在海外专辑第六十一期 – 邢晓晔


Project Specs

第六十一期为您奉上的是宾夕法尼亚大学,在 OLIN 工作的邢晓晔。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.61 episode is about Xiaoye Xing, who graduated from University of Pennsylvania and working in OLIN.


Why go abroad?

因为在本科阶段没有上过真正会把人榨干的设计课,在通识教育和各种数理的海洋里挣扎, 所以很好奇传说中强度最大的美国景观课程到底是怎样致人死地而后生。

In undergraduate, I never had a typical design studio, but was struggling in the sea of science and liberal arts. So I’m really curious about how intensive and horrible the MLA programs are in the U.S.


Is there anything happened impressed you the most abroad?

因为最开始在路易斯安纳州立上了一年的MLA I,因为项目主要针对没有景观学位的人,所以同学们的背景特别多元。比如有自己家开着建设公司的包工头大叔,还有一边打工做织物设计一边要供养女儿的姐姐,当然还有来自比较文学、地理系、金融等等各种神奇专业的同龄人们。虽然很多人可能连Photoshop都没碰过甚至也不怎么会画画,但总有各种奇异的想法蹦出来。对于从很小就喜欢画画一路学着相关专业直升上来的我说,那个时候不禁觉得,啊这些人类好勇敢,无论年龄多大都保留着尝试新鲜事物的勇气。


I spent my first year of MLA I in Louisiana State University. Because the program is mainly for people without landscape architecture degrees, so there are so many interesting, diversity backgrounds. There was a contractor with his own local construction firm, a lady working for a fabric design firm and taking care of her daughter in the meantime, and peers from comparative literature, geology and finance. Though some of them didn’t ever use Photoshop nor draw anything, there were always amazing ideas coming out. For a person like me who started drawing when very little and always studied related majors, I was like “Uh, these people are so brave, no matter how old they are, they always keep the courage of going into unknown”.

Then the contractor dropped school after a semester.


What do you miss the most about China?


Cannot avoid mention food, especially those non-deployable, full with emotions.
Also there are lots of very easy thing in China, you won’t realize how expensive and difficult they are until you are abroad, like clinic, moving and so on. This is when I miss the convenience in China most.


Will you come back? Why?

其实会感觉至今也没有完全融入美国的文化中,美国人的消遣方式会觉得无聊, 对于食物的容忍力之高也让人咂舌。但是现阶段还呆在这的原因,只是因为他们对于每个人个性以及生活的尊重,让人能够轻快地享受生活。可能还是当自己是游客,感觉这片大陆还有很多未曾涉足的地方。

Yes. Just thinking about the idea of building something on the land I grow up, it’s still very exciting to me. Sometimes I didn’t feel being part of American culture, I would be bored about their fun, I would be surprised about their tolerance of food. But currently, people’s respect to every individual and their private life makes me enjoy life easily here. I still think myself as a visitor, who wants to explore places in this land.


Is it more distinct to view China in a different environment after going abroad? Any thought?


I complained a lot when I was in China, but I am thinking about the good now.


What are the educational characteristics of your school?

宾大景观是老牌项目,有着非常鲜明的教学结构。MLA项目里前面四个studio的议题和目的都是有章可循的,然后理论课围绕studio开设。第一年先颠覆你对景观的认知,然后给你打好做设计必备的植物、整地和手绘基础;第二年把你拖到mega region当中,实践麦克哈格的葱油饼画图法, 然后落到景观都市主义和城市设计当中去;最后一年缺啥补啥,自由选择感兴趣的studio,或者个人研究,有偏技术层面的有丰富的东方文化。如果回到最开始的问题,个人感觉宾大应该是美国强度最大的景观项目了吧。

UPenn’s MLA program is a solid brand with clear curriculum structure. Topics of the first four design studios always have a strong direction, and seminars and theory class help to illustrate the studios’ purpose. The first year is about going beyond the boundary of landscape architecture, and setting you up with basic skills like planting, grading and drawing. In the second year you will be overwhelmed with mega region and Ian McHarg’s methodology of mapping, and then fall on landscape urbanism and urban design projects. The last year is a la carte, you choose what you are interested in, studio or independent research. Going back to the first question, I personally believe Penn’s MLA program is one of the most intensive in the U.S.


What are the characteristics and interesting points of your firm?

OLIN 是为数不多的从单一明星事务所成功转型成合伙人制的景观公司。有吉祥物老爷爷 Laurie Olin 打下的江山口碑,现在的合伙人每人都有不同的风格和特长,所以公司有各种尺度各种类型的项目。有时候会觉得 OLIN 的曝光率好像不是很高,其实是因为好多大型项目都与甲方签订了保密协议, 比如【哔——】和【哔——】。

OLIN is one of those firm that successful transfer from a single-star frim to a partnership, which is rare in the industry of landscape architecture. With the great reputation of Laurie Olin, all current partners have their own style and enthusiastic, so there are a great range of scales and typologies among OLIN’s projects. Sometimes you may think OLIN doesn’t have much exposure, that’s because lots of our projects are confidential, like [beep] and [beep].


Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

歌川广重。其实一直模糊地喜欢着浮世绘,直到去年在Clark Museum看了日本浮世绘的特展,才对歌川广重的个人风格有了一些了解。他的构图对于前景和框景的运用特别精妙,虽然描绘的是风景,前景却总传达着人情的气息,于是总想借鉴到空间设计当中去。当然还有色彩,忍不住画图的时候拿来当色板。

Utagawa Hiroshige. I’ve been loving ukiyo-e for a long time but I got to know more about Hiroshige after seeing the special exhibition at the Clark Museum. His works are fabulous in using foreground and framing. Though most of themes are landscape, there are moments and elements full of emotions. So I always want to use the spatial quality and color palette from his works.


What amazing character do your works have?



I am easy to be amazed by historic ruins, relic, and old stuff. Especially for independent studio, I cannot help concentrating on historic relics, myths and stories. Although it could be very superficial to historic preservation, I’d love to research and learn more about how to renovate and preserve those very touching elements.

And so is water. Most of my projects are surrounded by oceans, rivers and rainwater, which provides the uncertainty and possibility for dynamic landscape. It could date back to my thesis project in undergraduate about water sensitive landscape, which was a brand new term to me before sponge city. It totally simulate my enthusiastic about water as an everlasting topic in landscape.


When did you start to follow gooood? Any suggestions?


From undergraduate. At that time, I had few access to know good designs all around the world. Gooood almost became the only source of my design precedents. Now since I’m working abroad, I hope to know more about great projects and studios happening inside China.






西班牙班德尔玛公园竞赛 | Bandirma Park Competition

Collaborator: Taro Cai, Zhuangyuan Fan, Hao Li

1: writing material (as a parchment or tablet) used one or more times after earlier writing has been erased
2: something having usually diverse layers or aspects apparent beneath the surface

班德尔玛位于土耳其西北部,与伊斯坦布尔隔马尔马拉海相望,并且与伊斯坦布尔之间交通非常便利,是区域内重要的港口,也是土耳其人口密度、城市人口最高的区域。竞赛基地位于班德尔玛的西边临海,约26公顷. 基地曾经被用作军事储备基地约40年,直到2000年被废弃。而基地内的残存的历史遗迹中则有21座建筑被定义为“需保留的文化遗址”。

Bandirma is located in the northwest of Turkey, one of the most important ports in Sea of Marmara region. Though Sea of Marmara is between Bandirma and Istanbul, the transportation between them is very convenient, where the highest general population, the city population, and density rates in Turkey can be observed. Overlooking the Marmara Sea and the whole city, the competition site is located in the west of the city centre and is nearly 26 ha. It is known that the area has been used as a military storage for around 40 years, and was abandoned at early 2000s.

我们引入了“重写本”(palimpsest)这一概念,palimpsest愿意是指重复擦除使用的纸张或速写本,可以引申为某种层次错综复杂的东西。军事基地的建造最初干扰了场地的原生景观, 平整地形,并引入了新的环境。随着时间迁移与军事基地的废弃,自然景观再生并与人工构造结合产生了新的景观,构成了独特的场地现状:自然秩序与人类生产秩序的和谐统一。这一切都定义了历史遗迹的真实感与场所精神。

We acknowledge the site as a palimpsest. The construction of the military base has initially disrupted the native landscape, adding new contents to the site. Overtime, nature has rehabilitated and further established characteristics within the built structures. The site provides unique traces and a sense of harmony: the site still maintain its unity and order that men have produced in the past. This defines the aesthetic of ruins and the genius loci of the site.


This proposal arises from the evolving dialogue between humanity and natural activities. The rigid grids from the military plan are identified and preserved for its historical and spatial significance. The matrix of existing barracks, watch towers and reprogramed two major axis serves as the framework for the master plan. Careful placement of a pedestrian loop, landscape rooms and accessible green roofs provides a seamless network, through which institutional, retail and hotel zones are linked as a coherent entity. Green roofs restore the topographical idiosyncrasies preceding the flattening of the site and provide visitors the opportunities to observe downtown Bandirma and areas beyond.


Two Axis: the two axis, as the armature to link landscape and architecture, follow the grid of historic heritage, and allow the two main circulations from east and west entrances. The northern axis is defined as Art Corridor, which connects the art institute with the green roof complex, interacting with sculpture gardens, amphitheater, tree plaza and the memorial pond. The southern corridor cuts through the green roof complex and reaches out towards the city view look-out platform.


At the Art Institute, studios and classrooms occupy the interior of the barracks. Terracotta screen walls atop of the barracks visually strengthen the tempo of the historic row while reconstructing the interior. Across the promenade from the Art Institute, the row of barracks is reinforced as well and but intentionally left hollow with stairs and escalators for accessing the shopping complex on the lower level. Intersecting the parallel array shops is the main axis of the site plan, anchored by the 5-star hotel and convention center, it links the parallel shopping streets, and terminates in the form of an overreaction Deck.




阿拉赞河更新 | Renewing Authenticity of Alazan Creek

Instructor: Lucinda Sanders, Trevor Lee
Core Studio, PennDesign, Individual

El Hueso是民间对于圣安东尼市西区的称呼,它被认为是“最有灵魂的城市”“拉丁生活的脉源”。它曾经拥有自己的特色与文化认同感,比如沿Guadalupe S和Commerce St色彩绚丽的文化遗址,向日葵覆盖的泥泞河流,熙熙攘攘的拉美裔人口。然而它却从地理上和精神上与市中心分隔开来。只有三座桥可以贯通市中心与西区,更别提铁路与高架桥从物理上隔绝了西区。西区的小河们曾经是这里的象征,却在因防洪开凿成河道之后,渐渐淡出了人们的视线,成为了被遗忘被远离的西区一隅。


El Hueso, is the unofficial Westside, is believed to be the “most soulful city” and the “mother lode of Latino Life” in San Antonio. It used to own authenticity and identity: the cultural heritage sites with vibrant colors concentrating along Commerce St and Guadalupe St, the “sunflower covered murky” creeks. But it is divided from the downtown core in both perceptual way and physical way. You can only get to the westside by three elevated bridges. Besides the railroad, the freeway structure is also seen as a disrupter, which provides uncomfortable crossing experience. The westside creeks were ripped out of the imagination of the westside residents when the waterways were channelized and concretized in response to frequent flash flood. The creeks, once a source of rich imagery, became a source of fear and neglect.

The Alazan Creek, as the interface between downtown and westside, will be the “bone” of my project. This project aims to get the locals close to the “bone” of the westside, attempts to recover local residents’ cultural connections to the creek. My hypothesis is that, a reimagined Alazan Creek, will become the armature to enrich people’s interactions, tackle the westside identity, and arouse local pride by reinforcing the eco-services and by bringing creative programs to the creek.


Cultural Relations to Water

前期调研中,我阅读了很多历史资料,提炼出了这张diagram,来讲述人与水的距离的改变。早期殖民者择水而居,而小运河系统(acequia system)和水井的出现放宽了人类居所对水的要求。然而在圣安东尼奥历史上几次洪水之后,人们变得害怕水,想要远离水。而现在的问题则是,如何解除西区人们对于水的恐惧,让河道与溪流再次变得吸引人?

Reflecting on people’s cultural relations to water from past to present, people’s physical distance to surface water has changed with the water rights. People used to live close to water for rich resources. Then the acequia system and artesian wells made it possible to live far away from the rivers. The myth is that water is dangerous and to be feared after the frequent flash flood. The question is what makes rivers and creeks attractive again among the westside residents who used to bear the fear of flood?

1. 通过软化河道,直线变曲,再现蜿蜒性河流地貌,增大平滩流量与洪泛区面积,并结合上游多功能滞洪区,实现多层次的防洪措施,来保证河道的安全性。
2. 在多层次地形河床之上建立多层步道系统以及娱乐功能,最优化利用河床地形,来提高河道的公共空间丰富性。
3. 增加可步行同行的桥,提供旱季可到达河底的路径,以及标志性的“悬桥广场”,来增加河流的连通性。
4. 通过再现文学作品中描述的西区河流的经典当地植被,来保证河流两侧微气候与荫蔽。

My idea is to activate the creek and recover people’s relations to the creeks, and this
is a toolkit that could be deployed to other creeks in the westside other than Alazan Creek.:
– make it safe by naturalizing the riffle-pool sequence within pilot channel, widening bankfull condition and flood plain, and integrating with possible upland detention area to achieve flood regime.
– make it celebratory by developing trials in different hierarchy with creative programs which take advantage of creek topography, carry on the artful soul of westside.
– make it accessible by connecting the two sides of the creek with new creative cap and attached pedestrian bridges.
– make it shaded by using local plants from historic literature and recovering the vibrant memories of San Antonio water.

从区域尺度上考虑,阿拉赞河与两条文化廊道(Commerce St, Guadalupe St)的交汇处成为“脊髓”上重要的连接点,靠近住宅区与学校的北端节点被定义为“阿拉赞社区中心”,意在提供活力社区所需要的基础设施与服务;而链接艺术气息浓厚的Guadalupe St、又处于两条运河交汇处的南端节点则被定义为“Guadalupe广场与生态公园”,意在延伸其艺术影响,并侧重防洪功能。 两个重点公共空间由更加静谧的廊道链接:北段森林之路从社区中心延伸至西区最受欢迎的小公园,中段毗邻学校则提供了充足的游戏场与运动场,南段的向日葵壁画长廊蜿蜒曲折,提供了更加私密安静的休憩空间。

Realizing the critical position of Commerce St and Guadalupe St, two iconic civic spaces will be established at the interface between the two corridors and the creek with active recreational programs: the Alazan Community Center with outdoor creek gallery and the Guadalupe Plaza & Eco-Park. Then the two civic spaces are connected by more soulful corridors: the Woodland Corridor wilds through the community and reaches out to Farias Park; the public “playground” provides playful and celebratory space for adjacent schools; the sunflower mural corridor is designed to be a passive recreational corridor with intimate spaces.


Alazan Community Center


In the first civic node, the idea is to create a creative cap as “outdoor gallery” on the creek to provide a unique interactions with the creek and space for exhibition, art reception and concert.


Semi-public “Playground”


The adjacent space to school is designed to be a semi-public “playground” in service of school kids and passing-by residents. My idea is to keep the kids above bankfull condition for safety but utilizing the topographic change of creek edge to create super fun playground with unique experience, such as the grand slide.


Sunflower Mural Corridor

而在建筑紧密的狭窄河道区段,通过悬于河道之上的观景台化解了“道路尽头”的问题。 并运用阿拉赞河原始的野生向日葵植被,和圣安东尼奥特色壁画,创造了这条供过往人们通行的绿色廊道。

In narrow corridors with tight urban setting, the hover-over deck will extend the end of dead streets to give a better view to the creek. “Sunflowers” as identity extracted from the most vivid description of Alazan Creek, attempt to evoke people’s memories about the creek. My idea is to have something exciting to see as people move along the corridor so the concrete structure for stabilization could be used for mural arts. The deck elevations are corresponding to designated flood regime in order to remain partially functioned in flood.




西班牙Quilmas水产景观修复 | Recovering Aqua-scape in Quilmas

Instructor: David Gouverneur, Miriam García García, PennDesign

西班牙西海岸加利西亚地区拥有蜿蜒曲折的海岸线和众多入海口,有史以来其主要的经济支柱便是渔业与水产养殖。Quilmas是一个坐落于海岸线上的仅有170名居民的小镇。 它镶嵌于圣地亚哥-德孔波斯特拉和菲斯特雷两个著名的朝圣地中间,却因为其毗邻绵延的平多山脉(Mount Pindo),没有便捷的交通来维系它与相邻城镇之间的联系,导致纵有美景,旅游业不甚发达。


Galicia is located in the west coast of Spain, with a very long shoreline of 2250 km and many inlets along it. Aquaculture in Galicia has always been the economic core. Quilmas is a small village of only 170 inhabitants of la Costa da Morte, located on a narrow coastal fringe open to the Atlantic Ocean. It’s in the critical location between two famous tourists places: Santiago de Compostela and Fisterra. However because of the topographic change of Mount Pondo, the transportation is not convenient to support the tourism of scenic Quilmas.


如何让养殖基地更好地与当地居民交流,为居民服务并创造更美丽活力的公共空间,并成为Quilmas经济发展的杠杆,复兴本地旅游产业, 成为了这个项目的主要议题。

The international turbot farm in Quilmas has dominated ½ of the shoreline, yet without offering job opportunities to local residents, and even output wasted sea water into the ocean. Even worse, the farm is not satisfied with the current land, and means to expand more.

How to engage the farm with the local, while providing vibrant civic space, leveraging local economics, and boosting tourism, becomes the main purpose of my project.

在考虑扩张的基础上,首先要解决的问题是如何才能降低影响、提高效率,增加工厂与周边的联系。主要策略有三:一是近海渔场扩张部分利用地形, 使用循环净水系统(RAS)和重力系统(Gravity System),并以景观手法建立人造咸水湿地对于外排海水进行净化;二是结合多营养层级综合养殖系统,在海水中养殖海带、生蚝等多种水产,达到净化水质、创造当地工作机会和提升景观价值的多重功效;三是将新旧工厂之间作为半开放的公共空间,为游客和当地居民提供教育参观团。

With reasonable consideration of expansion, the primary problem is how to make low-impact, high-efficiency, and porosity turbot farm. There are three main strategies: first, developing Recirculated Aquaculture System with Gravity system to utilize topography and save energy, and using landscape methods to clean water with salt water wetland; secondly, introducing integrated multi-tropic aquaculture system with a diversity of species, to purify water quality, increase job market and create higher landscape value; thirdly, opening part of the farm as public space for showcase, pedagogical tour.


Historic heritage, creating landscape rooms through existing relics, as amphitheater, camping ground, restaurant and café, plazas and such civic space for local people and tourists. Leaner landscape elements, enhancing the grid of the old salting factories, will connect people to the farm, through the wetland, and reach to the productive landscape of the sea.

▼新旧渔场与多营养层级综合养殖系统剖面,section of the multi-layered fish farm





Assembly/Disassembly – The Dynamic System Studio

Instructor: Kristi Dykema Cheramie, Ursula Emery Mcclure, LSU

最后想分享两个非常不一样的项目,这两个项目来源于在LSU MLA I的第一个设计Studio。作为面向一群非景观背景学生的第一堂studio,Kristi的目的不是立刻教授我们专业的套路,而是用这个studio颠覆我们以前对于景观、建筑、空间的理解,把一切秩序打乱再重组,进而让我们思考什么是设计。虽然后来也经历了很多优秀的老师优秀的studio,但是这个Studio带给我的冲击和思考是最深远的:它先是颠覆了我四年本科所建立的对景观狭隘的理解,并一直激励我思考着国内外景观教育的方式。


At last, I want to share a special studio, which was the first studio of LSU MLA I program. As a studio for non-landscape background students, Kristi didn’t aim to teach us to be “professional”, but to challenge our stereotype understanding of landscape, architecture and space. It broke up all orders and reassemble them in order to make us think about “what is design”. Though I had lots of brilliant professors and fabulous studios, this one is still the most astonishing and valuable one: it shook up my narrow view towards landscape, and keeps encouraging me to rethink the way of landscape as education.

This studio contains three big projects, which are made of a series of assignments. It’s like a puzzle, every piece is very confusing but full of surprises.

1. 在校园里拾取三个小物件,应从属于表面、表面上、表面下,并对其发现地点、特征等做分析图(Notational Drawing)记录。
2. 根据对每个物件的分析,为其设计一个新的空间

The first project is aim to explore making & unmaking, concept and metaphor of space.
1. Select 3 palm-to-hand size artifacts from campus. Artifacts should be selected from 3 distinct elevations: SUB-SURFACE, SURFACE, SUPER-SURFACE, then document and analyze each with notational drawings.
2. Recompose three artifacts in a new space designed to demonstrate the result of analysis

3. 设计建造一个新的“容器”,以水平、竖直、居中的逻辑装置三个空间,并达到虚实平衡

3. Design and build a wooden container in which the three volumes (horizontal, vertical and centroid) can be embedded with a balance of void and mass.

4. 以控制光的设计为原则,将容器重新分为三个部分

4. Disassemble the container into three pieces to design the light


5. 与队友的零件进行组合,形成一个整合地面、骨架的空间序列

5. Reassemble all pieces with teammates and design a network of spaces that integrates the ground and armatures, and speak to fluctuation.

第二个项目“Terra Mutare”, 简单概括是通过记录分析手上一块1” x1”的皮肤的运动过程,建造一个动态模型来重现运动的特征。并且每个人都会被分配一个词语来规定建造的方法,比如褶、盘格、波浪、线等等。 而我被分配到的是“褶”,所以用了很多时间来试验各种创造褶的方式和材料,最终选定了日式折纸中一种灵活度最高的图样。最终模型长宽各2英尺,由10张大小不同方向不同的折纸组成。

最后一个项目跟第二个项目关系紧密。是在整个studio范围内互换模型, 并在别人的模型之上建造另一层空间来加强模型本身的运动。可以把原模型当做一个动态的景观,而我们要在这个运动的景观中创造建筑。

The second project “Terra Mutare” is by documenting and analyzing the movement of a piece of 1”x1” skin on your hand, to construct a dynamic machine to represent the movement. Everyone was assigned with a word, such as pleat, tessellate, wave or string, as the technique to make the machine. Mine was “pleat”. So I tried lots of ways to make pleat with various materials, and finally decided on a flexible pattern in Japanese origami. The final machine is 2’ by 2’ long, and is made by 10 pieces of paper pleating in various size and orientation.

The last project is tightly related to this one. We were asked to exchange model among the studio, and then designed another layer of space to stress the movement of the original machine. This is like treating the original machine as a dynamic landscape, while we are designing the architecture in response to that.

When: 2013 – Current
Where: Philadelphia, Pennsylvania
Name: Xiaoye Xing 邢晓晔
From: Weifang, Shandong, China
School: University of Pennsylvania
Office: OLIN

Contact: xingxiaoye@live.cn

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