35岁以下创意人：肖瑶

gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是业主，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第34期为您介绍的是 Ground Inc 设计总监肖瑶（联系邮箱：xiaoyaoxy1@gmail.com）。更多关于她，请至：Ground Inc on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.34 introduces Xiao Yao (contact: xiaoyaoxy1@gmail.com) , associate project manager of Ground Inc
More: Ground Inc on gooood

出品人：向玲 / Producer: Xiang Ling
编辑团队：陈诺嘉，武晨曦，刘丹阳，李诗蓉，徐馨羽，韦紫昭，历剑 / Editor: Chen Nuojia, Wu Chenxi, Liu Danyang, Li Shirong, Xu Xinyu, Wei Zizhao, Li Jian

▼视频 Video （全文深度采访见下方文字。视频为5分钟精华版，建议选择蓝光1080p观看。）

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求学经历
浙江大学+哈佛大学GSD
Study experience
Zhejiang University + GSD

“发现问题，解决问题的框架思路，才是学校希望授予学生的‘渔’。”

“The goal of studio is to teach how to discover and frame a design question, rather than how to design the best/ perfect.”

浙大为我打下了非常扎实的基本功功底。老师们对于新兴的技术和理念又有着高度的包容度，特别是对于新的一些理念，师生有不少的互动讨论，而非单向的灌输，打造了一个很好的交流平台。

GSD作为一个研究生院，默认大部分学生们已经有了扎实的功底，因而在教学上要大胆很多。一个造型优美，功能合理的设计只是基本要求。在这里学到的是如何结合科技创新，社会问题，自然生态等问题，并独立的以之推进设计。在这个探索的过程中或许有很多地方不仅完美，但这些都不是最重要的。毕业之后的实践中，我们会有更多的合作伙伴，和社会资源去推进完善。但是这个发现问题，解决问题的框架思路，才是学校希望授予学生的“渔”。

The bachelor study in Zhejiang University helped me build up a solid architecture background. It is a very hard-working environment and I really appreciate that the open platform at ZJU allows students to explore the new techniques and idea. It is more like a two-way dialog or seminar of new ideas, rather than a one-way lecture.

The experience at Harvard Graduate School of Design (GSD) is more like an interesting adventure. You will not stand out because of a beautiful form or a well- considered program/layout, as almost everyone with the “Offer” is supposed to know how to do that. Instead of focusing on form and function, the school is more interested in how the design could respond to different issues such as scientific and technological innovation, social issues, and natural ecology and, in return, advance the design itself. Though there are still a lot of issues that are not resolved, it still received “distinction” from the final grades. From what I learn, the goal of studio is to teach how to discover and frame a design question, rather than how to design the best/ perfect project and assumes we will have more collaborators and resources to improve in real practice after graduation.

▼肖瑶，Xiao Yao

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跨越不同文化的工作与生活
北京 – 杭州 – 柏林 – 慕尼黑 – 波士顿
Work and life in different cultural environments
Beijing – Hangzhou – Berlin – Munich – Boston

“文化隔阂和语言上的短板并非不能逾越的，只要放平心态，找到你合适的位置就好。”

“Cultural divisions and language barriers are not insurmountable; just calm down and find the right place of yourself.”

我从小在北京长大，杭州读本科，再后来陆陆续续在慕尼黑，柏林，波士顿，洛杉矶等地学习工作。每一次转换都是一次清零然后重新出发的过程，一直觉得“less is more”不仅仅用于设计上，工作生活中亦是如此。

我觉得值得一提的是，亲身经历不同的文化，生活过的每一座城市都将对你产生潜移默化的作用，就像海明威说，“年轻时候在巴黎居住过，那么此后无论你到哪里，巴黎都将一直跟着你。” 在不同城市生活的经历对于我的设计理解也有着重要的影响。北京的宫殿和杭州的江南文化所分享的那种东方文化的细腻感是我内心深处很重要的基点；之后去到的慕尼黑、柏林对于材料、工艺、功能和空间形式的品质性追求又丰富了我的认知；在美国波士顿和洛杉矶又增加了社会、经济、生态维度，学习去寻找一个美学、社会和功能平衡点。

I grew up in Beijing, pursued my undergraduate degree in Hangzhou, and then successively studied and worked in Munich, Berlin, Boston, Los Angeles, among other places. Each move represents a process of restart. I always feel that “less is more” should not only be valued in design, but also in work and life.

It is worth mentioning that the experience of various cultures and living in different cities will have unnoticeable but profound effect on myself, just as Hemingway wrote to Hotchner, “if you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you.” The life experience in different cities also influenced my understanding in design. The sensitivity of Asian culture imbedded in the palaces in Beijing and the gardens in Hangzhou is the soft base of my deep heart; the study and work in Munich and Berlin broadened my horizon after seeing German pursue the extreme quality of material, craftsmanship, function and spatial form; the experience in Boston and Los Angeles added new social, economic, ecological dimensions to my design philosophy which tends to find a balance point between the aesthetic, social and functional aspects.

Ground Inc.工作经历（2015~至今）
Working experience in Ground Inc. (2015~now)

“把客户的每一分钱都花在刀刃上。”

“Make every penny of clients count.”

从SWA到Ground是不小的转变，在SWA的时候会有一个相对成熟的体系，所有事情都有人一步一步的教。在Ground由于项目周期短，节奏快，有一点像把你扔到水里学游泳，一开始会呛很多水，但是很快便适应并学会了。

从自己做设计，到带着团队一起做设计的转变也是一个不小的挑战。我们时常是五、六个项目一起进行，这个时候不可能自己一个人做所有的事情，协调团队协作显得尤为重要。大家会在一开始进行头脑风暴，从中选择最优潜力的两到三个方案进行推进，团队里的每一位设计师都有自己的闪光之处和独到的见解。对我来说发现这些亮点，帮助设计师改进存在的问题就是推进团队设计关键。

另外还有一个更加重要的环节就是和客户的有效沟通。有太多白熬的夜和无休止的修改是沟通出现的问题。这其中的原因有很多方面，抛开客户方面不可控的因素不谈。从设计师方面来说，准确把握客户需求，并且将这些需求迅速反馈到设计上，对于提高沟通效率有着很大的帮助。因为市场瞬息万变，我们一直努力在提高服务效率，“把客户的每一分钱都花在刀刃上。”

Moving from SWA Group to Ground Inc. is quite a change for me. As mentioned, there is a relatively matured working method and system in SWA; every step will be clearly instructed. In Ground, the project cycle is shorter, so we have to work in faster pace. It forces you to learn to swim by pushing you directly into the water. At the beginning, you may feel like you are drowning; but very quickly, you will learn the skill and then adapt to it.

The transition from designing by myself alone to leading a team to complete the design jobs is a big challenge for me. We often work on five or six projects together at the same time, which makes it impossible to do everything by myself. Coordination and teamwork become critically important. We often get together and brainstorm at the beginning; and then choose a few options with the best potentials to develop. Each designer in our team has his or her own specialties and unique insights. For me, discovering their brilliance and helping them improve and solve the problems in design schemes are crucial to advance our team’s designs and projects.

There is another more important procedure which is the effective communication with clients. In reality, much overtime and endless design revisions are actually caused by communication issues, among other reasons. Nevertheless, except for the uncontrollable aspects of the clients, the designers need to precisely understand the requirements of the clients and then adjust the designs accordingly as soon as possible, which will, in return, greatly improve communication efficiency. Because of the ever-changing market, we have been dedicated to improving the efficiency of our services, “Make every penny of clients count”.

▼肖瑶在Ground Inc.的团队照片，group photo in Ground Inc.

▲BSLA青年分会的活动，设计师在场地上介绍景观设计
event held in the Emerging Professionals Committee in BSLA, designer introducing his project on-site

波士顿景观协会青年设计师分部部长经历（2019~至今）
Work for BSLA as the chair of the Emerging Professionals Committee (2019~now)

“担任波士顿景观协会（BSLA）青年设计师分部部⻓给我带来了不少工作之外的‘工作’，但也提供给我了一个很好的机会去学习和了解美国社会。”

“Although working for BSLA as the chair of the Emerging Professionals Committee brings me some extra workload besides my own job, it provides me a great opportunity to learn and understand American society.”

波士顿景观协会是隶属于北美景观设计师协会（ASLA）的一个分支。得益于充足的景观专业教育资源，波士顿集中了很多的景观公司和新的景观从业者；所以我们的主要工作是搭建一个交流和沟通的平台。在这个平台里，青年设计师分部的主要目标是，帮助年轻设计师的发展，促进跨公司的“新老交流”和“新新交流”。新老交流：打破公司与公司之间的壁垒，让波士顿地区有名和优秀的资深景观设计师能定期的给新入行者（即使来自平时有可能甚至是竞争关系的公司介绍）不同优秀项目的完整经验和流程，提供有效而有意义的信息。比如今年9月我（们）邀请了MVVA的principal给大家在波士顿的儿童公园当场进行了详细介绍了建造、设计、资金等当中发生的种种故事。在新新交流中，我们利用周中和晚上的时间，给新的景观设计师们提供一个社交和互动的场所。行业内外的交流中，我们会提供一个定期的名为“Sketch in Boston Arboretum”的活动，带着大家边看边走边画，去吸引更多的民众，让之前可能对我们行业一无所知的他们了解景观设计师的工作。

对我自己而言，能够担任波士顿景观协会（BSLA）⻘年设计师分部部⻓给我带来了不少工作之外的“工作”，但也提供给我了一个很好的机会去学习和了解美国社会。BSLA是一个相对扁平的机构，尽管青年建筑师分部是其中的新生力量，也会有很多机会参与到许多问题的决策与讨论，推动组织的改革更新，并定期的向州政府和联邦政府提交建议与设想。这真的是一个挑战也是好的学习过程。但是在这种摸索和努力的过程中，我认为对我的整个职业生涯是有很大的帮助和全方位的提升的。

Boston Society of Landscape Architects (BSLA), founded in 1913, is the oldest and largest chapter of American Society of Landscape Architects (ASLA). Due to the adjacency to the abundant landscape of educational resources, Boston gathers a number of landscape firms and new practitioners. The focus of our job is to create a platform for sharing and communication, within which the Emerging Professionals Committee aims to provide support to the young designers and promote cross-firm communications, not only among the young fellows but also between senior and emerging designers. We managed to build up the bridge across different firms and facilitate the dialog in between. At work, staff from different firms might be competitors; after work, however, we try to host a variety of events for them to become friends.

Although working for BSLA as the chair of the Emerging Professionals Committee brings me some extra workload besides my own job, it provides me a great opportunity to learn and understand American society. BSLA is a relatively even institution, within which the Emerging Professionals Committee acts as a new force. There are a number of opportunities for us on a regular basis to participate in the discussions and decision-making of various issues, to promote organizational reform, and to submit suggestions and proposals to state and federal governments. This is honestly very challenging but also a good learning process for me. This process of exploration and hard work, I think will greatly contribute to my career in all aspects.

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景观设计与项目
Landscape design and projects
1. 唐顿女子戒毒治疗中心 | Taunton S.H, DCAMM Women Treatment Center
2. 唐缇广场 | Tontine Crescent Plaza
3. 联合广场 | Union Square
4. 潮园 | Surf’s up

现在Ground的项目，我们主要以城市中心区内的项目为主。但是我们的项目不仅仅是平面上的扩张型新建项目，更多的涉及到竖向空间上的景观设计，涵盖一个完整的城市三维体系。这可能的确与美国现在东部大城市中土地资源稀缺有很大的关系，城市中心的土地已经高度开发了，完全白纸一张新建的项目很少。我们的景观项目存在不同的城市高度层面，包括已有的城市广场、公园的改造，包括唐提广场, 温斯洛普广场，中央广场等；也有轨道交通导向的枢纽和铁路、地铁上盖的景观项目，比如联合广场项目；也有大学校区的扩建和景观更新像是塔夫茨大学，麻省艺术学院，霍利克山大学和温特沃斯理工学院，当然也包括商业的住宅项目，涉及到街区的道路改造和很多屋顶花园的设计。

The majority of the current projects from Ground, primarily are located within the city center. Our projects are not only plan-metric expansive projects but involve more vertical space and different urban levels. To a certain extent, this is a result of the land scarcity in the developed metropolises in Eastern America. Most central-located parcels have been highly developed and constructed, so there are very rare tabula rasa projects. Our projects exist at the different levels of heights, including the reconfiguration of the existing urban parks and plazas including Tontine Plaza, Winthrop Square and Central Park Exhibition, the Transit-Oriented-Development projects or metro and rail-transit station projects such as Union Square, the university regeneration and extension projects like Tufts University, MassArt, Mount Holyoke College and Wentworth Institute of Technology, as well as commercial residential projects containing the design of streetscape and roof gardens.

▼肖瑶在Ground Inc.参与的部分作品，selected projects in Ground Inc.

1. 唐顿女子戒毒治疗中心
Taunton S.H, DCAMM Women Treatment Center

“我相信景观设计可以赋予项目或者是特定的空间场所‘治愈’的能力，因为特定的景观空间和人的精神状态是有密切联系的。”

“Landscape design can empower a specific space or place and has the capacity to “cure” because a landscaped space closely relates to users’ feelings.”

这个项目有着三重的挑战和严格的限制，包括压抑的环境、有限的预算、多向的制约。当我去基地现状考察的时候，受到了很强烈的视觉和精神上的冲击。平常人真的很难想象在那种压抑的物理空间里对病人进行严苛的治疗是怎样的一种状态。由于这又是一个政府项目，所以预算的控制非常的严格。多重的制约是这个项目的一个先决条件也可以说是特点：首先设计的安保等级很高，甚至不亚于监狱，六米高的铁网围墙不能做任何处理；其次，是材料的选择范围很有限，比如所有的植物需要严格排除有一丝丝跟毒品可能的相关性，所有的材料需要时柔性的、需要防撞击，场地里不允许有任何尖锐物品，以防病患自残和所有有可能的人身伤害；第三，项目时间非常迫切, 项目从立项到建成只有8个月。

This project has triple challenges with strict constraints, including a depressing environment, a limited budget, and multi-directional restrictions. The first site visit invoked in me a strong visual and spiritual shock. It is really difficult for to imagine the state of rigorous treatment of patients in that depressed physical space. Since this is a governmental project, the budget control was very strict. Multi-directional restrictions can be interpreted as both a prerequisite and a character of this project. First of all, there are high security restrictions, similar to prisons. The six-meter-high chain-link fence has to stay as it is without design elements. Secondly, the choice of materials is very limited. For example, all plants need to strictly exclude any possible correlation with drugs. No sharp objects are allowed in the site in order to prevent potential patients’ self-harm and personal injuries. Thirdly, the project schedule is very tight, it took 8 months from beginning to be completed.

▼唐顿女子戒毒治疗中心鸟瞰，aerial view of Taunton S.H, DCAMM Women Treatment Center

▼项目由建筑和铁网围合，the site is enclosed by buildings and wires

在我们了解和空间的使用对象之后和多重的限制条件之后，我们在想我们的设计能做什么来更好地帮助他们度过人生中很困难的时间段。最后的设计落脚点是人在开放空间中的活动特征：“动”和“静”。两个庭院，一静一动，在比较适合女性的花卉主题下。在“静”态下，我们设计口袋空间，用作比较私密的休息场所，并通过植物的空间作用，让病人在各种状态下都能感受到植物环抱的状态，享受治愈的过程；在“动”态下，通过柔性的铺装，在肌理上回应主题并提供瑜伽、种植花卉的场所。这些虽然有限但是非常人性化的功能，让病人入住之后觉得得到了特别好的恢复环境，有很多病人觉得花园非常的贴心和感动。当时有一个新入住的女病人，很热泪盈眶的询问中心的管理员，“这都是给我提供的吗？” 这一个回应传达给我的时候，觉得这个项目超越了设计本身，这是一个关于人性的项目，而我们从设计出发所做出的努力，真真实实的让病人感受到了那种态度和温暖。我想这或许是对这个项目最大的肯定。

After understanding the users of the space and the multiple constraints, we asked ourselves what our design can do to help them through the difficult period of their lives. We eventually decided to concentrate on the movement characteristics of human bodies in open space: “active” and “static”. Two courtyards respond to the petal theme which is quite suitable for women; one for quiet and the other for activities. In the courtyard of Quiet, we design pocket-space to be used as a more private resting place and we leveraged the spatial function of planting, which, in various circumstances, provide patients a sense of being surrounded by greenery. Soft pavements in a pattern of flower are introduced into the courtyard of Activities, along with the space for Yoga and a vegetable garden. These limited, but very user-friendly functions, make patients feel that they are receiving a particularly good recovery environment after they move in. Many patients feel that the courtyards are very considerate and touching. We were told by the hospital that there was a new female patient who asked the administrator of the center, full of tears, “Is this space really provided for me?” When this feedback from the patients was conveyed to me, I perceive this project transcending the design itself. This is a project about humanity. The efforts we made in design enable patients to feel a sense of care and warmth, which, to me, is probably the greatest acknowledgement of the project.

▼静态的庭院和动态的庭院，courtyard for quiet and courtyard for activities

唐顿女子治疗中心获2017年麻州建筑保护、社会公益类设计奖。从某种意义上讲，让我相信景观设计可以赋予项目或者是特定的空间场所“治愈”的能力，通过给病人提供一种被重视的感觉，可以有效地改变他们的精神状态。因为特定的景观空间和人的精神状态是有密切联系的，比如一个被植物环抱的空间是比较温暖的，一个开阔的空间是让人放松的。景观设计对于我来说，是设计师在场所的创造过程中，把想要让使用者感受的心态的这种预期和具象的空间形式结合到一起，然后通过对于植物，铺装和各种要素的利用完成空间营造的一个过程。

Taunton S.H, DCAMM Women Treatment Center won the Paul & Niki Tsongas Award by the state of Massachusetts in 2017 for the best preservation and space design for community and social services. To a certain extent, the project makes me believe that landscape design can empower a specific space or place and has the capacity to “cure” through designing a space that provides patients a sense of being valued, which can effectively ameliorate their mental states. This is because a landscaped space closely relates to users’ feelings. For example, a space surrounded by plantings is relatively warmer, and a wide-open space is very relaxing. For me, landscape design is a procedure where designers envisage and construct a specific space through the manipulation of different spatial elements, like plantings and pavements, to accommodate an expected feeling from the users of this space.

▼动态庭院活动，activities in the courtyard

2. 唐缇广场
Tontine Crescent Plaza

“在城市中心提供休息空间，响应增加步行和市民活动空间的意愿。”

“Create an “urban exception”, bringing to the attention of the whole city to increase the space for pedestrian and civic activities.”

“快闪广场”是在美国当下比较流行的一种设计形式，开始有越来越多的客户对快闪的景观空间产生很大的兴趣。它的优势在于，可以在很短的时间内用较低的成本去聚集人气，从而改变场地的价值。那这其实也解答了我们在设计中的主要目标，一是如何控制成本，二是如何设计出彩，让大家都感兴趣的。在唐提广场项目上我们首先是回溯历史，追寻历史在基地上的环境表达。我们发现场地在300年间经历了从自然化的绿地，到城市中的绿岛，到城市道路的过程。由此我们用了一个很简单的方式，在现有铺装上进行涂装，把被停车场和道路覆盖的绿轴从图像上重现历史上的状态，并且大面积的颜色创造了一个城市中的“例外”，在城市中心提供给了市民新的休息空间以短暂的躲避城市的喧嚣。这也响应了波士顿整个城市想要减少机动车使用空间，增加步行和市民活动空间的意愿。

Temporary plazas have become a popular design approach in the United States. More and more clients are interested in the temporary landscape space. Its advantage lies in the capacity of gathering popularity and increase land value at a lower cost within a short period. Our main goals in the design of the project were: first, how to control the budget; second, how to get a good outcome that will be of interest to citizens. In this project of Tontine Crescent Tactical Plaza, we looked into the history of the space in search of a way to represent the historic memory of the place, and discovered the site has experienced three transformation stages in past 300 years, from natural land to urban green island, and then to asphalt paved public space. We used a very simple method of painting on the existing paving with abundant green colors to reveal the historical state of the place as the green axis now covered by a parking lot and avenues. This creates an “urban exception” that helps to form an oasis for people to shortly escape from the bustle of the city. This design also brings to the attention of the whole city of Boston to reduce the use of motor vehicles and increase the space for pedestrian and civic activities.

▼唐缇广场历史图片，historical drawing of Tontine Plaza

▼唐缇广场鸟瞰，aerial view of Tontine Crescent Plaza

▼广场在市中心为居民提供休息场所，the plaza provides resting place for the residence in the city center

3. 联合广场
Union Square

“我们在希望提供的不仅仅是所谓的简单的‘方案’，而是一个像医生开药一样的解决复杂问题的答案。”

“The design we want to provide is not only a product that looks good, but a solution to a complex issue.”

绿线延长线是波士顿市民期待了近30年的项目，联合广场是它的其中一个枢纽站。此外，联合广场是紧邻地铁出口，本身就在技术层面有一定挑战。还有沟通层面的，比如与交通局协调地铁建筑退让边界区域内的设计延伸，市政道路的衔接过度。而更大的来自于周边居民的反对声音，这样的抵制性挑战甚至超过了项目技术和沟通上的复杂性挑战。这个难度是预想之中，但是意料之外的状态。这些来自非专业背景的质疑有一些是很主观的，让人哭笑不得。而也有一些是设计层面考虑不到，但却很有价值的。因此面对每一个不同意见时，我们都会耐心认真的聆听用户的声音，把这种沟通看做优化设计的必要过程而不是形式上的过场。

The Green Line Extension is a project that Boston residents have been waiting for nearly 30 years, and Union Square is one of its hub stations. In addition, Union Square Plaza is adjacent to the train station, which itself has certain technical challenges and coordination challenges such as coordinating the easements, setbacks and extensions of greenline buildings and the connections to the municipal roads with the Massachusetts Department of Transportation (MassDOT). However, the greater challenge comes from the opposition from the neighbors living next to the site, which in some degree surpass the project’s complexity challenges from the technical and communication aspects. To be honest, such community difficulty is expected but somewhat out of the original expectation. In fact, some of unprofessional questions from the neighbors are quite subjective, and personal, while other questions are quite valuable because they raise the issues that are not typically considered from design perspective. Hence, we will listen patiently and carefully to every different voice and take these views as a way to improve the design in a more practical way.

▼联合广场整体效果图，external rendering of Union Plaza

根据分析整理，我们得出源自道路的空气污染是周围市民的主要问题。于是我们把广场的标高降到了低于周边道路5米左右，并在这个空间中辅助以大量的植物隔离道路与广场空间。结合历史资料里场地本身关于河流的记忆，我们以河岸为主题，将河流的记忆带回场地。河流本身是一个不停歇的空间，承载往返于广场和车站间形形色色的人，而河岸两旁穿插一个个“旋涡状”的口袋空间，相对于“河流“的动态，提供一些静态的休憩空间。口袋空间的背后则是疏密有致的绿荫，有效阻挡污染物的同时，为广场提供了舒适的停留空间。

我们在希望提供的不仅仅是所谓的简单的“方案”，而是一个像医生开药一样的解决复杂问题的答案。经过了长时间沟通与磨合，我们最终与包括周边居民在内的各方“客户”成为了“革命战友”，让这个整个波士顿期盼了多年的项目得以付诸实践。

It is understood that air pollution from traffic is a main concern for neighbors. So, we lower the elevation of the plaza to about five meters below the adjacent roads and provide a thick planted buffer to mitigate the pollution. Considering the site was historically related with river, we use the “River and Eddy” as the design theme hoping to bring the memory of the river back to the site. The “River” spatially conveys the pedestrian flow, connecting the T station and Union Square. The “Eddy” a series of pocket spaces along the “River,” provides a quiet relaxing space. Behind are lush plantings which effectively block pollutants and make a comfortable space to stay.

The design we want to provide is not only a product that looks good, but a solution to a complex issue. After a marathon of communications- revision- communications, we finally received the approval from the city with improved support from the neighborhood and established a good and close relationship with all parties involved, including those who used to be against us.

▼广场下沉，通过树木与道路隔离，the plaza is five meters below the street and being separated by trees

4. 潮园
Surf’s up

潮园，是我们为杭州滨江区物联网创意产业园构想的一个景观中轴。无论在汉语还是英语的语意中，潮都有着多重解读，而这样的多重属性正是我们希望在场地里体现的。场地紧邻钱塘江，钱江潮对于滨江和杭州有着至关重要的文化意义，而互联网产业园又将场地和上网冲浪紧密结合，再加上近些年兴起的钱塘江冲浪挑战赛。我们希望把这些有趣的元素都加入场地中。上游以生态潮为主题，引入湿地公园，生态泳池。中段以科技潮为主题，穿插AR，VR，共享预约的科技元素。终段的乐活广场通过巨型的LED屏幕和人工冲浪池，聚集潮园的人气活力。

The Surf’s up is an urban park we designed for the Hangzhou Binjiang Internet of Things Industry Park. In both Chinese and English language, “Surf” has different interpretations, and such multiple attributes are exactly what we want to bring into the project. The site is adjacent to Qiantang River. “Qiangtang Tide” is historically and culturally critical to Binjiang and Hangzhou. Surrounded by IOT park, it is inevitably related to “Surfing the internet.” Moreover, the Redbull Qiantang River Competition make the sport of “River Surfing” international attractive. With so many interesting characteristics of the site, we would like to bring those into our design. In Phase I “ecological tide,” wetland parks and ecological pools are introduced. Phase II “technology tide” is filled with a variety of cool technologies like Augmented reality, virtual reality and APP reserved outdoor amenities. Phase III “Joy Plaza” will be the energy core of thepark with a giant LED screen and artificial surfing pool.

▼潮园整体效果图，overall rendering of Surf’s up

我认为中国对于设计本身的包容度更高一些，会为了好设计去取舍（让步）一些功能上、社会性甚至是市场层面的要素。这里给了设计师相对宽松的环境去突破，创新。有大量的机会让年轻设计师在“中国速度”的大背景下迅速成长。这样的机会是让全世界的设计师都羡慕的。

When we look at design itself, I think that Chinese market gives a bigger stage to designers, and is more willing to compromise some functional, social and economic demands for a high-quality design. This gives designers a relatively open environment to achieve their aspirations. There are plenty of opportunities for young designers to grow rapidly in the context of “Chinese Speed.” Such opportunities are admired by designers all over the world.

▼潮园效果图，中国项目尺度更大，设计更为大胆，rendering of Surf’s up, the design scale is larger and the strategy is bolder in China.

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其他项目
Other projects

▼肖瑶在GSD期间的课题作业，assignment in GSD by Xiao Yao

△在“洛杉矶新（景观）基础设施”/ “重塑肌理-洛杉矶河城市更新”的这个课题中，我发现现代农业可以通过自动化控制在同一片土地不同分区域播种不同的作物，已达到抗虫，抗旱，提高养分的诸多作用。于是猜想是否可以把这个技术运用于宗地治理，河水进化。将河水引入场地，根据河水污染程度大致分为几个不同的区间，种植不同的作物，有针对性性的净化河水。在这个大框架下，构建成的都市农业试验田，可以作为一种新型的城市公园，引领城市更新。
In the studio of “A New [Landscape] Infrastructure for Los Angeles” for example, I found “digital printing” as an innovative approach to frame my urban agriculture design. “Digital Printing” makes it possible sow different crops in different subregions of the same land through automatic machine controls, in order to improve insect resistance, drought resistance, and nutrient enhancement. I wondered if this technology could be applied to brown field remediation and water treatment. When water from the Los Angeles River is introduced into the site, it is divided into several different sections according to the degree of river water pollution. Thus, different crops are planted intentionally to remediate the river water in steps. Within this larger framework, an agriculture experimental field will be constructed as a new type of urban park, leading to a new pattern of the urban regeneration.

▼肖瑶在SWA洛杉矶工作室（2014~2015）的项目 – 塞尔维亚贝尔格莱德水岸改造
Xiao Yao’s Project in SWA Los Angeles studio (2014~2015) – renovation of the Belgrade waterfronts in Serbia

△塞尔维亚贝尔格莱德的水岸改造是一个典型的东欧老城中心，历史悠久但却百废待兴。我们希望通过对水岸改造重塑市民对于城市的信心，以此推动整个城市的更新。涂鸦是东欧一个比较非主流但是又在民间广泛存在的艺术形式。在这个设计中，我把它视作一个比较诙谐的形式，需要拿捏好平衡点。景观设计不仅仅是艺术塑造，需要慎重的考虑市场的接受度。我会进行各方面考量，让它能很恰如其分的进入到项目中。
In the project of renovation of the Belgrade waterfronts in Serbia, we dealt with a classical old eastern European city center, which has a long and rich history but desperate for rejuvenation. We hope to reshape the citizens’ confidence in the city through the reconstruction of the waterfront, so as to promote the regeneration of the entire city. Graffiti is a relatively non-mainstream but still widespread art form in Eastern Europe. In this project, I regard graffiti as a witty manner of design. However, it is necessary to control the balance-point. Landscape design is not simply about creating pieces of fine art. Designers need to carefully consider the market acceptance. I always consider different aspects so that to make it fit into the project appropriately.