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。
第七十二期为您奉上的是毕业于哈佛设计研究生院、现就职于SASAKI设计事务所的蔡淦东。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.72 episode is about Gandong Cai, who graduated from Harvard Graduate School of Design and is now working for SASAKI Associate.

为什么出国？
Why going abroad?

在追星的路上走歪了。曾经跟一位歌手很有缘分，出生在同一个城市，在不同时间就读同一所学校，后来这位歌手去香港发展了。大学毕业前暗自下定决心，要去香港留学追随偶像的步伐。但由于拖延症迟迟不行动，期间几个朋友已经去了香港或新加坡读书。那时候心想，既然自己能从身边朋友处了解到这些学校的教育，为何不走远点去一个大家都没去过的地方呢？于是就来了美国，进了GSD读研究生。所以这是一个自己定下目标又慢慢走歪了的事故。

At the very beginning I decided to go to Hong Kong because my favorite singer works there. After knowing the landscape education in Hong Kong (and Singapore too), I realized I need to do something different. It resulted in the application of Graduate School of Design in Harvard.

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?

隔三差五的收到政府短信提醒哪里发生枪击案了……发现是自己刚刚路过那地方，吓出一身冷汗；有一次校方通知校园内可能有炸弹需要学生疏散，而GSD学生由于有期中评图，纷纷化身危险中的逆行者，一定要回去把打印好的图纸裁剪好，为文件按下保存键，然后才能安心的去……参加评图。避难？通宵画好的图还没评呢，不存在的。

I received alert messages from the government in my phone every few month about shootings around the area. For freshman in the US nothing was more impressive than this. In my first year there was an alert about potential bomb attack happened in the campus. Police came and students were encouraged to leave buildings. To my surprise, GSD students never care about that. For us the bomb attack was way less important than the works we were doing!

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

想念父母，但今年毕业礼他们过来了。像大学毕业时一样，我亲手帮我妈戴上我的毕业帽，只是这一次我妈要坐国际航班来接受“加冕”。这是她第一次出国，能用自己的努力给她一次以往不敢想象的经历，也算是留学的一大好处吧。也想念我养了十八年的猫，它在两个月前走了。本以为它能冲击一下吉尼斯最长寿猫的记录……

Parents. This year they came to the US to attend my graduation ceremony. It was my mom’s first time oversea travelling. I felt proud to give her a unique experience of attending such a meaningful event abroad. I also miss my cat, but he just passed away two months ago.

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

没想清楚。人在做重要抉择时，并非把利益条件从重到轻一一对比然后择优处理就可以的。有时候一些小而美好的东西会左右大的选择，例如究竟是广州一碗正宗的萝卜牛腩好还是这边不用排队随便买的Lady M好？所以这条问题真的没有办法秒回。

It’s hard to make a decision at this moment, and it’s also hard to compare the two places, China and the US, in terms of life styles and career. Something small might has great influence to your choice. Thus, I don’t want to push myself too hard to consider this issue.

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?

国家这个话题太大了，高度近视的我从来就没觉得自己看清楚过。只是在外国看祖国，就好像自带了一层滤镜效果，能看出不同的色相来。相对而言我更想谈谈在海外看到的中国人。在哈佛认识到了很多很厉害也很有趣的人，有些甚至谈不上认识，只是同在一个微信群，透过文字看到对方的经历，就已经大开眼界了。来了美国之后我产生了一个从来没有的想法，说不定我生在了一个最好的国度。

I never thought of a topic as big as how I see my country. When you are abroad you don’t necessarily have a clearer vision of the place you come from, but at least you are like wearing a pair of colored glasses when you look back. Compare to country, I would say I have a better understanding of people. I knew a lot of new friend in Harvard, whose life experiences were so fantastic and legendary that I started to think about the country I came from might be the best place in the world.

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

我经常跟朋友打趣说，GSD是个披着血汗车间外衣的名利场，从老师到学生都各取所需，按时出席，准点离场。因此GSD不特别适合哪一类人，它适合所有人来读。很多人会把GSD风格挂在嘴边，但我在GSD两年从来没觉得自己做出过GSD风格的图，倒是绞尽脑汁利用GSD自由进出的风气尝试做自己。举个例子，第一个学期的表现课（representation）要做动画，主题不限但要跟景观有关联。痴迷日本动画的我上课第一天就想能不能借这个机会做一个自己喜欢的小动画。我定下来的研究主题是“用动画（animation as representation tool）来揭示动画（animation as animated story）里被隐藏的景观空间”。第一次我选了《龙猫》。我用了课上学到的动画表达技巧把《龙猫》里的地形空间，植被分布，雨水等粗略的分析了一遍，作为一次过程作业交上去了，意外的还被老师挑出来作为课堂展示作品的其中一个。GSD就是这样一个允许你做任何尝试，只要你自信能做出对得起自己的作品就行的地方。

I always describe Gund Hall as a social place in the camouflage of an all-day-producing factory: people come here for certain purposes, know people they need to know, and then leave the building with their goal achieved. So for me GSD is not for any specific group of people, but for everyone with your mind clear. For example, in the representation course I took during the first semester, we are supposed to make animation with landscape-related topic. My topic was “use animation as representation tool to disclose the landscape space in animation as animated story.” I used methods like landform, vegetation and rainstorm analysis to re-animate the scenes in the Japanese animation My Neighbor Totoro. Quite unusual topic I picked though, the work was selected as one of the demonstration for the whole class. GSD is such a place that allows you to try what you want, as long as you are confident with your works.

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?

SASAKI十分重视及时沟通。在学校里desk critic每周一次的时间周期，在这里缩短成两三天甚至一天。及时的沟通能最大程度的减少不必要的误会和及时纠正方向，保证团队都往一致的目标努力。SASAKI还是个国际人士很多的地方，身边经常能听到各种口音的英语，或者老乡之间直接切换回母语聊天。这种多元文化的包容性甚至比在GSD时的感觉更强烈。伴随着国际人士多的是国际项目也多，尤其是中国项目。曾经在国内读书工作，到美国留学后，如今在Sasaki又有机会接触到中国的项目，这件事本身就很有意思。

SASAKI encourages discussion. We have meetings every two to three days to check process and share ideas, which is quite different from school desk critic. SASAKI is an international work place. People are from different parts of the world and you can easily hear different language every day. This multi-cultural atmosphere is even more obvious than in GSD. The interesting thing for me is that I used to study and work in China before I came to the US, and now I am working on Chinese project as a foreign firm designer.

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?

很多，主要集中在动画界和流行乐界。新房昭之是我最喜欢的动画导演，把小说家西尾维新被认为不可能动画化的小说《物语系列》给拍出来了。物语里面大量的造型，人物动作，分镜，过场处理手法，用色和配乐都成为了经典。作为一部意识流动画，物语粗暴的让大量文本充斥穿插在动画中，用意想不到的视角触及社会问题，不随大流却又能在商业世界里大卖，这也是我喜欢它的原因。最喜欢的音乐人是方大同（可能是同为巨蟹座的原因？）。我曾经痴迷的看他一场演唱会的视频不下数十次。那是一场明显带有John Mayer影子的演唱会（大同也称其偶像），全场一套衣服，没有灯光效果，偶尔几个冷笑话，只有一把吉他不离身，就这样唱下来一场演唱会。作为一个略懂吉他酷爱唱歌并一直梦想有自己乐队的人，那是我最羡慕的一种艺术家的舞台状态。要说这些艺术家对我的创作带来了什么影响，其实我更宁愿反过来思考，自己的专业学习实践能给我的爱好带来什么。例如表现课期末作业就是以物语为主题制作的一个小动画，但我不觉得那是把对动画的兴趣带到专业实践里去的，而是觉得借专业学习的机会，好好的过了一把制作动画的瘾。

My list of favorite artists is consisted of people in the fields of animation and pop music. Akiyuki Shinbo is my top one favorite animator. He directed the animation Monogatari Series based on the fiction written by Nisio Isin, which became one of the most influential animation in the past decade. The way he let texts overwhelmed in the animation, with the sensitive topics he reached through the design of characters, motions, and the selection of music, made the animation ironic yet successful in business world. Khalil Fong is my favorite pop music artist. I have watched one of his concert video for more than twenty times, just to feel the atmosphere of a concert that not decorated by shining costumes and lighting effects, but filled with the pure sound of his voice and guitar. As an amateur singer and guitar player, that’s the perfect show I can imagine, and I am looking forward to have such moment happen in my life. I don’t think my love of these arts and artists have any obvious influence in my design work. In opposite I would rather say that I love this profession because it gives me ways and skills to develop my hobbies, like the representation course I mentioned above.

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?

我的作品集最迷人的特质是固执。申请留学的作品集是思考了将近一年，捣鼓了起码三个月，所有图都重新制作的作品集。里面没有一张渲染过的图，也没有参数化，大数据，更没有实体模型，都是用最直白的分析图来说故事。GSD毕业申请工作的作品集则是一本自己用laser cut制作封面，自己裁纸装订的“一页到底”的手工作品集。这些作品集从酝酿到成品都没有找过老师或各路大神指点，评价，修改。并非自大如此，而是我从小就有一个一手包办作曲作词编曲乐器主唱顺便把MV拍了的心愿。如此固执的作者就有如此固执的作品。（但最新作品集book binding的环节，是从女票那里得到的知识，她目前正在RISD一边读景观一边学习插画、珠宝等，也正在努力走歪当中。）

My portfolio is quite stubborn. I call it stubborn because I always choose a harder way to do it without asking for help, which resulted in longer time of producing, “immature” style, and unbalance contents. The portfolio I used for graduate school application was one that I spent a year for the concept, and another three month to produce, with all drawing re-made. The one I finished a few months ago for applying jobs here is a hand-made portfolio. The whole process of cover making, printing and binding was finished by myself only. I want to give special thank to my girlfriend who took courses of booking making during that time and gave me lots of suggestion for the binding style.

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?

大概是大学三年级时候的事情吧，一开始是看项目，后来发现了在海外专辑，正好自己也有了留学的打算，就把专辑里每一篇文章都看了个遍。建议不敢说，自己在这方面没什么想法，只是希望有一天自己心血来潮想看世界上最有趣的跟设计相关的事物时，第一个想到的网站是谷德。这算是对谷德的一个美好的祝愿吧。

I have been paying attention to gooood for years, probably since my third year in college. I specially watch the oversea album for knowing talented Chinese students and designers study and world all around the world. I hope one day gooood would be the first place I consider when I want to check out some great things in the design field. I think that’s my best wish to gooood.

W O R K

声之岛
SOUNDING ISLANDS

Gandong Cai, September 2016
GSD studio work
Advisors: Eelco Hooftman, Bridget Baines

这是一个从不缺兴奋点的studio。第一天选课时Eelco穿了一件桃子花纹的衬衣来演讲，我果断的就选了他的studio。当天下午开会决定第二天就去field trip，内容是在波士顿出海看岛！整个课程每个学生做的东西完全独立且各不相关。我的思路建立在两个方向上：1.通过研究富勒的地图，提出陆地/海洋图底关系颠倒的可能，绘制出海洋位于中心被大陆包围的新地图，从而确立“海洋即是岛”的命题。海洋中心地图也成为后续大量mapping工作的底图贯穿整个studio。2.同样是从富勒地图出发，通过分析地图产生偏见的不可避免性（一是无论哪种地图投射技术都会产生视觉形变，二是地图几乎都是政治产物，不同地图的构图中心，边界划分都是带有强烈政治倾向的），提出放弃用视觉而用听觉感知地球，并通过收集来自世界各地的声波绘制听觉地图（sound map），确定另一个主题：声音。

This was a studio full of excitement. Every student has their separated topics that never overlap with others’, but match the topic of the Possibility of Island. My idea was constructed on two ways: 1.Base on the study of Buckminster Fuller’s Dymaxion Map, I put forward the issue of upside-down the “figure/ground” relationship between land and sea, and established the argument of “sea=island” after I drawing a new map with oceans in the center. The new ocean-center map became the base of the following mapping study; 2.I discussed the inevitable prejudice occurred in the mapping process, which was result of distortion of projections and the political inclinations, and suggested that we should use ear instead of eye to perceive the world. Then I draw a sound map in compare to visual map, and decided my second theme which is sound.

接下来的工作基本就是围绕这两个主题展开的，包括提出用声纳技术帮助海洋生物摆脱收集海洋垃圾时对它们产生的潜在危险；战争时期在雷达未被发明前用于侦测敌军的Sound Mirror被作为一种声音景观被再利用的可能性；以及把泰晤士河口的废弃军事塔（曾在战后作为私人电台信号发射站）改造成具有展示多尺度声音主题的声场试验馆。

My study included the introduction of Sonar Technology into the action of protecting marine animals from the threat of be trapped during the ocean garbage collection; the re-evaluation of Sound Mirrors as new landscape, which were utilized before the invention of Radar by military during World War I for detecting enemies; and the renovation of an abandoned military tower on the Thames Estuary that had been occupied by illegal broadcaster as radio center, and transformed this infrastructure into a sound tracks lab with multi-scalar sounds broadcasting in different floors.

Maunsell Forts是一处军事塔楼群。在开始构思改造设计的时候我联想到了同样位于英国，由盖迪斯设计的Outlook Tower。这是一个六层塔楼，盖迪斯在一层放置了世界地图，二层则是欧洲地图……越往上登塔者将会看到更小尺度的世界，直到顶层天台的能俯瞰爱丁堡的观景台。正如颠覆视觉地图创造声音地图，我尝试把塔楼想象成一处声场试验馆，设置海面上三层海面以下两层的展馆，从顶层到底层分别播放塔楼尺度–泰晤士河口尺度–英吉利海峡尺度–海洋旋涡尺度–以及地球尺度的声音，而这些声音的声源都来自于我前期的研究成果。

Maunsell Forts is a series of military towers. It reminded me of the Outlook Tower, which is a six floors tower in Edinburgh designed by Patrick Geddes. Geddes put a world map on the first floor and a Europe map on the second…… on the top floor there is no map but an outlook platform for visitors to enjoy the view of the city. Such as how I inverted the idea of visual map with sound map, I tried to bring the experience of the Outlook Tower in the Maunsell Fort, and made it into a five floors sound tracks lab with three floors on top of water and two below: from the top to the bottom floor, visitors can experience the sound of multiple scales, from Thames Estuary to the English Strait, to the Ocean Gyres, and to the world.

通过这样的设置，我想用隐喻的手法模拟一场从视觉到听觉缓慢切换的“失明者”体验之旅：从顶层观光塔到底层暗空间，能看见的越来越少，能听见的则越来越“远”。把Outlook Tower和 Maunsell Forts并置起来，得到的是指向天空的“向上”攀登和指向海底的“向下”探索的行为模式对比，是扩大视域的控制欲与延展听觉的好奇心的情感模式对比。

By doing this I tried to metaphorically replicate a journey of “becoming blind”: as you walk down stair what you can perceive with your eyes becomes less, but instead you can hear “further”. The juxtaposition of the Outlook Tower and the Maunsell Forts generated a series of dramatic comparisons: between the action modes of “climbs up” toward the sky and “dives down” into the ocean bottom, and between the emotion of fulfilling the desire for control by expanding eyesight and the curiosity reinforced by expanding hearing.

权力生态学
THE ECOLOGY OF POWER

Gandong Cai, January 2016
GSD studio work
Advisors: Pierre Belanger, Robert Pietrusko
Professional Practice
Collaboration work of 12 people

如果说生态学是读景观的人必修的一门技能，那这个studio就是一个把政治力量当生态来研究的技术课；如果达到人居环境和自然的和谐是景观的其中一大目标的话，这个studio的最终目标就是把军事和权力议题并置到领土尺度的环境讨论中去；如果在GSD只能上一个景观studio的话，那必须是Pierre的这个。

This was a studio treated political power as the issue of ecology, and juxtaposed military and power with environmental topic in the scale of territories. If I am asked to recommend one studio that can represent the landscape professional education in the building, I will definitely choose this one.

几十号人的一个班被分成若干个大组，每个组研究一个美国军事基地，每个小组内又分成三到四人的小组专门针对一个话题进行更细致的研究，最后所有成果以多样的形式展示，把期末评图办成一场大型展览，这就是这个studio的玩法。我所在的大组研究的是位于加州Lompoc的范登堡空军基地。这里原来是土著Chumash的居住地，西班牙殖民者，墨西哥军队，以及后来的美军的到来让他们失去了家园；而Lompoc这座小城镇所处的地区长年缺水，地下水位每年下降，该地区全美产量第一的草莓竟是罪魁祸首；西班牙人带来的牛曾一度在这片土地上繁盛，而如今却成为了这里生态危机的重要关系者，并影响到了美军基地……这些像悬疑剧的情节就是这个studio我主要研究的内容，也回应了The ecology of power的主题：生态学是关于关系的学科，而社会、政治、军事、经济的力量从来都存在于关系之中。

Students were separated into groups to study different US military bases, and every group were required to demonstrate their works in an exhibition way during the final presentation. I was allocated to the group studies VAFB — the Vandenberg Air Force Base in California. Used to be the home of Chumash, this piece of land was colonized and occupied by the Spanish, the Mexican and the US army chronologically. The falling down of underground water level, the prosperous fruit industry, the cows brought by the Spanish centuries ago, all together made it a complex ecological crisis on the territory. To study the relationship of these powers and to project new scenario for the region by design approaches became the main goal of this studio.

设计分成叙事和干预两部分。在叙事部分，我尝试通过拼贴这一适合并置展出矛盾乱象的媒介来直白的陈述这片土地上发生着的关于权力和生态的关系。干预主要是通过基础设施的设计来实现。针对当地愈发严重的干旱与随之而来的地下水位下降与土地沉降问题，我们建议为当地河流增加截水坝以减缓流速，补充地下水的同时降低冲刷对泥土的侵蚀；还通过引入播种机设备，提高当地农民的生产效率，减少对地下水源的浪费，从而为他们提供一种更能与环境相容的生活模式。

There were two parts of the works: narration and intervention. I made several collage pictures as my narrative storyboard to reveal the paradoxical relationship between those stakeholders, and designed intervention infrastructure such as check dam and seeding machine to improve the ecological process of the territory.

最后的展览在Pierre“Exhibition as Design”的概念下，每个大组自主布置展区，把策展本身理解成本次设计的一部分，使出浑身解数让一场历时多月，以军事基地为契机开展的全球生态讨论，投射到GSD的阶梯课室Piper里。

In the concept of “Exhibition as Design”, we projected the months-long discussions of global scale issues in the framework of military bases, to the comparatively tiny space of Piper Auditorium, for allowing a further communication of the ecology of power.

BOSTON 3.0: Sequestropolis 2060
波士顿3.0 固碳都市2060

Gandong Cai, January 2017
GSD studio work
Advisor: Martha Schwartz

在GSD的最后一个学期进入了玛莎关于如何利用树木固碳进程帮助缓解全球变暖问题的studio。尽管面对全专业开放并有大人气设计师坐镇，这个Studio最终人数只有7人且都是景观系学生，以至于玛莎自己打趣说，建筑师对这个议题不感兴趣……但没成为热门不意味着这个studio的含金量真的不如别人，相反这又是一个十分非典型的设计课经历。前期的一个月里面我们放下所有设计师思维和工作模式，专心投入到查阅文献中，并每人按照特定专题写出一篇小型调研论文，作为整个studio的基础理论资料。同时间玛莎利用她强大的人脉请来了大批专家给我们开讲，这里面有生态学家和科学家，还有专门推广固碳技术的企业家，以及Harvard Forest的管理团队，唯独没有设计师。

In the last semester I entered Martha Schwartz’s studio which focused on shifting the global warming trend by rethinking the process of sequestration. Though important the topic was, only seven students selected this studio. The first part of the studio was about study and research on literatures, reports and data. Martha invited specialists from lots of domains to give lectures to us, included ecologists, scientists and managers of Harvard Forest, except designers. It forced us to give up the usual work flow but concentrated on work out together a series of research papers about the topics.

第一阶段的研究工作结束后， studio进入设计阶段。设计的场地是整个大波士顿地区，时间是2060年。思路简单粗暴但充满英雄主义色彩：我们假设到2060年自动驾驶汽车成为了主流，在精确驾驶和共享汽车的概念下，道路宽度可大大缩小，地面停车场也可以大范围减少，置换出来的交通用地可作为固碳区，通过种植适合2060年波士顿气候且具有良好固碳能力的树种，来达到控制城市气候。

After the research and writing section, we started to think about the issue of design. We used the Greater Boston Region as site, and set the time to 2060. The logic of Sequestropolis was simple but full of idealism: in 2060 we will get rid of private vehicles but use self-driving cars as share transportation tool. In the benefit of accurate drive and share cars, we don’t need wide roads and large area of parking spaces. Instead, those spaces could be transformed into “sequestrate zones”, by planting trees that are well-performing in terms of sequestration and can live well in the city in 2060.

这个studio还尝试通过强调景观设计过程的量化来改变行业话语权缺失的现状。景观设计师一直因为善于描述美好愿景但缺乏有效沟通数据而陷入一种浪漫主义的牢笼中，无法获得建筑师与工程师同样的基于数据的权威性。因此本次的“种树”行动追求景观的量化，包括通过缩减路宽得到的可利用总面积，树木增加总数，甚至最终能达到的固碳总量都有计算。

This studio also forced to shift the current status of Landscape Architecture as a profession being excluded from the decision making group. We wanted to quantify the influence of landscape to the city by including the data of total increase area of sequestrate zones, the numbers of trees we are going to plant, and even the quantity of CO₂ we can capture by planting those trees. By showing people number, landscape designer acquire the power as architects and engineers have.

至于最后的开放空间设计，我选择了波士顿市中心的带状公园进行改造，并构想2060年海平面上升后的波士顿滨水空间。按照现有对海平面上升的预测，到2060年整个波士顿滨水带都将被淹没，而带状公园将成为城市新的海岸线。因此我设想是否可以把公园设计成一条蔓延在城市海岸线的绿色防浪堤，并在其上建设新的码头区。

For the final site design, I chose the greenway park on the top of the Big Dig, and imagined it to be the new waterfront of Boston in 2060, based on the estimation of sea level rise. According to the data, the harbor area of the city will be entirely inundated under water in the next 50 years, and the greenway park will become the new waterfront. Thus, the park need to be transformed into a vital landscape infrastructure to project the city and people, and also serve as the new harbor to keep the logistic industry of the city.

巨构景观
Mega-scape

Gandong Cai, September 2015
GSD studio work
Advisor: Chris Reed, David Mah
Teammate: Jenny Liu

这个studio从课程结构上可以理解成由若干个两周为一周期的workshops组成，每个workshop借由对一种操作技术的学习探讨来完成对一个景观涉及范畴的演练，并以生成一个原型。例如参数生成模型/水文生态，或者FAR操控/城市密度讨论。

This studio could be described as a series of workshops. In each workshop we explored a dual task of technology study and landscape-related topic discussion, and produced a prototype. For example, we examined the possibility of using parametric modeling to test out the best landform in terms of water ecology, and manipulated FAR to control the density of a single urban block.

经过前半个学期对生态原型，城市原型和建筑原型的研究，后半段进入场地设计，选址依然是波士顿。场地上有高架路，地铁轨道，附近有居民区和波士顿大学，未来场地内还要容纳哈佛一个学院的新校区。复杂的场地状况催生出了多组有趣的矛盾体，例如未来新居民与原有居民被铁轨相隔，本地的波士顿大学与新迁入的哈佛新校区的共融等等。为处理这些双生关系，我和队友想到了用Superimposition的方法搭建一个巨构景观，用桥这一原型来解决矛盾关系。

After the study of prototype, the studio entered the step of site design. The site was a complex piece of land occupied by highway, subway lines, residential zones and university. In the future a new Harvard campus will be moved into the site. It generated a set of interesting paradoxical pairs: the future residents and the local dwellers separated by the subway trails; the old Boston University and the new campus of Harvard, and so on. To deal with these relationships, my teammate and I proposed a superimposition method for the site: to build a Mega-infrastructure as a bridge to connect all these issues and solve the problems.

之所以在GSD参与的第一个studio放在最后介绍，是因为这个studio是所有项目里GSD味最浓的一个。从快节奏的推进，对模型和技术的强调，对汇报与展示能力的要求，都带有强烈的GSD色彩。作为一个两人合作的项目，要感谢给力的队友，来自台湾永远元气满满的Jenny Liu。也正是通过这个studio的探索，在之后的一年半时间里我才得以尝试更多不同风格，不同特色的设计课程，让GSD的时光称得上充实。

I decide to introduce the first studio project in GSD in the end of the interview because I consider this studio as the typical one as a GSD studio. The fast pace of work and discussion, the emphasis of modeling and technologies, and the high standard of presentation and demonstration, are typically representing the education here in GSD. As a collaborate studio, I need to give my big thank to Jenny Liu, my teammate, who was energetic and positive all the time. After “warming up” myself through the exploration of this studio, I have the chance to try more different courses and design studios through my two years study, and make my time in GSD fulfilling.

在海外时间：2015年至今
在海外地点：波士顿，美国
姓名：蔡淦东
籍贯：广州
学校和工作单位: 哈佛设计研究生院/SASAKI设计事务所
联系方式：caigandong@gmail.com
个人主页：www.caigandong.com
When: 2015 to present
Where: Boston, US
Who:Gandong Cai
From: Guangzhou, Guangdong
School & Firm: Harvard Graduate School of Design / SASAKI Associate.
Contact: caigandong@gmail.com
Website: www.caigandong.com

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