海外存知己，天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第六十九期为您奉上的是毕业于罗德岛设计学院RISD、现就职于BIG的卢南迪

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.69 episode is about Nandi Lu, who graduated from RISD and is now working for BIG

为什么出国？
Why going abroad?

误会了出国后能惬意到每个周末带着画板出去写生。

I had a vision about how romantic my life would be in the foreign land, doing sketches in nature every weekend.

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?

在美国，遇到过很像德国人的意大利人，很像韩国人的日本人，以及特希望不被人误会的自己。尤其近一年在纽约，从文化角度感受不到地域性的时候真是一种很深刻的幻觉。

I met an Italian girl who I thought is German; I met a Japanese boy who I thought is Korean. So all these feelings made me wish people understand that I am Chinese without any confusion. I think the most impressive and interesting thing about New York City is that you have so many cultures mixed, it is almost unreal.

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

我怀念雨季中的宏村和初秋的恩施峡谷还有夏末的重庆朝天门棚户区，他们或古老或破败但却有着旺盛的生命力。虽然这些都不是我出生以及长期生活的地方，但谁的心中没有好几个故乡。

I miss lots of old and vibrant villages or countryside far away from urban areas. Including Hongcun, Enshi, somewhere in Chongqing. Those places are not where I grew up or lived for a long time. But for people my age it is normal to have several spiritual hometowns.

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

当然！目前计划是35岁之后回国。不用非得北上广，我很愿意回到武汉或者长沙定居。一来多陪陪家人，二来我很喜欢慢节奏的生活和乡土实践。

Of course, I wish to permanently move back to China around 35. And I would like to settle down in Wuhan or Changsha. On one side, I could be close to my family, on the other side I would like to slow down my pace in these cities and focus on vernacular architecture practice.

未来理想的生活方式?
Ideal Lifestyle in the future?

赚钱养家之余到各地去找那些还没消失的小村子。或许不做什么，就看着他们慢慢消失。来得及的话就和当地人聊聊天，争取记录一下村里的历史和有趣的故事。

I want to have a job in the city. During weekends or holidays I hope to discover old unknown villages in China, recording unknown stories about them and how they are gradually disappearing.

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?

从初中就开始近视。当我身处异乡时，不太相信自己能更清晰地看懂祖国。因为距离一定会造成焦点的不同，理解的不同。所以我更喜欢倾听当地人的主观讲述，并乐于分享自己的客观信息。总的说来，不在祖国土地上生活的时候我们需要谦虚地对待自己的发言权。

I feel I can’t say my perspective is more distinct but it is definitely more objective because of the distance, which makes your focus different. I love to hear all passionate voices from China and I would like to share what I saw in the U.S. All in all, I want to be modest for holding any strong attitudes while I am not living in China.

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

我觉得特点大概是鼓励自问自答，自己挖坑自己跳。

Actually, I feel it was like a dream for two years in RISD. The most special part of it is about questioning yourself again and again while seeking the answers.

实话说RISD挺考究的，我猜这出于整个教育系统对艺术评论时自说自话但却一定得自圆其说的追求。老师花很多时间不断追问你设计以及审美的出发点。迫使你不断自我怀疑。所以建筑和景观系学生经常从项目导向的studio走入某片更广的天地，不断返工的同时做出一些莫名其妙的东西，然后就，final了。(所以这两年认识了很多心很大的朋友，生活很愉悦)

Overall, RISD is laid-back, in life, and in education. I guess it is because the school always encourages you to express what you think with totally freestyle. But it holds a high requirement for what is your argument behind. Teachers spent lots of time on pushing you to explore the reason for your personal intuitions. And it is not only about why you wish to build a house here or there or why circle is better than square in this case. It is even more about to be or not to be. Thus, it is normal that, as architecture or landscape students in RISD, we started from a project-oriented studio and then we end up with something looks unfinished before final. But these unsolved questions kept us going back to the project or the site (e.g. RISD farm) all the time.

起初不那么理解这样的学习模式对自己的专业有什么好处？因为建筑或者景观身为应用艺术，所以多半有甲方的制约与行业内的既定价值评判标准作参考。所以我习惯性把做设计当作单向回答既定的问题，本来希望通过留学尽量习得些技术来解决问题的。但在RISD认识了一些严谨且慎独的艺术家后，我开始了解，RISD的特点可能架构于它历史悠久的艺术教育系统。作为艺术家，他们的媒介和评判体系很不确定，他们比设计师更需要有自发性的强有力的完整的逻辑体系来阐述自己的艺术作品，以确保它不单是个人的直觉发泄。所以RISD确实有帮助我们养成不只回答问题但更多的是合理设问后深入剖析的思维习惯。

I didn’t get it at the beginning of my RISD life, about why we have more questions than answers. Since we are major in apply-arts like architecture or landscape design. We, as designer, usually have clients, also a stable value-system to objectively refer. But fine-art discipline is different. Which is the part that really made RISD RISD. For artists, they are so free in their judgment system and medias they are using. This freedom made they actually harder to live a easy life compare to professional designers. Because they have to subjectively invent their own logic system to bring their projects into reality, and be impersonal. So staying critical and to keep questioning becomes an essential part of making art. I appreciate that I met lots of disciplined artists in RISD and was inspired from them.

总之，RISD是非常注重过程（或者你可以理解为成果极其多样性）的一个慢节奏学校。慢到每学期都会有几天悠哉悠哉的夜不归宿。我至今都很怀念那些我睡过的非本专业教室的沙发。

Obviously, you could feel RISD is a process-based School. Or you might also understand that everything in progress is valuable and could be a result.

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?

无敌的包容度。

BIG is quite open-minded.

我在BIG干了一年了，因为毕业于景观项目。所以主力在BIG U的一期工程。恰逢BIG的景观部门初具规模。算是有幸目睹了一个新部门在这个企业中是如何慢慢成长的。我深刻体会到公司对所有新鲜idea的open程度是惊人的。而且公司内部的等级制度不会对信息的传递造成过大影响。所以传说BIG只有年轻人是不对的，只因为年轻人的声音永远不会被忽视，所以血液一直是新鲜。我记得我入职第一天就建议增设景观部的图书目录，虽然中间停滞了半年，但如今已经进入了第二轮图书购买投票。然后不管怎么换座位，总能遇到好同桌与我乐此不彼地分享各种好玩的展览和活动信息，当然也包括sample sale啦。因为大家永远充满好奇心在工作内外都很活跃地学习着。所以我们做渲染中用到的素材也都很当代，包括 Dustin Yellin 的 Psychogeography 或者 Cerith Wyn Evans的发光字体等等。

I have been in BIG for one year, working on landscape projects like BIG U (a 6 miles resilience infrastructure to protect lower Manhattan from the next Sandy Hurricane). It was lucky that I witnessed how we build up our landscape department in New York office. And the hierarchy in the office is never a barrier in communication of ideas. All people I met in BIG are ready to learn from each other. Someone told me that the average age in the office is too young. That is not really true. I feel it is because most people stay young when they are happy to engage with younger people. I remember I suggested ordering more landscape books for the use of landscape projects. After one year, we had been ordering books after the office voted and a decent landscape library was formed. Same as sharing our favorite reading list; we share lots more fun in life within the office. Especially, chill events, exhibitions, and sample sales. Since we are always curious for new and fun elements, we always incorporate what we saw into design. So don’t be too surprise if you see super avant-garde or high fashion animations in our renderings.

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?

如果做梦算一种创作，卡尔维诺影响我不少。2010年读《看不见的城市》觉得那只是一个个梦境，荒诞，美丽。2012年在无人的欧洲古城充满雾气的寒冷冬夜中觉得自己仿佛走进了小说中的那座双子城的地下城。今年在纽约的一个雨夜，我梦到了被阿姆斯特丹狭窄立面占领的威尼斯河道，梦到运河水面吞噬两岸的石板路，梦到水面上窜过一群疯狂的yellow cab. 水花四溅却带走了雨季，日出，云散，远处惊见圣母院钟塔的影子。所以相比图像和音乐，文字貌似更吸引我，当我只言片语地记住卡尔维诺的城后，他们多少年来都在导演我梦里无数有趣又费解的空间，以及发生在里面不可能的剧情。

If dream is also a place you creating art, I think Calvino is my favorite. I first read his book Invisible Cities in 2010, and I thought each city was an unreachable dream. Then I found myself stepped into his dreams while I was walking through a foggy night in an Italian old town in 2012. Not long ago, I had a dream in a rainy night in New York. I saw all the facades in Amsterdam standing along the edge of Venice canal, and it rains heavily, the water table is growing, paths are disappearing. Suddenly, lines of yellow cabs are running through the water surface. After all the splashes, the sun emerges, clouds fading out, I saw the towers of Notre Dame cathedral far away. I think words are more influential to me than images and music. I love to collage my memories of Calvino’s book. And having countless unbelievable stories of strange spaces in my dreams.

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?

特质是有吧，或许不算优点：总的说挺女性视角的，感性打败了理性。项目尺度以及脑洞都不算大，但我有很用力地在打磨一些图，我希望每个作品都能够有一两个点可以直接不需要赘述和上下文就能打动读者。

I am not sure it is fascinate but it is feminine, for sure. It is quite emotional. The scale of my projects is usually small as well as the risk I have taken in them. Lots of my friends and teachers like my representations. Yes I agree, I put more energy on drawings, and wish there will be one or two drawings that could touch you without explaining too much context. I always think the vibe is the key.

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?

12年左右开始浏览谷德的。我最近很喜欢Under 35专辑中墨白的那一篇，迫切地想看到更多青年女性的经历，而且希望是生活化的视角！

I began paying attention to Gooood since 2012. I love recent album: under 35. Especially the article about Mobai. I wish to see more stories about interesting lives of young women. And a perspective of daily life is always attractive!

W O R K

Squeezing Adventures

峡缝探险，东普罗维登斯皮艇公园改造 / Constructing Ground for Coastal Kayak Park Design
Feb，2015
Instructor：Adam Anderson

这个项目地处罗德岛首府普罗维登斯东部的一处滨水皮艇公园，虽遥望城市优美天际线，却因视线过广地势平坦辽阔，所以自步入场地至临水，目之所及，毫无惊喜。但有趣的是它地处河口，潮涨潮落时浪花拍击泊岸的声音极大，让我强烈感觉到海浪涌进狭窄岩石缝隙中爆发出的能量。我想，人的情绪也应该是这样。加压就能升温。于是我决定平地造景，通过不同尺度的狭缝和陡坡，欲扬先抑地带给这个公园更多惊喜。

The Project is located at a Kayak Launching spot in East Providence. Even it is facing a nice city skyline but there is not much transitions on the site. So what you see from you entering the site to touching the water is monotonous. So I wish to break this experience by carefully denying views of entire skyline using landforms like valleys and slopes, delaying the enjoyable moments and prolonging these moments as well. Like Raising up climax after some depressed plots. All these have been inspired by the loud sound created by the waves hitting the site’s edge. Since I noticed how powerful the energy is when the water was squeezed into the gap between rocks, same as people’s emotion.

材质上的逻辑：除了形式上一触即发的灵感，我觉得合情合理的材质逻辑对这个设计帮助也很大。因为基地不只遥望都市繁华天际线，其开阔的视角也将普罗维登斯历史悠久的传统珠宝老厂房们尽收眼底，其中标志性的三烟囱剪影是很多人对普罗维登斯的深刻印象。我想这个安于一隅的小公园如何能与这个城市产生更深的联系呢。毕竟遥望一个被195号州际公路孤立出的手工业区，虽已没落废弃，但是普罗维登斯作为一个优秀的工业城市在80年代经济转型前的骄傲回忆。于是我决定结合地形塑造中不得不面对的大量挡土墙的问题，运用耐候钢的怀旧气息来呼应远方的回忆。同时结合沙和碎石铺装，减慢人们穿过某些狭缝的速度，物理和心理上让人感受到身处罗德岛纳拉甘西特湾深处的共鸣。

Materiality: Besides the inspiration of the squeezing landform, the reasonable materiality also helps the project. The site is not only facing downtown providence but also looking at famous I-195 Jewelry District, which is a sign of Providence past industrial history (Providence was a traditional industry city before 80s when big box economy has been introduced into it) with identical three chimneys view. So I wish to enhance site time narrative and location specific. Then the sand road and cortex steel had been chosen in the project to recall the providence’s memory of industry city and end of Narragansett bay.

轻松愉快的设计手法：这个studio全程不到两个月，周期短，主攻景观造型。所以粘土是一个很快速高效且直观的方案推敲媒介。我能通过手指的力度和方向，灵活地创造出从平面转到立面变化无穷的空间。好像水流在沙洲中开道，很畅快。当时的记忆是捏粘土的那几天，手指很酸，心很累，但如今回想，粘土模型其实是这个设计有趣的关键。

Playful design methods: The time span of this studio is less than two months, so clay is an efficient and straightforward way to texting the landform. Its manageable quality gave me possibility to test out how to use squeezing operation on the land, how to convert a vertical plane to horizontal one, and how these space can be occupied and used by people. I remember it was physically tired to play with the clay, but it turns out to be the key of the birth of such a pleasant landform.

当粘土模型初具规模后，我简单进行了3D扫描，回归相对精确的等高线草模，因为不想浪费时间和胶水，所以没粘牢，只是像积木一样堆叠在一起。却没想到在和朋友玩弄“积木”时，意外地发现一些能优化场地公共空间使用效率的减法，以及提高流线合理性的加法。最终将这些修改准确地反应在了成果模型中。

After I have done with the clay model, I 3D scanned it, brought it into contour model study. In order to save time and glue, I just stack all the layers together like toy bricks. To my surprise, I found lots of interesting ways to improve the design by removing or shifting those flexible pieces. And I integrated these ideas into my final model.

所以整个公园的体验是一个动与静，快与慢，放与收的弹性结局。为了表达我一开始听到涛声的情绪，我最终选择了用电脑和手绘结合的方式渲染了公园平面以及场地上两个具有代表性的瞬间。这套图纸被邀请参加了学校博物馆2015年的 Image Landscape 展览。

So the whole park finally turns out into a happy ending with a balance in static and dynamic, enclosed and open, squeezing and expanding. In order to express my first perception of the site which was the fussy sound of the ocean. I choose hybrid drawing as a way to rendering the final representations of the project. And they had been exhibited in Image Landscape exhibition on RISD museum in 2015 winter.

Moving Through Thresholds

步移景异，沉浮中的韵律 – 海滨牧场研究与设计 / Experimental Design above and below Changing Datum
Dec，2014
Instructor：Colgate Searle

这是一门RISD经典的古老课程，古老到可以一学期不用电脑，经典到几乎全程手绘和手工模型。整个学期我们从掘地八尺研究基地土壤成分到研习各种场地上的景观要素最后到选择每个人感受最强烈的场所变量，结合前期的理解，植入自己的景观设计。因为着迷于看似不可达的芦苇丛深处以及其中变幻莫测的光线。我最终描述了一个在明与暗，干与湿，漂浮于沉潜之间的旅程。

This project came from RISD’s most classical Design Principle studio. It covered a large range issues: Starting from the initial soil experiments, we analyzed the farm to understand principles of ground, phenomena, space, scale and form. Through the whole process we kept using hand drawing and modeling as the direct method to enhance our understanding of how we design by which we take into the story. I finally told a story about hydrology and luminosity, using one flowing trail hidden inside or exposed above the marshland covered by phragmites.

负距离接触场地后，土壤会讲故事 | Listening the story of the soil by exploring underground

整个场地跨域了从沙滩到湿地到森林到草场多个生态系统。地下有着丰富的故事。挖洞，收集地下8英尺以内的土壤标本对于建筑背景的我是一个很有帮助的练习。我本不知道高地的沙土或者森林的沃土以及芦苇丛里的淤泥其实可以有千万种组成方式同时存在于同一个地点。有趣的是我们立马被要求做一个模型来表达你对土壤标本的理解，我用凝固过程中体积会膨胀的泡沫胶把大量泡沫碎块集合在一起，创造出了疏松却牢固的自组织结构表达地表深处起支撑作用的碎石，而靠近地表三寸处的高密粘土层用被腐蚀过的带孔泡沫版以及穿透表层稀疏的植被表达。做着做着，突然就渐渐理解了地下无数细小颗粒之间的关系，以及它们与水与根系的关系。

The soil study phase is crucial to me as an architecture background student. The site has rich transitions all the way from ocean to beach to marshland to the forest and grassland. I didn’t know that lawn, sandy soil and clay or silt will exist together at the same spot underground in so many ways, until we dig holes in different spots on the site and gathering soil samples. And we were immediately required to make a physical model to present our understanding of the samples in hand. Then I choose to use foam blocks, expanding glue and iron wire to explain my discovery of upland soil structure. It is really a efficient way to allow myself understand the relationship between different particles and water underground.

输出同样为输入：通过水彩感受景观的情绪 | Output as input, using watercolor as a media to study phenomena

继土壤命题研究后，我们慢慢进入了一个开放的选题－研究场地上带给你感动的景观元素，可以是风可以是树影还可以是你走在土地上听到的摩擦声。而我选择了光，因为一次测绘过程中偶遇夕阳时分的基地，想说那片芦苇地不就是风之谷最后一幕女主角站在金色原野上的感觉嘛。于是我一开心就用水彩记录了场地上不同空间光被捕捉的瞬间。可以是树干的线性高光也可以是树冠立面的反射更可以是密密麻麻芦苇交织成的发光水平面，总之最后把所有理解整合成了个贯穿全场地的分析图，并且决定基于芦苇地开展更多的探索，创造一个穿梭于其中的旅程。

After the soil study, we went back above the ground, studied different phenomena on the site. It could be wind could be shadow could be the sound you made from your steps. Then I chose the light. Because I have run into the site during a sunset time, it moved me so much by the gold growing surface of the marshland. So I decide to use watercolor to register all these, about how the light could be captured by the landscape. Including the liner highlights on the tree trunks and the lighting facade of the canopy. Then, based on the data I get through the watercolor sketches, I combined the light phenomena into a site diagram and decided to begin a journey deep into the marshland.

一个通往芦苇丛深处的旅程 | A journey through marshland and woods

我发现当你遇到一个兴奋点的时候，设计很容易就顺理成章自己开始生长了。所以根据基地日照的数据还有土壤和植被的限制，一个穿梭在树冠之下，树干之间，和偶而漂浮于芦苇丛之上的路线很快清晰了起来。并且很自然地首尾融入了场地中的主流线。推敲过程中我有用大比例的分析图详细分析不同时间点的日照，或者跳出平面，用手工模型深入理解光和影在空间中的体积。在深陷对光影的苛求中的同时，我也发现芦苇地的水文信息尤其丰富，咸水和淡水会有短暂的交锋，潮涨潮落也会让路径中的人体会到很不一样的违和感。于是最终把这条路在中间切了一刀，打了一个结，创作了一个双桥枢纽供更多的人聚集和停留，感受无时无刻不在变化着的景观。

The design went quite smoothly when you found a trigger. Based on the constraints from the sunshine, soil and vegetation. A trail flowing under the canopy, among the tree trunks and above the phragmites was quickly formed. And it was easily blended into the main circulation on the site. Through the process, I used large-scale diagram and physical model to study the light both in plan and space. I also integrated an outdoor classroom in the middle of this non-directional trail to allow more people stop and experience the different humidity of the marshland. Since the tidal change of the site made the texture of the marsh not only about the luminosity but also about the hydrology.

Glowing Fields
仲夏微光，华盛顿宪法公园萤火虫都市栖息地设计 / Urban Cohesive Habitat for Human and Firefly
May，2016
Instructor：Suzanne Mathew；Fultineer Scheri

这个项目的出发点是因为，曾有一个朋友无比兴奋的告诉我她曾在白宫的草地上看到过萤火虫，而且这是她在华盛顿最难忘的记忆。于是我开始想这种脆弱在小生命到底能建立一种多强烈的情感联系在不同国家的人心中呢。作为一个看似无足轻重的物种，其实是否寄托了我们对孩童时光无限的怀念以及盛夏傍晚无数美好的向往。仿佛这种田园式景观在被都市生活占据的我们生命中越来越不可能是日常。那么既然大家都在解决从海平面上升到各类生态议题的危机，我就不一定要去拯救世界了，反正萤火虫确实存在，我只想利用场地已有的优势，稍作改善，让更多的萤火虫来安家。之后在系主任的怂恿下，我开始尝试探索在都市环境下人于萤火虫和谐相处的可能性。

I started this project because a friend of mine used to tell me how excited she was when she saw a firefly on the lawn of the White House. Before that, I thought firefly was an aesthetic within certain Asian cultures, but it seems that fireflies evoke memories and experiences that are universal- childhood romances, the feeling of being young, the beauty of passing time, and the smell of humid dusk of the pastoral landscape. I wish all these could happen within the fabric of an urban space as well. Landscape design is not only about solving global crisis but it is also about taking advantages of the site to make it better. I wish to create glowing fields– therefore, this project is a study on place engagement by exploring how cohesive habitats between humans and fireflies can be created in Constitution Gardens, Washington D.C.

萤火虫的分布逻辑 | Biological Study of the Firefly

设计开始于对萤火虫能胜任煽情使命的求证。果不其然，全球竟有2000多个品种的萤火虫广泛生活于热带与温带地区。从日本的浮世绘到丹麦的萤火虫节，所以我相信仲夏微光不是东方文化的自我陶醉。同时对在美国境内最常见的五种萤火虫类别进行分析后，惊喜地发现华盛顿区域尽然是这五种萤火虫的共同栖息地！因地处阿巴拉契亚山脉，切萨皮克湾以及大西洋海岸平原三大地形的交汇处，华盛顿区域的气候和植被有着生物多样性的绝对优势。于是基地合理性也大致初步被求证。

At the beginning of the study, I wish to proof that firefly is one of the most widely experienced phenomena and could be the emotional link for many people from different countries. As expected， there are over 2000 species live in tropical and thermal areas across the world. And people not only depicted fireflies though Ukiyo-e in Japan but also celebrate this summer miracle through festivals in Denmark. Meanwhile, Washington area is no doubt a suitable site for firefly study since it is located in between Chesapeake Bay, Atlantic Coastal Plain, and Piedmont Area. The bio-diversity makes it a nice habitat for 5 firefly species in nature.

找准切入点：光的分布研究 | Finding the breakthrough– all about light

因为都市栖息地是人与萤火虫两者的对手戏，缺一个都不精彩。所以如何精确锁定基地范围同时找准合适的机会撮合人们偶遇萤火虫是另外一个漫长的研究。综合GIS中华盛顿夜晚的光照强度与Geotagger中人类活动流线以及国会广场附近公共空间的开放时间以及用地规划等，发现位于林肯纪念堂与华盛顿纪念碑之间的宪法公园是栖息地的不二之选。同时五种萤火虫中，东部萤火虫（Photinus Pyralis）作为活动时间与人类最吻合以及对光照接受度最高的一类也脱颖而出。所以我带着适合Photinus活动的光照数据与测光仪跑去华盛顿进行了一次对宪法公园的扫盲式测绘。

Because it is a co-habitat, the method to find the nice engagements between humans and fireflies is crucial and meant to be a long research. I overlapped the GIS dates about lighting levels of Washington, human circulation data from Geotagger, opening time of all the public institutions around National Mall and urban land use. It turns out that Constitution Garden is in a comparatively low light area at night in the middle of the city but with more people passing by it at night. Then, using Photinus Pyralis’ requirement for the ambient light as datum, I went to the site for a full measurement of the site’s lighting condition.

四个基地改善方向: 光，土壤，植被，水系| Site strategies: light, soil, vegetation, and water

测绘结果让我发现适合Photinus Pyralis活动的0.03fc光照条件在基地上确实存在。由基地光的图解可知，这些空间多半存在于没有行路灯干扰的湖面中央，茂密的树林中，背对纪念碑等地标建筑的草坡上以及类似像越战纪念碑这样的陡坎的阴影中. 于是以光的信息为基础，我对场地植被状况，水文状况，土壤状况均进行了深入学习。根据萤火虫和人类活动对时间和空间的多种资源共享可能性，我对四个方向均提出了改善的方案。

包括:

1 光：改变公园北部的坡度和高度，创造一条适合萤火虫活动的背光带。

2 土壤：增加部分地区土壤的有机物覆盖层提供少许萤火虫产卵的机会，加厚表层土，改善土壤的渗水性以改善植被覆盖率。

3 植被：挪走病树，移栽可以为人们带来秋色并为萤火虫幼虫提供冬眠庇护的落叶树种。

4 水系：以及创造局部水草茂盛的水岸线，同时小面积增加陆地上的长草地，为萤火虫提供藏身以及飞行间隙的休息站（很多物种飞不到树梢那么高的）。

Luckily, the situations with 0.03fc low light level for Photinus Pyralis really exist in the site. As the light section diagram shows, those situations are usually hidden inside the woods or in the center of the lake where it is faraway from the streetlights or the slope that is not facing to the lightened up landmarks. Since the lighting condition for fireflies has been confirmed. I studied other landscape elements on the site in order to find out different ways people could share the space with fireflies with more engagements between one another. So, I came up with site strategies with four aspects：

1，For the light, I raised up the grading for some area north of the lake, creating a light shelter for fireflies and sound shelter for humans.

2，For the soil, I added organic layers to create a better chance for fireflies to spawn, and I thickened the topsoil and reconstructed the drainage of certain areas to provide better plant-growing condition.

3，For the trees, I removed lots of trees with disease and replaced some large deciduous trees to provide people with fall colors and to allow firefly larvae to hibernate under the foliage.

4，For the water, I changed part of constructed concrete lake bed into natural conditions and introduced soft edges with ornamental wetland grasses along it, and also added meadow in limited areas, which would allow some fireflies to rest on the top of the long grasses(many species can not fly high enough to touch the canopy)

资源共享的两种模式 | Two types of sharing in co-habitat

在对基地进行细致入微的改善后，我得到了一个微调后的宪法公园平面。同时，在合理分析人类活动包括漫步，骑行，休憩，野餐，以及萤火虫的飞行，产卵，冬眠，藏身等需求后，大致总结出场地上八种典型的人与萤火虫共存的状态。有水草茂盛的河岸骑行道，照明系统紧贴地表的森林甬道等。但相比细述个案，我觉得更有趣的是通过萤火虫和人的关系总结出两个不同物种资源共享的模式，同时间同空间的主动型共享，或者同时不同空间，同空间不同时的被动共享。这些共享方式，可以是研究一个更加丰富的城市生物多样性栖息地的出发点。

After balancing more details, I had my glowing fields in plan. After studying people’s walking, biking, sitting, picnicking habits and fireflies’ flying, spawning, hibernating, hiding conditions. I categorized 8 types of engagements for this co-habitat, including biking path that pass through the lake with ornamental long grasses on the side and glowing tunnels inside the woods with lighting system touching the ground. Of all these site specific conclusions, the most interesting points are two types of sharing that happen in this habitat: a subjective sharing– an engagement happened within same space at the same moment; a passive sharing– a sustainable sharing for the space by occupying it separately in different seasons without interactions. Overall, I feel this project had provided me an interesting base to study other co-habitats with more species involved.

Memory Filter

蓦然回首，引导性景观装置艺术快题 / Urban Cohesive Habitat for Human and Firefly
Oct，2014
Instructor：Colgate Searle；Adam Anderson
Group Member： Ziqing Chen；Brianna Cato

作为一个为期不到一周的快题设计。我们的出发点很简单，我们想做一些和反射有关的东西，来提醒一些容易被人们忽视的极致美景。

This was a tight project in terms of time and scale. We had less than one week to insert an installation into our site. So, we wanted to do something simple that was related to reflections. Since we wish to remind people of the beautiful landscape behind them.

出发点源于，我们发现基地中有一条特别醒目的通向大海的主路，人们往往会不自觉地被植入大海应该是剧情高潮的思路。于是人们多半愉快地奔向大海然后，然后可能故事就结束了。但时值金秋十月，基地丰富多彩的颜色正在人们身后肆无忌惮的上演着。我们希望这个惊喜被错过前被人及早发现。

Why do we want to remind people? There is a noticeable path on the site that has always drawn people’s attention to the ocean, but when people directly approach the coastal line without hesitation, they actually missed the sublime palette of fall colors that is being fully rendered behind them.

一开始想说多研究下镜面的设计。后来在模型和草图的推敲中，我们觉得，如果有一个起引导性的装置让人们不自觉滴提前回头会更加自然和直接，于是我们用木桩和白网支起了六个屏风，平行于人们走进沙滩走向到大海的方向，但每个屏风都具有细微角度的转变，当你被引导至六组屏风之间时，你会感觉到他们的透视在创造一种视错觉引导你转身聚焦身后的景色。虽然我们总试图与Sublime这个词保持距离，但那一刻或许可以用一次。

At beginning, I thought about using mirrors all the time. After sketching and modeling, however, we felt that it was better to do something subtle that could lead people’s subjective movements to something beyond the vision. Also, it was pleasant to work with materials with more natural textures. Therefore, we came up with ideas about frames made by wood sticks and semi transparent mesh, and we oriented a set of 6 frames on the beach. It would catch people’s attention faraway immediately because of the white mesh, and they were parallel to the direction that people entered the beach. However, each frame rotated at a certain angle– you would feel a parallax of perspectives that pointed behind you while you stepped into the middle of the installation. Then the physical turning around moment will happen at this moment，and we thought it was a sublime moment.

虽然木桩打入沙滩并站直是很辛苦的事。但多亏有靠谱组员，同时很感谢逍同学的帮助。所以收获了一次很愉快的小组合作。

It was hard to insert all the wood sticks into soft sands and keep them vertical and stable, but I was grateful to meet two lovely group members and have supports from Xiao.

Pastime Activities

我通常是如何打发时光的
2008-2015

旅行手绘 | Journey Notes

心情好的时候，喜欢用速写记录去过的地方，虽然也喜欢拍照，但画画有时候可以很针对性地留住一些对我有特殊意义的细节。而且能赋予对象我心中的色彩这点比照片妙。

I love to record where I have been with sketches. Photos are also a nice option, of course, but sketches can actually save you more time when you look back since it is particular about the details you want to capture. Also, I enjoy that I could render out the objects in whatever color I like.

友人肖像 | Friends’ Portraits

感觉帮朋友画肖像（往往是生日礼物）是挺幸福的一件事。近几年画的越来越少，但我会继续。

It is such a pleasure to draw your friends. I usually do this for their birthdays. Even though I have been doing this less and less recently, I will not stop.

植物速写 | Plant Drawings

从建筑背景转景观的我，这绝对是消除自己对大自然无知的恐惧感的第一步。

I transferred from architecture backgrounds to a landscape major, so drawing each plant could save my ignorance for the nature.

在海外时间：2014年至今
在海外地点：普罗维登斯, 洛杉矶, 纽约
姓名：卢南迪
籍贯：湖南长沙
学校or工作单位：华中科技大学；罗德岛设计学院；WET Design；BIG
联系方式：lunarnandi@gmail.com

When: 2014 to present
Where: Providence, L.A., New York
Who: Nandi Lu
From: Changsha, Hunan
School/Firm: HUST; Rhode Island School of Design; WET Design;BIG
Contact: lunarnandi@gmail.com

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