我们期望通过多尺度、多情境的思考与实践，为提升水质、促进生态系统可持续发展的广泛努力贡献力量，最终实现人类与海洋生物共享清洁水资源的未来。
By considering different scales and contexts, we hope to contribute to a broader effort to improve water quality and promote sustainable ecosystems.
04.
创造即疗愈
Making as Healing
Site Location: Atlanta, USA
GSAPP MSAUD Fall Studio
Collaborator: Hanfei Fu, Xiutong Yu, Anchalinad Anuwatnontaket
亚特兰大的查塔胡奇砖厂因其历史上大规模使用“囚犯租赁”劳工制度而备受关注。项目以“创造即疗愈”为理念，旨在通过物质性实践，修复这段历史对人与土地造成的身心创伤。疗愈策略根植于场地本身的特质——我们利用当地的原始材料与自然力量，应对社会与生态的双重创伤：包括污染、土地退化、洪涝问题及奴隶制历史遗留的伤痕。
The Chattahoochee Brick Company is notable for its extensive use of convict lease labor. Through Making as Healing, we remediate the spiritual and physical harm done to the human and earth by the process of material practices. Our strategies of healing are inspired by the characteristics of the site. Making use of the raw materials and nature to heal social and ecological traumas: contamination, degradation, flooding and slavery history.
在砖场的土地下，埋藏着被历史尘埃覆盖的记忆。每一块砖都承载着黑奴的汗水与泪水，它们被铸造、运输，辗转送往亚特兰大的各个角落，见证着那段被掩埋、被忽视的历史。
Beneath the brickyard lies memory buried under the dust of history. Each brick carries the sweat and tears of enslaved people, cast and transported, passing through and sent to every corner of Atlanta, bearing witness to a history that has been buried and neglected.
今日的砖场，仿佛仍低声诉说那些被迫分离、被剥夺自由的生命故事，而这些沉默埋藏于地下的遗迹，成为我们直面过去、理解历史的媒介。
Today, the brickyard seems to quietly whisper the stories of lives that were forcibly separated and stripped of freedom, and these silent, buried remnants serve as a medium for us to confront the past and understand history.
在象征性的砖块废墟上，一系列手工创作作品为艺术家以及在此地拥有特殊记忆的人们提供了表达情感的空间。在这些创作与表演中，土地上的创伤被提取出来，并转化为新的、美丽的形式。
On the ruins of the symbolic bricks, a series of crafts creations which artists along with people of special memories on the site can express their feelings here. During those performances, the traumas of the land are extracted, and transformed into something new and beautiful.
人们可以直接或间接地与土地互动，将记忆编织进材料，将疗愈融入制作之中。通过“以制造疗愈”，材料行为成为修复的姿态，将继承的伤痛转化为共享的纪念与更新的形式。
People can engage with the earth directly or indirectly, thereby weaving memory into material and healing into making. Through “making as healing,” material acts become gestures of repair—transforming inherited wounds into shared forms of remembrance and renewal.
人们会随着时间不断自行创造这个空间。场地的不同部分将随着时间的推移而生长，从现在延伸到数月、数年乃至数十年，在自然和人类力量的共同作用下不断发展。凭借其多元化的构建现实，场地将被视为基于对材料、植物和空间的文化理解而形成的对历史和记忆的记录，从而创造出一个物质之外的世界。
People continuously make it by themselves through time. Different parts of the site will grow with time from the present to several months, years, and decades. The earth will keep growing and developing with nature and human power. With its multiple fabricated realities, the site will be seen as the transcription of history and memory based on the cultural understanding of materials, plants, and spaces, creating a world after property.
05.
生产性水域
Watershed Productive
Site Location: Bogota, Columbia
GSAPP MSAUD Spring Studio
Collaborator: Chongyang Ren, Ruxuan Zheng, Yan Huo
胡安·阿马利略湿地，以及波哥大的其他城市湿地，像许多内陆水岸一样，代表了一种独特的生态边界——陆地与水域的交汇处，也是城市发展必须在环境敏感性与社会包容性之间寻求平衡的区域。项目通过重新构想湿地边缘，将其视为再生性的滨水开发场所，而非排斥区，旨在将生态保护与社区赋权结合起来，促进生态与社会的双向共生。
The Juan Amarillo Wetland, like many other urban wetlands in Bogotá, represents a unique form of inland waterfront—an ecological edge where land and water meet, and where urban development must balance environmental sensitivity with social inclusion. The project addresses this complex interface by reimagining the wetland’s edge not as a zone of exclusion, but as a site for regenerative waterfront development that integrates ecological stewardship with community empowerment.
我们提出了一种柔性、可适应的边缘，使互动、教育和共同责任成为可能，而非依靠围栏等硬性界限来保护湿地。这一“有生命的边界”鼓励居民通过实践性保护、生态学习和小规模农业生产，成为湿地的积极守护者。通过这种方式，项目将原本被动的水岸转化为兼具生产性、参与性和包容性的公共景观。
Rather than relying on hard boundaries like fences to protect the wetland, we propose a soft, adaptive edge that promotes interaction, education, and shared responsibility. This living boundary invites residents to become active stewards of the wetland through hands-on care, ecological learning, and small-scale agricultural production. In doing so, the project transforms a formerly passive waterfront into a productive, participatory, and inclusive public landscape.
这种方法将水岸开发的定义超越了房地产或休闲用途，使其成为一种公平韧性的框架。通过融入粮食生产、环境教育和社区聚会等功能，设计增强了湿地的生态健康与周边社区的社会和经济活力。居民不会因保护措施而被迫迁离，相反，他们被赋予权能，共同创造并维持自己的水岸环境。
This approach redefines waterfront development beyond real estate or recreation, positioning it as a framework for equitable resilience. By weaving in programs for food production, environmental education, and communal gathering, the design strengthens both the ecological health of the wetland and the social and economic vitality of the surrounding neighborhood. Residents are not displaced by conservation efforts; instead, they are empowered to co-create and co-sustain their waterfront environment.
该项目可作为城市水域低影响、高参与干预的可复制模式。在许多城市中，水体常被视为不可触碰或难以接近的空间。在这里，湿地边缘成为生产性、包容性且植根于文化的新型生态基础设施的试验场。我们设想了一种水岸开发的新范式：将水体视为城市公正与可持续未来建设的合作伙伴，而非单纯的背景板。
The project serves as a replicable model for low-impact, high-engagement waterfront interventions in urban areas where water bodies are often seen as untouchable or inaccessible. Here, the wetland edge becomes a testing ground for new forms of ecological infrastructure—productive, inclusive, and culturally rooted. Through this project, we envision a new paradigm of waterfront development: one that treats water not as a backdrop, but as a collaborator in the creation of just and sustainable urban futures.
06.
屋顶之上：生命的庇护所
Beyond Roof – Shelter of Life
Site Location: Suzhou, China
Honorable Mention, Buildner Hospice – Home for the Terminally Ill Edition #4 Competition
作为连接建筑与自然的桥梁，这座临终疗愈空间以静谧的姿态回应生命的终章，在提供慰藉、尊严与安宁的同时，也重塑了情感与空间的深层链接。
As a bridge between architecture and nature, this hospice responds to life’s final chapter with calm reverence, offering comfort, dignity, and peace, while nurturing a deep bond between emotion and space.
该项目位于苏州独墅湖畔，坐落于林间水岸之间，给予人们内心的平静。为促进人与自然的亲密交流，项目更加注重自然元素与建筑的深度融合。以低矮的水平体量与倾斜屋顶与地形相融，让建筑与周围景观紧密衔接。
Nestled along the shores of Dushu Lake in Suzhou, the project rests between woodland and water, providing a retreat from urban clamor and creating a sense of inner tranquility. To foster the connection between people and nature, the design emphasizes a seamless integration of natural elements and architecture. Low, horizontal volumes and sloping roofs flow with the natural terrain, allowing the building to blend seamlessly with its surroundings.
位于建筑核心的圆形庭院向天空敞开，将光线、空气与四季流转引入空间内部，成为生命延续的象征。庭院被共享的功能空间环绕，形成一处促进交流与共情的包容性场所。
At its heart, a circular courtyard opens to the sky, inviting light, air, and seasonal change as a living symbol of life’s continuity. Surrounded by shared spaces, it forms an inclusive center for communication and connection among patients.
远离城市的喧嚣，这处空间提供了一个回归自然的庇护所。它不止是一座物理构筑物，更是一处承载精神的空间容器——以形态拥抱生命的脆弱，以光线抚慰心灵，以时间沉淀情感，将个体的存在重新编织进自然宁静而永恒的韵律之中。
Away from the city’s clamor, the hospice offers a shelter for immersing in nature. It is not merely a physical structure, but a repository for the spirit—embracing the fragility of life, soothing the soul with light, and allowing emotions to settle over time, weaving individual existence back into the serene and enduring rhythms of nature.
在海外时间：2017年至今
在海外地点：英国利物浦 – 美国密歇根 – 美国纽约
姓名：蒋明睿
籍贯：江苏昆山
学校：西交利物浦大学 – 利物浦大学 – 密歇根大学 – 哥伦比亚大学
工作单位：Fogarty Finger
联系方式：mingrui.jiang1127@outlook.com
When: 2017 – present
Where: Liverpool – Michigan – New York
Name: Mingrui Jiang
From: Kunshan, Jiangsu
School: XJTLU – University of Liverpool – University of Michigan – Columbia University
Office: Fogarty Finger
Contact: mingrui.jiang1127@outlook.com
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