西奥多罗斯福总统图书馆丨美国丨李熠冬

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。第一百三十一期为您介绍的是毕业于伦敦大学学院巴特莱学院、耶鲁大学、现工作于 Snøhetta 的李熠冬。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.131 episode features Isabel Li who graduated from UCL Bartlett, Yale University and is now working for Snøhetta.

为什么出国？Why going abroad?想在不同的国家生活。I wanted to experience different countries’ lifestyles.

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?

印象比较深刻的主要都是刚刚到英国读本科的事情。刚到伦敦第一晚学校发的比纸脆弱的床单；英国老房子不符合规范的台阶（感谢室友帮我搬箱子上云梯一样的台阶）；拎着 A1 作品集被伦敦大风吹到起飞。还有每年因为建筑学院的期末比其他学院的晚，最后几周建筑生们被 11 点关门的工作室赶出来后，扛着绘图板穿过一群一群去 party 的同学，赶去 24 小时开放的图书馆画图。

I has some strong impressions of things happened when I just arrived in London. At the first night, the school gave us bed sheets that were thinner than paper. The staircase in our dormitory was definitely non code compliant (Huge thanks to my roommate who helped me carry cases up that stair). Feels like flying when carrying A1 size portfolio through the London wind. Also the deadline for architecture school is slightly later than other schools. So when other students were parting, we were kicked out of studio, which closes at 11, and had to carry drawing boards to another library which opens 24 hour.

最想念祖国的什么？

What do you miss the most about China?

亲人和朋友，还有街边的火锅和烧烤。

Family and friends, also hotpot and Chinese barbeque.

Will you come back? Why?

看机会吧。疫情期间学会了太长远的规划没有多大用，还是先走一步看一步。

I haven’t decided yet. The pandemic taught me that plan will always have to change, so I’ll know when the time comes.

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?

在美国获取中国的消息的渠道变窄也变宽了。能听到关于中国不同声音的同时，关于和普通人息息相关的生活相关的消息却少了很多。毕竟媒体宣传的都是片面的，在中国的时候感觉美国人民生活的水深火热，在美国的时候也反之亦然。感觉无论环境怎么样，最终大家能过好各自的生活才是最重要的。

The channels for getting news about China in the United States have become narrower and wider. While there are different voices about China, there is much less news about the lives of ordinary people. After all, what the media publicizes is one-sided. When I was in China, it sounded like life in the US was so difficult, and vice versa when I was in the US. Overall, despite the environment, it’s more important that people are enjoying their everyday lives.

你的学校有哪些教育特点？

What are the educational characteristics of your school?

我有幸体验了英国和美国两种不同的建筑教育，体会到了两边从教育理念到对建筑的理解都完全不同。

英国建筑本科大部分学校都只有三年，并且要求在本科和研究生之间要工作一年，这样加起来算是四年的本科。巴特莱的第一年为以手绘为基础的基本功训练，第二三年是题目各异的自选 studio。这三年是痛并快乐的三年。每周一次的和老师的见面都像是一次正式评图，老师对一周的产出和想法的更新有很高的要求。必须要求自己的想法深度和设计都一直在进步，并且要用完整且清晰的图表达出来。当时身边的所有人都非常的卷，有同学每周在见老师的前一晚都会通宵，也会因为想不到新的想法崩溃，在评图被骂哭的同学更是不计其数。但是现在回想起来也是少有的纯粹追求更好的设计的几年。

我在耶鲁就读的是 M.archI 项目。个人体会是现在这个项目还在院长换代的改进过程中。这个三年项目前两年是基础 studio，最后一年是 advancestudio。前两年有些在创新和不创新之间反复横跳，在选题政治化的浑水里摸爬滚打。直到最后的一年有幸选进了很好的 studio，才有一点重新找回专心做设计的感觉。不过在耶鲁设计课外的活动很多，也能去上建筑学院以外的课，还有很多当助教的机会。建筑学院中庭里的评图场地平时也会被用来打羽毛球。是竞争不是很激烈，而且很有活力的氛围。学生们和老师的关系也更加亲近一些，毕业后也会经常保持联系。

总体体会是巴特莱更注重的是在设计、技术和表达上的创新。比如设计很少是看起来能建出来的楼，用的材料都是全新的发明，并且图纸也是要求每个项目应该有特殊的表达方式。毕业后有同学去做了研究用绿藻做幕墙，有同学成了插画师，有的成了动画师。耶鲁的设计风格偏保守且传统，不过落地性会强很多。

I was fortunate enough to experience two different types of architectural education in the UK and the US, and realized that the two sides are completely different from each other in terms of educational philosophy and understanding of architecture.

Most schools in the UK have a three-year undergraduate program and require one year of work between undergraduate and graduate school, which adds up to a four-year undergraduate degree. The first year of Bartlett’s program is a basic skill training based on hand-drawing, and the second and third years are self-selected studios with different topics. Three years there were both painful and enjoyable. The weekly meeting with the professors was like an actual review every time and the professors had very high requirements for the output of the week and the updating of ideas. I had to keep improving the depth and design of my ideas and express them in complete and clear diagrams. At that time, everyone around me was working very hard, some students would stay up all night the night before the weekly meetings, and there were so many struggles to come up with new ideas, and students can still have terrible review. But in retrospect, it was one of the few years when I can be purely focused on designing.

I was enrolled in the M.arch I program at Yale. My personal experience is that the program is in the process of getting improvements from our new Dean. The first two years of this three-year program were basic studio, and the last year was advance studio. It wasn’t until the final year when I was lucky enough to be selected for a very good studio that I was able to focus on design again. But there are a lot of activities outside studio at Yale. You can go to classes outside of the architecture school, and there are a lot of opportunities to be a teaching assistant. The main space for reviews in the atrium of the School of Architecture is also used for badminton. It’s not very competitive and usually very energetic atmosphere. Students are also closer to their teachers and keep in touch with them even after graduation.

The overall experience is that Bartlett focuses more on innovation in design, technology and expression. For example, the design of the building rarely looks like it can be built, the materials used are all brand new inventions, and the drawings also require that each project should have a special way of expression. After graduation, some students went on to do research on making curtain walls out of green algae, some became illustrators, and some became animators. Yale’s design style is conservative and traditional, but it is much more grounded.

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?

Snøhetta 最吸引我的是不同领域的结合。我们同时有建筑、景观、工业和品牌设计，在有些项目上可以和不同的团队合作非常有趣。同时 Snøhetta 又是一个非常注重设计的公司，会在设计细节的推敲和比较上花很大的功夫。各个领域也都能参与到这个推敲的过程中，偶尔能碰撞出非常有趣的设计。

What attracts me most about Snøhetta is the collaboration of different disicpline. We have architecture, landscape, industrial and branding design at the same time, and it’s interesting to work with different teams on some projects. At the same time, Snøhetta is a very design-oriented company, and puts a lot of effort into pushing and comparing design details. Various fields are involved in this process, which can occasionally lead to very interesting designs.

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?

我喜欢的艺术家非常多，各种风格的都很喜欢。Giorgio de Chirico、Mark Rothko、八大山人、Eduardo Chillida、David Hockney……设计的时候喜欢看张英楠的作品。电影的话比较喜欢 West Anderson 的作品。

I am very fond of many artists, all kinds of styles, Giorgio de Chirico, Mark Rothko, Bada Shanren, Eduardo Chillida, David Hockney…… I like to look at Zhang Yingnan’s works when I design. For movies, I like West Anderson’s works.

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?

一开始学建筑的时候希望能做出奇怪的、能让人产生好奇的东西，想要做出不常见的且有个性的设计。慢慢的觉得每个项目都是有自己的感觉的，做设计的过程更多的是去发现这个项目本来就应该成为什么样，而不是强加什么东西。我觉得每个项目都有自己本身迷人的地方，能发掘出项目的本味，做到顺其自然的迷人才是最难的。

When first started in design, I wanted to make something strange and intriguing. I wanted to make designs that were uncommon and personalized. But then, I realized that every project has its own feeling, and the process of designing is more about discovering what the project should be. I think it’s a fascinating work if I can find the feeling of the project itself.

W O R K

01. 西奥多-罗斯福总统图书馆

Theodore Roosevelt Presidential Library

Yale H.I. Feldman Prize for best design of the year

2021.08 – 2021.12 Individual Project at Yale school of architecture

critics: Tod Williams, Billie Tsien, Andrew Benner

设计着重于创造城镇景观与风景之间的连接。场地位于梅多拉镇和西奥多-罗斯福国家公园之间，作为国家公园的入口与梅多拉镇相接。当从小镇出发往国家公园时，这座建筑的石材外墙承接着小镇的尺度，并欢迎着游客们进入国家公园。而从国家公园内望去，这座建筑就像一个阶梯景观，微妙的雕刻切入地形。自然与建筑之间的界限变得模糊，建筑形成了可居住的景观，景观也变成了建筑。这种建筑上的两面性也与西奥多-罗斯福总统的成就和争议相呼应。

Situated between the town of Medora and Theodore Roosevelt National Park, this building mediates the transition between the townscape and landscape. When facing the town and road entering national park, this building establishes a more solid presence with stone and concrete facades. When viewed from National Park, the building appears to be a stepped landscape and subtle carvings cuts into the topography. In this way, the building had a duality that responds to Theodore Roosevelt’s achievement and controversies. In this way, the architecture is seen as inhabited landscape rather than built artifacts, and the boundary between the natural and built is blurred.

坡度

Slope

场地的景观由三种类型的斜坡组成。最陡峭的山坡被用作建筑的景观背景；道路旁边的一个小山丘被用作建筑的起点；末端较平坦的土地则让建筑平缓地坐落在土地上。

通过与景观的互动，建筑能够以不同的方式与周围不同的环境相呼应。

Landscape of the site consists of three types of slopes. The steepest slope of the mountain was used as a landscape backdrop for the building. A small bump adjacent to the road is used as pillow to start the building, and flatter land at the end allows the building to gently sit in the land. Engaging with the landscape, the building was able to respond to different kind of surrounding area in different ways.

变成自然的室内

Interior as Tamed Landscape

室内空间的设计也与屋顶和地面的地形变化有关。由于每个空间都与花园相对应，因此室内空间就成了外部景观的可居住版本。

Interior spaces were also designed as with topographical changes in roof and floor. With each of these spaces corresponding to a garden, the interior space then becomes a tamed and utilized version of the exterior landscape.

变成实用建筑的自然 Exterior Gardens as Functional Landscape

针对每种功能，四个相应的花园被设计为内部功能的延伸。通过这种方式，建筑被视为居住景观，而非建筑艺术品，自然与建筑之间的界限变得模糊。

Responding to each function, the four corresponding gardens are designed as extensions of the interior function. In this way, the architecture is seen as inhabited landscape rather than built artifacts, and the boundary between the natural and built is blurred.

02. 汗蒸度假村 Sweatlodge Resort 2017.01-2017.05 Individual Project Bartlett School of Architecture critics: Ana Monrabal Cook,Luke Pearson

该项目与内华达州的美国原住民文化相结合，将该州多个保留地的景观转录到建筑中，与周围的场地融为一体。一系列汗蒸房和其他乡土空间与建筑交织在一起，材料和气候的平缓过渡体现了从一种景观到另一种景观的转变。它们共同构成了原住民土地的一个缩影，通过提出一种建筑对位，汲取其精神源泉，而不是成为对其的模仿，来回应拉斯维加斯酒店对于他国文化的拙劣模仿。

Engaging with the Native American culture of Nevada, the project transcribes the landscapes from a number of reservations across the state into an architecture that is cut into the surrounding site. A series of sweat lodges and other vernacular spaces are woven into the building, where gentle transitions in materiality and climate democrat the move from one landscape to another. Together, these become a microcosm of the indigenous lands that responds to the overbearing cultural appropriation of the Las Vegas strip by proposing an architectural counterpoint that draws from the spirit of its sources rather than becoming a parody of it.

过去领地的地貌—用气韵解读文化

Landscapes of Past Territories-Atmospheric reading of a culture

南派尤特部落过去的领地包括四种不同的地貌，每种地貌都具有独特的地理特征。本项目通过理解他们的生活环境，而不是复制美国土著建筑的乡土形式。设计学习了过于领地的地貌特征并尝试用建筑语言重新表达。

South Paiute tribe’s territory in the past ranges from four different landscapes each with distinctive geographical qualities. Rather than giving a duplication of Native American architecture’s vernacular form, their living environment is referred to through learning from their past territories.

居住空间 – 可呼吸的体验

Inhabiting the spaces– Porous Experience

每个房间都以不同的方式与参考景观互动。每个房间的独特性都是对拉斯维加斯大道上大量相同房间的利用。这些房间内唯一相同的部分就是汗蒸房，但每个房间都以不同的方式与汗蒸房互动。

Each room proposes a different way of engaging with the referenced landscape. The uniqueness of each room comments on the use of huge amount of identical rooms in the Las Vegas Strip. The only identical part inside these rooms are the sweat lodges, however, each room interacts with the sweat lodges in different way.

03. 海军军师博物馆设计竞赛

Military Museum Design Competition

Second Prize, Young Architects Competitions

2018.07

Group Project with 朱紫元 Oliver Zhu and 伍钰 Amy Wu.

畴昔，星图是航海者最好的指南针，她在他们耳边呢喃软语，引领他们刺破海面上的阵阵迷雾。而如今，帕劳的军事博物馆，宛若印刻于山谷中的星图，在撒丁岛的花岗岩、沙、大海与天空中蜿蜒，勾勒出历史轨迹的印痕。而所有慕名而来的参访者，将伴随她在建筑与自然的地形中起伏，穿越过时光，重温那些航海者最刻骨铭心的记忆。军事博物馆利用散落在场地中的古老遗迹作为设计的基点，架设出一张充分的路网，使场地成为一个参访者可以自由穿行的历史与自然公园。在其之上，军事博物馆识别出一条主要的‘航线’串联起现存的建筑空间。‘航线’不仅提供了遗迹的可达性，同时框设出展览次序、构架起参访体验、并创造出遗迹全新的建筑篇幅。军事博物馆同期在‘航线’的两侧建造起少量的全新建筑体积与室外活动平台，供应给军事博物馆更多的展览空间与辅助功能。

The atlas of stars once served as map for voyagers, guided them through lonely mists of the great sea. The map of stars not only points out direction for sailors, but also accompanied their voyage, talked to their whispers.

As a topographical star map, the military museum of Palau weaves through the topography of ruins, granites, sand, land and the sky. While articulating between architectural and natural landscapes, visitors travel through time and revisit memories of soldiers who once fought in this sea.

On the overall scale, the military museum uses existing forms as its coordinates upon which a net for the military natural park is created. Using this net, the architecture of the military museum identified a main route connecting existing forms. Not only serving the purpose of connectivity, the route also spatializes the visiting sequence, creates new volumes and structures the visiting experience. Along this route, new forms are created to house exhibition and supporting facilities. In the spaces between the route, outdoor event platforms enrich the functions of the landscapes.

路径

The Route

这条路线是一条连接所有主要展厅的半室内通道。它重新定义了整个展览的流线，同时为新的建筑形式创造了空间。该遗址由分散的美丽废墟组成，这些废墟彼此孤立，游客很难前往参观。通过在整个遗址中提供连接，这条新路线允许现有形式重新居住，并作为博物馆展览室发挥新的功能。与此同时，餐厅、放映室和游客中心等辅助设施也被安置在新的体量中，并通过路线与现有建筑相连。

The route is a semi-interior pathway connecting all the main exhibition rooms. It redefines overall exhibition circulation while creating spaces for new architectural forms. The site is composed of dispersed beautiful existing ruins which are isolated from each other. They are hard to visit by tourists. By providing connection throughout the site, this new route allows existing forms to be re-inhabited and served new functions as museum exhibition rooms. At the same time, support facilities such as restaurant, projection room and visitor centre are placed into new volumes which are connected with existing forms via the route.

博物馆 The Museum 军事博物馆利用了现有的形式和新的体量。这种结合既能让参观者体验老空间，使其成为展览的一部分，又能让新建筑提供空间，容纳不同类型的展览，如放映室等。对老建筑进行翻新，使其质感得以保留，并以最佳状态呈现。新建筑的设计也是为了增强旧废墟中独特的空间感。

The military museum utilizes both existing forms and new volumes. This combination allows visitors to experience aged spaces, which becomes the part of the exhibition, as well as new architecture that provides space to hold diverse exhibition typology, such as projection room etc. Old forms are renovated so that their textures can be preserved and presented in the best condition. New buildings are also designed to enhance the unique sense of space which lies within old ruins.

Event Space

Two event areas are located in the semi-enclosed space of the route, providing space for outdoor activities and performances, and creating opportunities to showcase history and the museum itself in a multimedia way.

Sitting among the space semi-enclosed by the route, the two-event area provides space for exterior events and shows, which creates an opportunity to present the history and the museum itself in a multimedia way.

04. 超饱和景观牌桌 Super-Saturated Landscape Blackjack 2016.10-2016.12 Individual Project Critics: Ana Monrabal Cook, Luke Pearson

该项目以二十一点游戏为试验场，研究人们在游戏过程中的心理和手势行为，探讨场所可能开展的游戏鼓励活动。从表面上看，充满活力和看似无害的外观吸引着人们加入游戏。在桌子的另一面，互动机制会对人们的行为做出反应，从而让人们输掉更多的钱——为了偷偷拿走客人的筹码制造的视觉干扰；只有在放置额外筹码时才能触发的特殊效果；以及在游戏过程中根据人体和舞蹈设计的舒适的赌桌形状，都会鼓励人们停留更长的时间。

Engaging with people’s psychological and gestural behaviour during gamble, this project used the game of Blackjack as a testing ground for possible gamble-encouraging activity that can be carried out by casinos. On the surface, vibrant and seemingly innocuous appearance seduce people to join the game. On the other side of the table, interactive mechanisms respond to people’s behaviour in order to make people lose more money: visual diversions can be created in order to secretly sneak away gambler’s chips; special effects which can only be trigger by the place of chips; and comforting table shapes designed according to human body and choreography during the game encourages people to stay longer. Together, the design of this table comments on the temptation of gambling and the atmosphere of betting more for pride through an ironic table design that aims at encouraging irrational gamble.

机制化行为 Artifecturalized Behavior

该项目首先对二十一点游戏中的每一步动作进行了仔细研究，并利用每个动作的独特特征将其转化为互动功能。

The project initiated with close study of each step of action during the game of blackjack, which are translated into interactive feature using unique characteristic of each action.

普通牌桌 vs 景观牌桌

Blackjack vs Landscape Blackjack

项目还研究了邻近玩家和观众带来的压力。虽然场馆本身会有一些鼓励游戏的行为，但来自观众的竞争荣誉感和压力仍可能是导致非理性游戏的重要原因。通过特殊的机制语言，本设计还讨论了其他可能基于玩家自身的诱因。

Landscape blackjack investigate pressure posed by neighbouring players and the audience. Although casino itself can conduct some act of encouraging gambling, competing pride and pressure from audiences can still be important cause for irrational gambling. Through language of designed mechanisms, this table discusses other possible incentives for which cause lies within player themselves.

05.争择：从城中村看未来城市居住可能性

Adapt-lization: From urban villages to future living typology

UABB 2017 深圳双城双年展

Bi-City Biennale of UrbanismArchitecture

2017.12

Group Project with 朱紫元 Oliver Zhu, 伍钰 Amy Wu and 熊英 Velvet Xiong

点击这里查看更多，Click HERE for details

城中村是中国城市化进程中不可避免的讨论议题。从小在深圳这座快速发展的城市中长大，我们耳濡目染地见证了城中村在城市多元化的生态系统中的重要性。

2017 年深圳香港双城双年展以“城市共生“为主题，讨论在现代城市化进程中城中村与城市相辅相成的关系，也为我们研究城中村独特的城市和建筑环境提供了平台。

在此次双年展的背景下，我们作为四位分别毕业于英国巴特莱特和美国 pratt 建筑系的学生，以对于城中村独特的建筑环境的理解为背景，提出了对于未来城市居住模式的畅想。

Urban villages are unavoidable topic in discussions of Chinese urbanization. Grown up in Shenzhen, a city where high speed urbanization takes place, we observed the importance of urban villages in the diverse system of cities.

2017 Bi-city Biennale of Urban/Architecture was themed as “Cities, Grow in Difference”, discussing relationship between city and urban villages in the process of urbanization. In light of this UABB, as graduates from the Bartlett and Pratt school of Architecture, we proposed a speculative vison of a new living typology in cities based on understandings of urban villages in Shenzhen.

城中村模式–争择 Urban village Development Model- Adapt-lization

“一争一择，而变化之事出矣。” —— 赫胥黎

城中村往往因为设施不齐全、治安难以保证等社会问题通常被视为城市发展的隐患，但是城中村的存在同时也解决了一些城市快速发展所导致的问题。其在市中心为居民提供了高密度的便宜住房，解决了城市发展初期交通网络不便和廉价住房不足等问题。

城中村的发展状态是无意识且自发的。这种发展状态赋予了居住者以自由，这种居住者对自我生活环境的定制化，重新定义了建筑：开发商、建筑师、建造者和使用者的人格合一。同时，城中村环境的空间局限性带来了居住者们之间在任何细小公共空间内对于使用权的争夺。不断激化的多方关系创造了一个隐形的搭建的逻辑，创造了城中村中多样的建筑契机与类型。

Urban villages are often regarded as hidden hazards of urban development due to incomplete infrastructure and insufficient law and order. But at the same time, the existence of such has solved numerous problems in many cities due to their intractable process of urbanization. For example, first-time city residents usually receive cheap housing from the high-density living complex of the urban village, which provides the newcomers with convenient transportation and allows them with a considerable amount of savings. Besides, the development of an urban village is usually unconscious and spontaneous. Such peculiarity of its development not only grants occupants the freedom to customize their living environment but also redefines architecture: the integration of the personalities of developers, architects, builders, as well as users. Meanwhile, the spatial limitations of urban-village living bring about the tenants’ competition in the usage of any small public space. This ever-intensifying multi-party relationship has created an invisible logic of construction and produced a variety of developmental opportunities and architectural prototypes in the urban village.

即便这些对于建筑类型的创造通常是无意识的，城中村作为便利与隐患同时存在的城市空间，不可避免地丰富了一个统一城市空间内的建筑形态类型，可以被视为是城市发展中不可或缺的有机组成部分。因此，城中村的出现是偶然且必然的、无比稀缺与珍贵的、值得我们视为城市的资产而非隐患。

Even if the prototypes are often unconsciously created, the urban village as a public space where convenience and potential dangers coexist will eventually enrich the available architectural typologies to a unified metropolitan sphere, which explains why we consider urban villages as an organic integration of urban development. Thus, the emergence of urban villages is both accidental and necessary. It should be viewed as a remarkably scarce and valuable asset of the city, rather than as a latent threat.

如何能合理利用城中村建筑的争择模式，填补未来城市缺失的类型多样性？以城中村为起点，建筑师构架起了一个拥有独特规则的大楼框架与建筑争择平台。在这个全新的居住形态框架下，服务于规则的机制与体制将会被更加有效率地运用到细细划分的空间中，以最大程度上避免加建中的弊端。建筑师以此研究在城中村争则模式中规则的相互影响与对居民生活的根本改变。

So how can we make rational use of the ever-adapting construction model of urban villages to fill the gap in the future city development? Taking this exhibition as an experimental site, we present a series of works discussing the core issues in the future development of urban architecture. Using urban village as a starting point, our group of architects has constructed a unique architectural framework with a platform for spatial competition. In this new frame of living, the original institution of mechanisms that serves to the precepts will join into a more efficient application to the already finely-divided space, which avoids the disadvantages of additional construction in the most significant extent. In this fashion, our group of architects has examined the mutual influence of competitive precepts in the urban-village model and predicted the fundamental changes in the life of its residents.

06.破碎中的地球 Crumbling Earth

LA+Exotique Landscape Design Competition

Fourth Prize by LA+ Magazine (University of Pennsylvania)

2023.12

Group Project with 朱紫元 Oliver Zhu

熟悉的环境也可能变得陌生。当我们忽视我们赖以生存的土地时，当我们对我们给地球造成的破坏视而不见时，我们，地球母亲的后代，是否就是她所孕育的最奇特的生物？因此，地球的未来可能与我们格格不入。我们的行为正在把世界变成一个未知领域，曾经熟悉的事物变得陌生，曾经适合居住的地方变得不适合居住。

Exoticism can emerge from within. When we neglect the ground we stand on and live by, when we turn a blind eye to the damages we inflict upon our planet, are we, the offspring of Mother Earth, the most peculiar creatures she has borne? As a consequence, the future of our earth can be alien to us. Our actions are transforming the world into an uncharted territory, where the once familiar becomes strange, and once-habitable places become uninhabitable.

在气候危机和正在发生的第六次物种大灭绝的背景下，2023 年，无数撒哈拉沙漠的沙尘暴笼罩着欧洲，最远可达斯堪的纳维亚半岛。与此同时，由于长期干旱和缺水，南欧也在努力应对荒漠化问题。通过对这些事件的反思，我们的项目构想出一种富有表现力的荒凉景观，作为对已灭绝物种的纪念。该项目利用其创造的奇异视觉现象，将参观者带入一个灰暗的未来，植物园的郁郁葱葱将变成一片不毛之地。考虑到当前的环境发展轨迹，这一命题并不只是幻想，而是越来越可信的现实。该项目提醒所有游客，我们的行为会带来什么样的后果。如果不采取集体行动，这种景观枯萎将继续蔓延到整个城市，最终吞噬我们的整个世界。

In the midst of the climate crisis and the ongoing sixth mass extinction, 2023 witnessed numerous Sahara sandstorms veiling Europe, reaching as far as Scandinavia. At the same time, southern Europe grapples with desertification due to prolonged droughts and water shortage. Reflecting on these events, our project envisions an expressive desolate landscape that serves as a memorial to extinct species. Using the bizarre visual phenomenon it creates, the project transports visitors into a grim future, where the lush greenery of Jardin des Plantes turns into a barren terrain. Given the current environmental trajectory, this proposition is not mere fantasy but an increasingly plausible reality. The project serves as a jarring reminder to all visitors of the consequences of our actions. Without collective actions, this landscape blight will continue to spread throughout the city, and eventually consume our entire world.

在这一景观的中心地带，地面断裂成深深的小路，显露出因人类活动而灭绝的物种名称。游人漫步其中，宛如发掘古生物遗骸一般，沉思着这些已经灭绝的物种。这条通道还为国家自然历史博物馆开辟了一个新的大入口，让游客可以直接进入进化大画廊。该项目营造了一个情感之旅，从生命的起源跨越到未来景观的预测。在景观之上，多种类型的不锈钢表面产生了令人眼花缭乱的视觉效果，唤起人们内心深处的情感共鸣。当这段旅程结束时，参观者与心爱的植物园景色重逢，并被提醒：如果我们现在就开始努力，世界就会一直是我们热爱的地方。

At the heart of this landscape, the ground fractures into deep pathways, revealing the names of species driven to extinction by human activities. Visitors wander through the terrain, contemplating on these extinct species as if unearthing paleontological remains. The pathway also creates a new grand entrance to the Muséum national d’Histoire naturelle, granting direct access to the Grande Galerie de l’Évolution. The project fosters an emotional journey, spanning from the origins of life to the projected future landscape. On top of the landscape, multiple types of stainless-steel surfaces generate dazzling visual effects that evoke deep emotional resonance. As this journey concludes, visitors are reunited with the beloved scenery of Jardin des Plantes and are reminded: The world can remain a place we love if we commence our efforts now.

在海外时间：2014 年至今

在海外地点：伦敦、纽黑文、纽约

姓名：李熠冬

籍贯：中国深圳

学校：伦敦大学学院巴特莱学院、耶鲁大学

工作单位：Snøhetta 纽约

When: 2014 to present

Where: London, New Haven, New York

Name: Isabel Li

From: Shenzhen

School: UCL Bartlett, Yale University

Office: Snøhetta New York