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。
第一百一十九期为您介绍的是毕业于罗德岛设计学院、现工作于 Snøhetta 的李超。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.119 episode features Chao Li who graduated from RISD and is now working for Snøhetta.

为什么出国？
Why going abroad?

当时生活中发生了一点不愉快的事情，急切地改变自己的生活方式，觉得出国学习会是一个很不错的选择。并且当时对景观专业很热爱，美国有很多现代景观的理论和实践作品，能过来看看和学习能打开自己的眼界并且丰富自己的专业知识。

There was a bit of unpleasantness that occurred in my life, I felt the need to change my way of living. I thought studying abroad would be a great option, and I had a passion for landscape architecture at the time. The United States had many modern landscape theories and projects that I was interested in learning and experiencing firsthand. I believed coming here to study and learn would broaden my horizons and supplement my professional knowledge.

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?

那一定是大家普遍地对于户外活动的热爱和向往。我本身曾经是一个非常宅的人，在户外文化的熏陶下，我也开始爱上了踏出家门，爱上了探索不同的自然环境，爱上了用脚去丈量和感受不用的城市和文化。

It must be the widespread passion for outdoor space and activities. I used to be a homebody, but thanks to the stimulation of outdoor culture, I have fallen in love with stepping out of my comfort zone, exploring various natural environments, and experiencing different cities and cultures on foot.

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

家人，朋友和食物。上次回国已经是2019年，因为疫情，家人和朋友只能存在于各种屏幕上，失望能尽快找到时间和机会回国一趟。

Family, friends, and food. The last time I went home was in 2019. My loved ones could only exist on various screens because of the distance and pandemic. I hope to find time and opportunities to go back as soon as possible, as I am eager to reunite with my family and friends in person and savor the delicious food once again.

你会回国吗？为什么？
Will you come back? Why?

从长期来看，我大概率是会回国，我总觉得国内蕴藏着大量的机会和能量。但短期内，我还在等待时机，想要更多地磨练自己，学习和掌握更多的专业技能。

I am most likely to return to China in the long term as I believe there are vast opportunities and potential waiting for me there. However, in the short term, I am waiting for the right moment to come. I wish to further hone my skills and acquire more knowledge and expertise in my field before heading back.

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?

在某种程度上，我不觉得是自己看中国更清晰，而是最近几年国内自身的发展变得更清晰。很多城市开始越来越注重公共空间的作用和质量，大家对于公共空间的使用方式也再不断的多元化，这是一个特别令人欣喜的现象，尤其是对于我们这些景观的从业人员。

It’s not that I view China in a different environment, but rather that China’s recent developments provide me with a new perspective. In recent years, there has been an increasing emphasis on the role and quality of public spaces in China. The usage of public spaces has become increasingly diversified. It’s a particularly encouraging and exciting phenomenon, especially for us who work in the industry of landscape architecture.

你的学校有哪些教育特点？
What are the educational characteristics of your school?

RISD的景观项目相对来说是比较传统和扎实的，设计课涵盖了各个尺度和类型的项目。学校的教授特别注重大家对于场地的感受和分析，以及确确实实地想让大家去享受设计的过程，但这也间接导致了一个问题，最后留给大家画图的时间比较少，会导致产出没有那么多，不会有那么多图可以放作品集，对于找工作来说可能是个劣势。学校在最后一年会要求大家做独立的设计研究论文，是个折磨人，但同时也极有意义的过程。从选择自己感兴趣的话题，到读文献，做研究，生成自己的观点和论点，再到最后根据自己的话题选择场地，对场地进行分析和设计，这一系列独立思考的过程可以很好地帮助我认识自己，知道自己在景观中真正感兴趣的方向。

The landscape architecture program at RISD is relatively traditional and comprehensive, covering projects of various scales and types. The professors at the school pay particular attention to students’ perception and analysis of sites and truly want students to enjoy the design process. However, this leads to an issue – there is less time for students to focus on producing, resulting in fewer outputs and fewer pieces to be added to their portfolios, which could be a disadvantage when looking for a job. In the final year, the school requires students to do an independent design research thesis, which is a challenging but meaningful process. From choosing a topic of interest, reading literature, conducting research, and generating statements, to ultimately selecting a site based on its topic and having site analysis and design, this series of thinking processes can help us understand ourselves and students’ true interests in the field of landscape architecture.

你现在工作公司的特色和有趣的地方？
What are the characteristics and interesting points of your firm?

我们公司（Snøhetta）是一个建筑，景观，室内和产品设计都有的综合性公司，所以我们在大部分的项目进行过程中会考虑到各个部门之间的协调和沟通。不管是什么类型和尺度的项目，在一开始所有的部门都会在一起头脑风暴，出概念，而不是单纯地建筑做建筑，景观做景观。从而使得我们的项目整体会比较协调。每个人都有机会说出自己的想法，并且被运用到项目的后期设计和深化中，从而让我们的方案多种多样，而不至于同质化很严重。

Our office (Snøhetta) is a comprehensive design firm that encompasses architecture, landscape, interior, and product design. Therefore, during the process of most projects, we consider coordination and communication between departments starting from the early phase. Regardless of the type and scale of the projects, all departments brainstorm together at the beginning to develop concepts, rather than solely focusing on architecture or landscape design. Everyone could express their ideas, which then have the opportunity incorporated into the later stages of project design and development, resulting in diverse and unique project types that avoid homogenization.

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?

我最喜欢的艺术家是美国摄影师Alec Soth。他有种独特的，安静的力量。他的摄影总是首先基于对于当地环境和人的理解，然后用照片和极其美丽动人的色彩去阐述一个故事。这和我做景观设计的过程有着异曲同工的地方，所有的项目和设计一定是首先基于自己本身的方式方法对于场地特质进行挖掘和理解。

My favorite artist is American photographer Alec Soth. He possesses a unique, quiet power. His photography always engages the local environment and people and then uses photographs and extremely beautiful colors to deliver a story. This process has similarities with my own approach to landscape design. Every project and design are based on an understanding of the unique qualities of the site with my own methods and approach.

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?

有着比较多对于场地的思考和理解，并且在不停地尝试新的方法去理解和分析场地。还有一点就是比较执着，同一个主题，我在三年的学习中做了两次。

My portfolio has a lot of reflection and understanding of the site and is constantly trying new methods to understand and analyze the site. Additionally, I am quite persistent and have chosen the same theme twice during my three years of study.

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?

从本科一年级就开始看了，是我了解最新设计项目和咨询的很方便的途径。希望能看到更多跟设计理论有关的内容，设计不仅仅是空间和形式，其中所包含的历史，文化，理论也十分的重要和迷人。

I have been using it since my freshman year in college, and it has been a convenient way for me to stay updated on the latest design projects and trends. I hope to see more content related to design theory, as the design is not only about space and form, but also involves important and fascinating elements such as history, culture, and theory.

W O R K

01.

42街：正在发“声”的街景
42nd Soundscaping – Sound as Media to Reshape Urban Ecology

Instructor: Michael Blier, Claire Fellmen
Awards: 2021 World Landscape Architecture – Award of Excellence in concept- Analysis & Planning, RISD Landscape Architecture Department Thesis Award

这是我在RISD最后一年的thesis，我thesis研究的主题是如何将声音作为媒体去分析和设计场地。这个项目旨在将噪声问题转化为社会和文化改进的机会，并通过重新思考声音与环境、声音与人体感知，以及声音与生态系统之间的关系来重建城市生态。通过研究声音、城市、人类和野生动物之间的动态关系，可以制定出灵活的策略，为宜居的栖息地、公共空间和文化项目提供支持。在城市环境中很难听到鸟鸣声，因为鸟类很难在拥挤的城市中找到适宜的栖息地。此外，它们的“歌声”经常被高强度、低频的城市噪声淹没。随着我们步入“人类世”，工业和城市区域的不断扩张使地球整体的响度比其它历史时期有了显著的提高。

This project is my thesis at RISD, the research topic of it is how to use sound as media to analyze and reshape sites. This project seeks to turn issues of noise into opportunities for social and cultural improvement and to rebuild urban ecology by rethinking the relationship between sound and the environment, as well as between sound and perception. By studying the dynamic relationship between sound, the city, people, and wildlife, a flexible strategy can be developed to provide suitable habitats, public realms, and cultural programs. It is currently difficult to hear birdsong in urban conditions, as birds find it challenging to locate suitable habitats within the crowded city. Additionally, their “song” is often drowned out by the loud, low-frequency urban noise. As we step into the Anthropocene, the relentless expansion of industrial and urban areas makes the earth sound much louder than it did during other times in the earth’s history.

▼世界声音变化时间图，World’s Sound Timeline

自从雷切尔·卡森（Rachel Carson）的开创性作品《沉默的春天》（Silent Spring）问世以来，声音就与我们周围环境的健康紧密相连。环境声音的质量间接或直接地反映了其生态质量，现在生活在城市地区的人们正在遭受着噪音污染的困扰，这可能会很损害我们的健康。因此，将声音作为主要媒介来塑造和改善一个适应新型城市生态的景观，是一项有趣且具有挑战性的任务。

为了实现这一目标，我认为有几个问题需要被思考和解决。这些问题包括：如何定义城市中不同类型的声音；如何准确地识别城市声音景观的真实效应和质量；以如何找到以声音作为主要媒介来指导未来城市规划和发展的方法，从而达到为人类和野生动物提供健康的居住条件的目的。此外，我们还必须考虑如何利用声音作为研究基础来为改善城市生态和提供新的绿色框架，以及如何使用声音作为设计的驱动因素来改变人们对某个地方的感知，并创造出特定的场所感。

Since Rachel Carson’s groundbreaking work “Silent Spring”, sound has become tightly linked to the health of our surrounding environment. The way an environment sounds reflects its ecological quality, and people living in urban areas also suffer from noise pollution which can damage their health. Therefore, it is an interesting and challenging task to consider sound as the main medium to shape and create an ecological landscape that can improve and fit into new types of urban ecology.

In order to achieve this, several questions must be addressed. These include identifying different types of sound in the city, determining how to accurately identify the true effects and quality of the urban soundscape, and finding ways to address sound as the main medium to guide future city planning and development, in order to provide a healthy living condition for humans and wildlife. Furthermore, we must consider how we can use the facts of sound to provide a new green frame to improve urban ecology, and how we can use sound as a material to change people’s perception of a place and create a specific sense of place.

▼噪音的影响，The Impact of Noise

我在曼哈顿的不同地区进行研究后，大致将城市的声音景观可以分为三种类型：自然声音、人文声音和噪音。虽然自然声景在城市中普遍存在，但人文和嘈杂的声音的主导地位导致了人们对自然声音缺乏敏感性，这使得许多人戴上耳机来屏蔽他们所处于的声境。尽管如此，不同的声景仍然代表和反映了城市的各种方面，包括其生态、文化和历史

After conducting research in different areas of Manhattan, the author found that the city’s soundscape can be classified into three types: natural, cultural, and noise. While cultural and natural soundscapes are prevalent throughout the city, the dominance of cultural and noisy sounds can lead to a lack of sensitivity towards natural sounds. This has resulted in many individuals choosing to block out their acoustic environment. Despite this, the different soundscapes still represent various aspects of the city, including its ecology, culture, and history.

▼城市声音分类，纽约鸣禽和声学物种，Urban Sound Catalog, Songbirds and Acoustic Species in NY

本次调查的主要研究区域是曼哈顿的42街，这是一条历史悠久的街道，连接哈德逊河和东河。作为曼哈顿历史的见证者，42街结合了历史城市结构和创新的城市空间设计。42街沿线的不同空间类型，这其中包括了都德城绿地、布莱恩特公园、哈德逊河滨绿色空间这些偏绿色生态的公共空间，以及时代广场和大中央车站这些充满活力的文化聚集空间，这个空间交织在一起创造了丰富的生态和文化声景。虽然这些空间在一开始相互融合得很好，但随着人类在空间和环境中扮演角色比重的越来越大，它们之间的平衡正在逐渐被打破。

The primary study area for this investigation is 42nd Street in Manhattan, a historically iconic street connecting the Hudson River and East River. As a witness to Manhattan’s history, 42nd Street combines both historical urban fabric and innovative design. The different spaces along 42nd Street create rich ecological and cultural soundscapes, including the green spaces of Tudor City Green, Bryant Park, Hudson River Waterfront, and the vibrant human realm of Times Square and Grand Central Station. While these spaces work well together, the balance between them is being lost as humans take the main role in the environment.

▼42街历史，42nd Street History

在对场地的声景进行研究时，我在42街待了一整天。从清晨到傍晚，通过来回五趟的声音采集和空间感受，总结和获取了街中不同空间和活动所承载的声景，以及他们在一天中的变化。这次的调研和分析，帮助我对于42街整体的现有的声景有个具体的理解，为了我之后空间设计打下了基础和框架。

During my soundscapes research of the site, I spent an entire day on 42nd Street. From morning to evening, I collected and experienced the soundscapes of different spaces and activities on the street through five rounds of back-and-forth sound recordings and observations. I summarized and obtained the soundscapes carried by these spaces and activities, as well as their changes throughout the day. This research and analysis will serve as the basis for my future spatial design.

▼42街声音记录，42nd Sound Record

▼42街声音和空间分析，42nd Street Sound & Space Analysis

基于之前的场地分析，我畅想将42街改造成为一条声境和生态空间交织的绿色廊道。沿街设置了六种不同的生态空间供不同的生物栖息。将车辆从街中移除，基于街中现有的空间和活动，将它们保留，改善和延伸，同时引入新的与声音有光的活动以及装置，让它们在不同的时间和季节呈现出不同的空间形式和声景。

Based on the previous site analysis, I envision transforming 42nd Street into a corridor interweaving soundscapes and ecological spaces. Six different ecological spaces will be set up along the street to provide habitats for different species. Vehicles will be removed from the street while existing spaces and activities will be preserved, improved, and extended. New activities and installations will also be introduced, presenting different spatial forms and soundscapes at different times and seasons.

▼42街声景规划，42nd Soundscaping Vision Plan

▼内陆湿地, 生态声景，Inner Wetland, the Natural Soundscape

▼草地，演出空间，人文声景，Meadow, Performance, the Cultural Soundscape

▼草原，声学广场，人文声景，Grassland, Acoustic Square, the Cultural Soundscape

▼草坪，布莱恩特公园，人文声景，Lawn, Bryant Park, the Cultural Soundscape

▼水景花园，中央火车站，人文声景，Water Garden, Grand Central Station, the Cultural Soundscape

▼树林，都德城绿地，生态声景，Forest, Tudor City, the Natural Soundscape

最后想要小小的总结一下：作为人类，我们对生活环境的体验和理解可以有各种不同的途径。然而，我们目前的生活方式和文化使得我们更加倾向于视觉，而低估了我们其他感官的价值。作为最抽象的感官，声音具有涵盖和传递多样信息的潜力，并将我们与环境、情绪和历史联系在一起。此外，声音还可以反映和影响生态，因为许多物种依赖声音来生存和繁衍。然而，我们对于声音缺乏意识和敏感度，无法有效地聆听我们的声音环境并将声音转化为有意义的信息。

许多艺术家试图通过表演和雕塑增强人们对声音的意识，但这种尝试往往是暂时的。我认为景观设计有潜力在声音与人、声音与野生动物、声音与环境之间建立一种持久动态的联系。虽然景观建筑主要关注视觉设计，但它也是一个可以将其他感官，尤其是声音，纳入设计过程的领域。

这个项目旨在将声音作为设计过程中的主要媒介，重新建立第42街的城市生态。我希望这个项目和我的一些思考能引起人们对我们声音环境的关注，并激发新的设计思维方式。在总结和反思我的项目时，我重点关注了三个方面：

首先，听觉和视觉的平衡。虽然不可否认大多数景观建筑应该优先考虑视觉设计，但声音在过程中可以作为驱动媒介和框架。我的项目中在前期研究阶段中将声音作为分析场地和鉴别场地中特殊空间的出发点和工具。在设计阶段，声音设计成为概念和驱动项目大框架的元素，同时结合植物，空间，地形，构筑物和活动设计来引导空间塑造。因此，在这个项目中的声音更多是一种策略层面的切入点，鼓励人们从声学的角度来思考和体验场地，从而可以让场地的使用者从一个新的维度去理解这个空间。

其次，声音与场地感知的关系。在传统的景观和建筑设计中，我们经常使用地标来创建独特的场地感。与吸引人眼球的构筑物一样，我相信声音也可以通过精心设计成为一个场地特有的声音标志，通过声音来营造场所感。声音是抽象的，因此有潜力去讲述一个更加动态和更有想象力丰富的故事，将人们与场所、情绪和记忆联系起来。

最后一个方面是声景的评价体系。建立声景的评价体系是一件特别困难的事情，因为判断一个声音的好听与否是一个特别个人化的过程。但我认为有两个关键因素可以在评价体系发挥重要的作用：使用者的听感的好坏的和声景所处的生态坏境的健康与否。在人们的感知方面，我们不应该单单根据声音响度的强调来评价声景，而是应该具体分析周围的土地利用和当前社区人们的活动，以确定现有的声景是否在文化、情绪和身体健康三个方面符合现有场地的需求。在此之外，了解现有声景是如何影响城市地区各种生物的生存也是评价和设计特定声景时重要的依据。

As humans, our experience and understanding of the environment we live in can be incredibly rich. However, our current living style and culture tend to prioritize our sense of sight and undervalue our other senses. As the most abstract sense, sound has the potential to contain and convey diverse information, connecting us with our environment, emotion, memory, and history. Furthermore, sound can also reflect and influence ecological quality, as many species rely on sound for survival. Yet, we lack the awareness and sensitivity to truly listen to our acoustic environment and transform sound into meaningful information.

Many artists have attempted to enhance people’s awareness of sound through performance and sculpture, but such efforts are often temporary. I believe that landscape architecture has the potential to build a lasting connection between sound and people, sound and wildlife, and sound and environment. While landscape architecture is primarily concerned with visual design, it is also a field that can incorporate other senses, particularly sound, into the design process.

My project seeks to take sound as the primary medium in the design process to rebuild the urban ecology of 42nd Street. I hope this movement will draw people’s attention to our acoustic environment and inspire new ways of thinking about design. In reflecting on my project, I will focus on three aspects.

Firstly, the balance between sound and sight. While it is undeniable that most landscape architecture should prioritize visual design, sound can serve as a driving medium and framework. In my project, sound serves as the starting point and tool for analyzing the site and identifying key locations. During the design phase, sound becomes the concept and driving tool, rather than the sole element or form guiding space-making. Sound in landscape design is thus more of a strategy to encourage people to think about a site or design from a sonic perspective, enriching their daily experience.

Secondly, the relationship between sound and perception. In landscape and architectural design, we often use landmarks or programs to create a distinct sense of place. I believe that sound can also function as a soundmark and create a sense of place through careful design. Sound is abstract, and thus has the potential to create dynamic and imaginative stories that connect people with a site, emotion, and memory.

Finally, the value system of soundscape. It is difficult to determine how to value a soundscape, but two key considerations are people’s perception and ecological quality. In terms of people’s perception, we should not simply value a soundscape based on its loudness, but rather analyze the surrounding land uses and current human activities to determine whether the existing soundscape is culturally, emotionally, and healthily suitable. Understanding how existing soundscapes affect the types of species living in urban areas is also important when valuing and designing a specific soundscape

▼42街湿地，42nd Wetland

▼42树林，42nd Forest

02.

巴尔的摩下沉联合公园
Baltimore United-Sunken Park

Instructor: Suzanne Mathew

这个项目旨以城市基础设施、环境和社会系统为背景来探索多尺度的设计。首先，通过城市系统分析、制图和建模的方法，建立景观作为框架连接城市和区域尺度的规划。然后，进入实际空间尺度，研究和分析公共空间是如何塑造人类与自然，人类与建筑在城市中的互动。最后到具体的场地设计，将之前城市尺度规划下的景观框架与日常公民生活通过设计相接在一起。

这个项目以巴尔的摩市为例，巴尔的摩作为一个面积很大的美国现代城市，它仍然经历着20世纪后期美国大规模基础设施建设的影响。在这个基础设施城市化的时期，巴尔的摩经历了巨大的变化，城市的大部分地区被拆除用以建造高速公路。这些道路加剧了社会不平等，而这种不平等在随后政府发布的歧视性住房政策中被放大，这些高速公路还破坏了城市的自然系统。这个项目着重研究Jones Falls River地下水道和Jones Falls Expressway (I-83) 是如何破坏城市、公共空间和水文资源的。

This project focuses on exploring multi-scalar design in the context of the infrastructural, environmental, and social systems that form a city. Initially, the studio builds an understanding of landscape architecture as a framework that connects urban and regional scales through methodologies and theories of urban system analysis, mapping, and infrastructural modeling. Then, it moves into the spatial scale to investigate how public space shapes human interaction with natural and built systems in the city. By the end of the semester, the studio aims to design at a detailed scale to connect citywide landscape frameworks to everyday civic life.

The Disruptive Infrastructures studio examines Baltimore, MD, as an example of a modern city that still experiences the impact of massive infrastructural constructions from the latter 20th century. During this period of infrastructural urbanism, Baltimore went through signiﬁcant change as large parts of the city were demolished to make way for high-speed, multilane roadways. These roadways reinforced social inequality that was codiﬁed in discriminatory housing policies and disrupted the city’s natural systems. The project examines how one set of structures, the Jones Falls River culvert and the Jones Falls Expressway (I-83), has played a role in disrupting the urban, public, and hydrological core of the city.

▼信息收集，Information Collection

▼巴尔的摩经济史，Economic History of Baltimore

▼白人大迁徙，高速公路的不平等分割，White Flight, Highway Inequality

部分一：通过查阅各种历史资料和现在的新闻，我们发现巴尔的摩有着极其被割裂的文化和城市空间。基于城市破碎的现状，如何通过区域规划来串联里整个城市，将城市的东部，西部以及市中心串联起来成为了城市尺度上的核心。我们还了解到巴尔的摩有个一条相对完整的公交线串联着南北部，但东西部确一直没有一条有效的交通系统。我选择将历史上因为政治原因被取消的贯穿东西的轻轨带回城市交通系统，并沿线规划设置不同的商业，公共和住房空间，希望这些举措能够达到串联并激活城市的目的。

Part 1: Based on historical and research analysis, it can be concluded that Baltimore has an extremely fragmented culture and urban space. Connecting the city’s east, west, and downtown areas through regional planning is the core of the entire plan. While Baltimore has a relatively complete bus line connecting the north and south, there has never been an effective transportation system in the east and west. By bringing back the light rail that once ran through the east and west of the city, and planning different commercial, public, and housing spaces along the line, I hope to achieve the goal of connecting and activating the city.

▼区域规划，Regional Concept Master Plan

部分二:在区域规划的基础上，我们前往巴尔的摩对城市的实际空间进行了探访和采集，并着重分析了I-83高速公路沿途的空间形式，以及这些空间其对周边社区的影响。I-83像一堵墙一样分割了城市的东部和西部，并且桥下大量的灰色空间被流浪汉和垃圾占据。我的策略是将I-83高速公路拆除，将历史上发挥着重要作用的，但因为建设I-83而被掩埋的Jones Falls River重新带回城市界面，并将其周边开发成为一个多种交通系统的公共滨水绿色空间，有效地将城市的各个区域都串联起来。

Part 2: Based on regional planning, we visited and collected data on the actual space of Baltimore, with a focus on analyzing the spatial form of I-83 highway and its impact on surrounding community spaces. I-83 acts as a barrier dividing the east and west of the city, with a large amount of grey space underneath the bridges. My strategy is to dismantle I-83 and bring back the Jones Falls River, which played an important role in history but was buried due to the construction of I-83, to the urban interface. The surrounding area will be developed into a public waterfront green space with a variety of transportation systems, effectively connecting the various regions of the city.

▼Jones Falls River绿色廊道，Jones Falls River Green Corridor

部分三：最后聚焦到Jones Falls River绿色廊道的核心区域：巴尔的摩的市中心。这块下称的公共绿地将会为人们提供各种活动空间，从而有效地将各个城市区域的人们连结在一起，将活力带入原本死气沉沉的市中心。

Part 3: Finally, focusing on the core area of the Jones Falls River green corridor: the downtown of Baltimore. This green public space will provide people with various spaces, effectively connecting people from different regions and bringing vitality to the once-lifeless downtown area.

▼绿色下沉公园，A Sunken Public Space

▼生态零界点，The Ecological Threshold

▼公共草坪，The Common Lawn

▼轻轨站，公共广场，The Red Line, the Common Ground

03.

想象中的声景
Imagining Soundscape

Instructor: Karli Molter

这个项目是我thesis主题的启蒙，但它一开始的出发点并不是声景。项目的场地位于普罗维登斯的一个码头废地，因为和城市基面存在着一个70英尺的高差，这块场地天然形成了多种生态栖息地，这个自发产生的生态系统为设计一个滨水的生态公园提供了完美的基石。

教师在一开始并没有让我们从场地本身的角度出发去分析，而是让我们选择了两个栖息在本地的野生生物，去分析它们所需的栖息地以及它们俩之间可能产生的生态链。红翅黑鸟是我选择的物种之一，在我对它的分析中，发现声音是它们生存沟通的一个很重要的工具，这也成为了我在后期选择用声音作为切入点的启发。

This project served as the inspiration for my thesis topic, although its original focus was not on the soundscape. The site for this project is a waterfront brownfield in Providence, which features a 70-foot elevation difference between the city road and the waterfront edge, creating a diverse ecosystem. This spontaneous ecosystem served as a perfect foundation for designing a waterfront ecological park.

At the beginning of the design studio, we were not asked to analyze the site itself, but rather to choose two species of wild animals that inhabit the area and analyze their habitat requirements and the possible connections between their biological needs and spatial requirements. The red-winged blackbird was one of the species I chose, and in my analysis, I discovered that sound was a crucial factor in their survival, which laid the foundation for my later decision to use sound as the entry point for my design.

▼生物共生分析，Co-Habitat Analysis

下一步利用可以收集到的GIS数据对场地进行了分析，我的侧重点放在了场地所处于海域潮汐随着时间的变化以及海水的盐度情况，因为这些要素决定了场地中可以生长什么样的植物群落，可以为什么野生生物提供栖息地。

Next, I conducted a site analysis using GIS data that was available to us. My focus was on the site’s position in relation to tide change, as well as the salinity of the water, as these factors determine what types of plant communities can grow on the site and what kind of habitat it can provide for wildlife.

▼场地分析，Site Analysis

在对于场地有个大概的了解后，我们前往这里进行了实际地勘察，在这次勘察中，我着重地去记录场地中不同生态区域的声音，并将不同声景和生态系统的关系通过分析图表达出来。

After gaining a general understanding of the site, we proceeded to conduct a field survey here. During this survey, I deliberately recorded the sounds of different ecological zones on the site and later expressed the relationship between different soundscapes and ecosystems through analysis charts.

▼场地现有声音分析图，Site Existing Composite Drawing

基于物种共生研究的理念，这个项目最终目的是为人和自然中不同的物种建立一个和谐的生态系统。受红翅黑鸟的启发，我提出了声景的概念。不同于我的第一个项目有，在这里我没有想要构建一个城市状态下的声景，而是捕捉现有的场地中自然的声音，在增强和谐动人的声音同时减少负面声音的影响。它鼓励使用者体验场地中不同声音的切换，从鸟鸣、蛙鸣到风声和海浪声。这个设计想要为人们提供了一个放松的，可以探索自然中不同声音的场景。

Based on co-habitat research, this project comes up with the goal of creating an ecosystem for species. Inspired by the red-winged blackbird, I developed the concept of the soundscape. Instead of creating an urban soundscape, the design captures the existing sound types on the site and seeks to enhance positive sounds while minimizing negative ones. It encourages visitors to experience the transition of different sounds, from birds and frogs to wind and ocean waves, as well as other melodies. This design provides a relaxing environment for people to engage in sound exploration.

▼场地规划，Site Planning

▼不同的声景空间，Site Sound Zone Transformation Sections

▼利用声音和手机app监管场地生态，Discover& Monitor Ecosystem of Site

04.

罗斯福总统图书馆
The Theodore Roosevelt Presidential Library

Work at Snøhetta

最后想要分享的是我现在正在进行的项目。从概念设计开始，到现在的方案深化，已经历经了两年时间。其中有段过程特别艰辛，因为甲方以前从未有过规划方面的经验，从而导致我们团队在负责设计的同时，还需要引导甲方对于项目的管理，以确保项目能在既定的2026年夏天开放。目前，深化阶段的方案相对于刚赢得竞赛的时候，保留了最基本的概念：总统图书馆不仅仅是建筑本身，而是承载它的自然和人造景观。建筑作为这个景观中的一部分，以一种谦虚和安静的姿态坐落在绝壁之上。

该项目还加入了“Living Building Challenge”，从材料的选择、运输、项目设计施工到后期的运行管理，都会尽可能地减少碳的排放、场地废水的外流以及对于现有生态自然资源的破坏。由于临近罗斯福国家公园，且项目位于绝壁的顶部，美国国家公园部门也参与了这个项目，以确保项目不会对现有的视域和生态造成影响。同时在灯光设计方面，也不能在晚上对整个区域的亮度造成破坏。如果大家想要了解这个项目更多的信息，可以上我们的官网进行查看。由于最新的设计的方案还处于保密阶段，所以也请持续关注。

What I would like to share in the end is the project I am currently working on. From conceptual design to the current scheme refinement, it has been two years. The process was particularly difficult for a while because the client had no previous experience in planning, so our team had to guide them on project management to ensure it would open in the summer of 2026 as planned. The current refined design still retains the basic concept that the library is not just a building itself, but the natural and artificial landscape it carries. The building is humbly and quietly situated on a cliff as part of this landscape.

This project also incorporates the “Living Building Challenge.” From material selection and transportation, project design and construction, to later operation and management, we will try to minimize carbon emissions, site wastewater discharge, and damage to existing ecological and natural resources. As the project is near the Theodore Roosevelt National Park and on top of a cliff, the US National Park Service has also been involved to ensure that the project will not affect the existing visual field, or ecology, or cause damage to the overall area’s brightness at night.

▼鸟瞰图，Aerial View

▼效果图，Perspective

作为一个外国人帮忙设计美国前任总统的图书馆，这是一件非常奇妙的事情。在这个过程中，我跟着团队了解了美国和罗斯福个人的历史，并去拜访了他的住宅。这个过程中，我们提取了关于材料、空间形式和几何形式的要素，这对我们的设计工作非常有意义和启发。由于场地面积很大，有90亩，为了更好地理解场地的尺度，我们两次前往现场勘察，并通过实地的设计小样搭建来帮助推进我们的设计工作。

还有一件很有意思的事情，我们项目的顾问中有一群生态植物学家，他们的工作是确保我们的设计和使用的植物都能很好地适应当地环境。场地未来会种植的植物种子都是从周边区域采集来的，我们设计团队还帮助植物学家采集了这些种子。对于一个真正会落地的项目来说，能有机会参与到这些活动中是一件令人感到激动的事情，因为一个项目不仅仅应该关注它的形式语言，对于历史文化的理解，对于场地生态的保护也应该是作为景观设计师在城市的所需要关注和学习，并形成一定的敏感度。

As a foreigner designing a library for a former US president, it has been a wonderful experience to follow the team and learn about American history, Theodore Roosevelt’s personal history, and to visit his residence. Extracting elements of materials, spatial and geometric forms from this process has been interesting and meaningful. As the site covers 90 acres, we visited the site twice to survey and create design prototypes to help the team better understand the scale of the site.

Another interesting thing is that there are a group of ecologists among our project advisors, whose job is to ensure that our design and use of plants can adapt well to the local environment. The plant seeds that will be planted on the site in the future are collected from the surrounding area, and our design team also helped the botanists collect seeds for a day. For a truly executable project, having the opportunity to participate in these activities is an exciting thing, because a project should not only focus on its formal language, but also on understanding the history and culture, and the protection of the ecological environment of the site. These are what landscape designers need to pay attention to and learn in the urban context, and they should develop a certain sensitivity to them.

▼场地照片，Site Photo

▼左：小样搭建；右：种子采集，Left: Mockup; Right: Seed Collection

▼团队照片，Team Photo

在海外时间：2017年至今
在海外地点：普罗维登斯，纽约
姓名：李超
籍贯：江苏常州
学校：罗德岛设计学院
工作单位：Snøhetta
联系方式：denythefact@outlook.com

When：2017 to Current
Where: Providence, New York
Name: Chao Li
Hometown: Changzhou, Jiangsu
School: Rhode Island School of Design
Office: Snøhetta
Contact: denythefact@outlook.com

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