气场 | 申请美国顶级设计院校究竟看的是什么？罗德岛室内建筑系主任专访 | 自由微信

气场 | 申请美国顶级设计院校究竟看的是什么？罗德岛室内建筑系主任专访

ArchiDogs 建道筑格ArchiDogs 2019-12-01

申请美国设计专业究竟看的是什么？作品集？PS？

罗德岛设计学院建筑、景观、室内已都成为STEM项目，3年的OPT无疑对想要在美国从事设计工作的同学们有着极大的诱惑力，同时给到了罗德岛的毕业生更多在美国实习实践的机会。为此， ArchiDogs特地采访罗德岛室内建筑系主任Liliane Wong，请她来解读罗德岛最新的招生要求，作品集评价体系以及对新政的看法。

采访团队 Interview Team | Sherry, Luke, Liming

翻译 Translation | Kuan

编辑 Editor | Yihan

01/ Guest 人物素描

Liliane Wong

Vassar College BA in Mathematics

哈佛大学设计学院 GSD MArch

马塞诸塞州注册建筑师

代表作品：

美国驻约旦大使馆

Montclair 公共图书馆

Hartford公共图书馆

02/ Teaching at RISD

任教罗德岛设计学院

L: Liliane Wong

A: ArchiDogs

A: Very honored to have you in our interview! We are seeing more and more Chinese students coming to RISD to study. What is the most lasting impression of Chinese students for you? At the same time, what do you think Chinese students should work on during high school or undergraduate school, compared with American students?

A：非常荣幸您能接受我们的采访！我们看到越来越多的中国留学生来到罗德岛学习，您觉得中国留学生给您印象最深刻的地方在哪？同时同外国学生比较他们有什么需要在高中或者本科期间需要重点锻炼的地方？

L: Thank you very much for the opportunity to talk with Archidogs!

L: 非常感谢有这个机会可以与Archidogs进行对谈。

We have indeed seen a steady increase in the number of Chinese students at RISD for the past decade. This is definitely true in the Department of Interior Architecture, where we offer three graduate programs: The Master of Design (MDes) in Interior Studies [Adaptive Reuse], the Master of Design (MDes) in Exhibition & the Narrative Environments, and the Master of Arts (MA) in Adaptive Reuse. The prerequisite for the MDes programs is a BA or equivalent while a BArch is required for the MA program. Chinese applicants seem to prefer the MDes programs to the 1-year MA program. However, recently we are seeing a rise in Chinese applicants for the MA program as well.

我们确实在过去的十年中看到在罗德岛设计学院（RISD）中国学生的数量有持续的增长，在室内建筑设计系，情况也是如此。室内建筑设计系提供三个研究生项目：室内设计硕士（适应性改造方向），展览与叙述性环境设计硕士以及适应性改造艺术硕士。所有的设计硕士项目录取的前提条件是具备艺术学士或同等学位，艺术硕士则需要具备建筑学士的学位。往常中国的申请者，相较一年的艺术硕士项目，更喜爱设计硕士项目。但最近，我们在艺术硕士项目中也看到了中国申请者的增长。

Student design for the interior of the Cessna jet, Shape of Flight studio © 罗德岛设计学院官网

The lasting impression I have of Chinese students is their respectful attitude. As an Asian who grew up in the United States with traditional Chinese parents, I was raised to show respect in all circumstances. For me, this is important, and I value it highly in my students. There is, however, a difference between respect and deference. Understanding this difference is perhaps what Chinese students should work on during high school or undergraduate school. In America, much emphasis is placed on discourse. At RISD, a school of art, engaging in art criticism is at the heart of every design studio and course. Often Chinese students shy away from such dialogue that requires them to engage in opposing points of view. That said, I have had outstanding Chinese students who are vocal and uniquely so. One of my research assistants a few years ago was instrumental in developing the provocative illustrations of my book, Adaptive Reuse_Extending the Lives of Building. She was selected for the position primarily for her ability to provoke discourse both verbally and visually.

对中国学生印象最深刻的地方是他们尊师重道的态度。作为一位在美国长大、拥有传统父母的亚洲人，我的成长过程中始终被教育需要尊敬他人。对我而言，这很重要，我也在学生教育中很重视这一点。但尊敬与服从不同。理解这之间的区别或许是中国学生在高中或本科阶段需要去做到的。在美国，演说的能力非常受重视。在RISD这样的艺术院校，参与艺术评论是每一个设计课和其他课程的核心。中国学生经常回避需要他们进行对立观点反驳的讨论。话虽如此，我也有杰出的中国学生，他们乐于表达意见同时也独树一帜。几年前我的一位研究助手在创作我的书《适应性改造：延长建筑寿命》中的那些启发性的插画时非常有帮助，她被选上的原因主要就是因为她具备通过语言和视觉画面进行演说的能力。

Interior Architecture studio © 罗德岛设计学院官网

A: Can you describe what would you like to see from Chinese students’ portfolios when you are admitting? What kind of portfolios would impress you the most?

A：可否阐述一下在你们在招收中国留学生的时候希望能从他们的作品集中看到什么？或者说什么样的作品集能让你们感到impressive？

L: Chinese students’ portfolios often look very similar. It is often hard to distinguish one from the other. Last year every Chinese portfolio included an axonometric drawing taken from a bird’s-eye view. We would like to see portfolios that do not follow a formula. While we are interested in seeing the applicant’s skill set in representation and design abilities, we hope to discover an applicant’s personality through a composed portfolio reflective of their own style. We are looking for portfolios that demonstrate each student’s unique potential. In addition, we are very interested in the personal statement, where each student can tell us about themselves and the reasons why our program is important for their future.

L: 中国学生的作品集经常看上十分相似，一般很难区分彼此。去年每一本中国学生的作品集都包含一张鸟瞰角度的轴测图。我们希望看到不遵循相同方式的作品集。虽然我们对申请者设计的表达技能以及设计能力喜闻乐见，但我们仍希望通过一本精心制作的作品集挖掘申请者的个性以及他们自己的风格。我们希望找到的作品集是可以反映每一个学生独特的潜能。另外，我们也十分重视个人陈述，因为个人陈述可以将学生本身以及为什么我们的项目对他们的未来是重要的原因告诉我们。

A: We noticed that the curriculum of Interior Architecture program at RISD pays great attention to historic building renovation. Different from some other schools that emphasize ornaments, RISD stresses more on program & function, how new installations could be grounded in existing architecture. Can you tell us why that becomes the focus of the program?

A：我们看到罗德岛的室内建筑设计的课程设置上十分注重旧建筑改造这一块，并且区别于一些偏重装饰性设计的室内院校，更注重Program & Function，研究new installation 嵌入已有建筑，请问为何这块成为罗德岛的授课重点？

L: The focus of our department is adaptive reuse - the transformation of an unused or underused building into one that serves a new use. It includes the reuse of both interior spaces and historic spaces, but its domain encompasses preservation, conservation, alteration and interventions in the fields of architecture, interior studies and practice. It also expands into the realms of urban and landscape design, and their repercussions in the history and theory of architecture, urbanism, art and design.

L: 我们系的重点是适应性改造——将一个空置或使用不足的建筑改造成一个具有新功能的建筑，这包括了室内空间以及具有历史意义的空间再利用，但其范围也包含建筑、室内研究和实践的保护、保存、改造以及干预。它同时也延伸至城市设计、景观设计领域以及其在建筑、都市主义、艺术与设计的历史和理论研究中的影响。

The study of adaptive reuse has been a major focus of the Department of Interior Architecture for many years. It has its origins in the leadership of Ernst Lichtblau, who assumed the position of department head in 1947. An architect, a designer, and a student of Otto Wagner grounded in the sensibilities of the Viennese Secession, he changed the name of the department and its professional orientation from that of Interior Design to Interior Architecture. This change was transformative and brought “an entirely new set of issues and values,” influencing the direction of the department through the 21st century. This ‘repositioning‘ distanced the department from Interior Design as an application of surface materials and emphasized the need for a “thorough study of the principles of modern architecture, construction and technology of materials,” so as to prepare the student “to design a building from the interior to the exterior. An intelligent understanding of the design of the structure as a whole … can only be accomplished when the same principles are applied conscientiously to all of its parts.”

适应性改造多年来都是室内建筑设计系的主要重点。这个项目是在Ernst Lichtblau的带领下发展起来的，他后来在1947年自然而然成为了系主任。作为一位建筑师，一位设计师，一名扎根于维也纳分离派下带着感性色彩的Otto Wagner的学生，他把室内设计系更名为室内建筑设计系并对应修改了学科的职业导向。这个改变是革命性的，并带来了“一系列全新的事项以及价值观”，它纵贯21世纪，影响着科系的取向。这个重新定位的举动将科系从以表面材料应用为主旨的室内设计系剥离，强调了“对现代建筑、施工技艺和材料科学进行透彻研究的需求”，这能更好地预备学生，使其可以“由内而外地设计一个建筑。而要达到对设计的各个部分有一个完整明智的理解，同样的原则应被有意识地应用到其各个部分.”

Project of Eugenia Rieutort for Crystal Space studio © Liliane Wong

A: in order to quickly help new students familiarize Interior Architecture curriculum, one of the interesting features is that students are brought to RISD’s nature lab to discover their favorite natural elements to create spaces. Can you tell us how does the Nature Lab contribute to the teaching and learning experience?

A：罗德岛的室内建筑设计的课程设置上为了让新生很快的融入到RISD的课程体系，有带领学生去risd的nature lab，让他们来挖掘自己喜欢的自然元素去创造空间，这点非常有意思，请问Nature lab这个项目对教学带来了怎样的帮助？

L: The Nature Lab was founded at the turn of the 20th century by RISD faculty member Edna Lawrence. The purpose was to “open students’ eyes to the marvels of beauty in nature...of forms, space, color, texture, design, and structure.” Following upon Albert Einstein’s observation to “Look deep into Nature, then you will understand everything better,” the Nature Lab seems like the ideal place to begin our design instruction.

L: 自然实验室是由RISD教员Edna Lawrence于二十世纪之交创立的。其目的是为了“打开学生的眼界，领略自然中令人惊异的美，比如形式、空间、颜色、材质、设计和结构”。遵循着爱因斯坦的观察“深深的看一看自然，然后你会对所有事物有更好的理解”，自然实验室似乎成为了展开设计指导的理想场所。

BIODESIGN MAKERSPACE

Last spring, through the sponsorship of the National Science Foundation EAGER grant, the department offered an advanced design studio to create an immersive environment that cultivates a working knowledge of biology and natural systems. This design, both created and constructed by the students, is now built as part of the Nature Lab, supporting the study of living systems in creating new approaches to designing with sustainability and health.

去年春天，在国家科学基金会eager基金的赞助下，室内建筑设计系提供了高阶的设计课来陶冶学生获得生物学和自然系统的应用知识，也为此提供了一个沉浸式的学习环境。这个由学生创造并实现的课程设计，如今已是自然实验室的一部分，它为创造可持续以及健康的设计提供了生态系统研究的支持。

MA students installing an inflatable textile into an historic church in Newport © Liliane Wong

A: Now Architecture, Landscape Architecture and Interior Architecture program at RISD have become STEM programs. Can you talk about your thoughts about this change?

A：现在罗德岛设计学院建筑、景观、室内都变成STEM项目，可以谈谈您对这一改革的看法吗？

L：In the Department of Interior Architecture, STEM designation is a recognition of the building science of adaptive reuse, the focus of our department. It also comes from our curriculum’s emphasis on research and technology. An important result of STEM designation is that it will allow our international students to remain in the US for an additional year over and above what is currently permitted.

L: 对室内建筑设计系来说，STEM的指定是对适应性改造的建筑科学的认可，这一直是我们科系的重点。这也来自于课程体系中对研究和技术的重视。STEM指定的一个重大的影响是允许我们的国际学生在美国停留除规定的时间外更多一年的时间。

A: What do you think of current interior design? For this young generation, what should they consider when they are doing a design?

A：您对当今室内建筑设计有怎样的看法？对于这一代Young Generation，您希望他们在做设计的时候，应该从哪些方面去考虑？

L：We operate today in an experience economy in which interior design often equates to the creation of ‘instagrammable’ moments. While this defines the culture of the younger generation, I ask my students to think of a different type of design. The design of experience caters to the 1%. What does the interior look like for the other 99% for whom life is not ‘instagrammable?’ There are some very exciting adaptive reuse projects coming from China recently that are based in the remaking of villages and their communities. The interiors of these spaces would be a fascinating design project that speaks to both the past and future of China.

L: 我们如今在一个体验式经济下运转，室内设计因此经常等同于创造“可以分享在instagram上的瞬间的学科”。虽然这定义了更年轻一代的文化，但我要求我的学生思考另一种不同的设计。倘若这样设计的体验迎合1%的人口，而其余99%的人的生活不是“可分享在instagram上的”，这样的室内环境对其余的99%的人来说是什么样的？最近有一些来自中国的非常令人兴奋的适应性改造项目，这些项目意在改造村落及其社区环境。这些空间的室内环境设计将代表中国的过去与将来，那将是多么迷人的项目。

Installation for Shape of Flight studio © Liliane Wong

03/ Design Practice

设计实践

A: Your major in undergrad is Math and you switch to Architecture later. What is it that triggers the switch into design? And how does math help you in the design process?

A：您本科学的是数学，后来才转学的建筑，请问是什么原因让您有了往设计方向的转变，同时有了数学的background，对您以后的设计带来了哪些帮助？

L：I majored in Mathematics because I loved the purity of the subject. There is such an economic beauty in mathematical proofs that define the vastness of the world with the fewest of lines. The beauty of math is in its simplicity and logic. These characteristics are equally important in the design process. American poet Edna St. Vincent Millay said that “Euclid alone has seen beauty bare.” Perhaps that is the connection between my undergraduate and graduate studies.

L: 我主修数学因为我热爱数学的纯粹。在数学论证中存在着十分经济的，用最少的线条描绘广阔的世界的美。数学的美在于它的简单与逻辑。这些特征在设计中也同样重要。美国诗人Edna St Vincent Millay说“只有欧几里得见过赤裸的美”。这或许是我的本科教育与研究生研究之间的联系吧。

A: We noticed that both your theory research and your studios have involved the idea of design for homeless people. We admire that fact that you try to guide students to care about the people who need help while you are teaching design. What is the motivation that makes Design for Homeless your focus and interest?

A：我们看到不管是您的理论研究，或是您带的STUDIO，无不涉及到Design for Homeless people，从中我们看到您在教育学生设计的同时，也教导了他们需要去关爱需要帮助的人，这令我们非常钦佩。请问是怎样的契机让Design for Homeless成为了您的关注方向？

L：My mother believed in volunteerism. From an early age, I accompanied her to serve those in need. These experiences left a mark on me and have inspired my work and my teaching. As I said earlier, I believe that design should not be tailored to only the 1% of our earth that can afford it. I taught a design studio called “Elements in Transitional Space” for many years, in which we designed and built for those just coming out of homelessness. The students constructed and installed pieces into the interiors of transition homes in Boston. We were thanked often for this work but, in reality, the thanks should come from us. We were the recipients of the bigger gift in the opportunity to serve. My alumni have told me that that project made a difference in their approach. If it has, I am glad.

L: 我的母亲相信自愿主义。自少时起，我就陪伴着她去帮助那些需要帮助的人。这些经验给我留下印记，为我的作品以及教学带来灵感。像我之前所说，我相信设计不应只适用于世界上1%的可以负担的受众。我教过很多年一个设计课叫“过渡空间元素”，在这个课中我们为那些刚刚摆脱无家可归处境的人提供及建造设计。学生们制造并在波士顿的过渡房屋中将部件组装起来。我们因此经常收到感谢，但事实上，感谢应该来自我们。这个可以提供服务的机会使我们成为了这个更大礼物的获益者。我的校友告诉我那个项目对他们的设计理念产生了影响。如是，我很高兴。

A: Can you talk about your built projects? Is there any interesting stories or lasting impressions during design process?

A：可以和我们聊聊您的一些建成的设计吗？有没有一些设计中有趣的故事，或者领您印象最深刻的事情发生？

L：I have worked in several design firms as well as in my own firm. My built projects include a building in the US Embassy compound in Jordan, a dormitory in Massachusetts, and many libraries both large and small in the US and Canada. They were probably the impetus for the book Libraries: A Design Manual,October 23, 2018 which I co-authored with Nolan Lushington and Wolfgang Rudorf, both collaborators in the design of a library in Connecticut.

L: 我在几家设计公司和我自己的公司工作过。我的建成项目包括一栋美国驻约旦大使馆的建筑、一个马萨诸塞州的校舍以及遍布美国和加拿大的许多大大小小的图书馆。他们或许是我的书《图书馆：一本设计手册》的推动力。这本书是我与Nolan Lushingtong和wolfgang rudorf合作编写。他们都是我在康涅狄格州的一个图书馆设计中的合作者。

The design process is always a fascinating one in which we, as architects and designers, attempt to realize our ideas as built form. In the end, design is about the human condition. And my fondest memories of the design process are those of the different clients I worked for and with and the contractors who taught me so much while helping me to realize my designs.

设计的过程总是一个迷人的过程，因为过程中，作为建筑师和设计师的我们，意图将我们的想法变成建成的形式。归根到底，设计关乎的是人的境况。而我对设计过程的最美好的记忆来自于工作过的不同客户以及帮助我实现设计同时教了我很多的施工人员。

04/ about RISD

罗德岛设计学院介绍

美国罗德岛设计学院（Rhode Island School of Design 简称RISD），是一所集艺术与设计学科为一体的世界顶尖设计学院。建校于1877年，至今已有近140年的悠久历史，是美国最早的艺术和设计学院之一。

RISD着重于开发学生成为一个建筑的思考者和创新者，而非仅仅满足于培养建筑的实践者。这样的治学态度是和创造出的氛围是致力做一名优秀建筑师所必经的一条路。开放的思维，严谨的逻辑，对设计方法的探究，对设计过程的重视，以及对创造力的培养，会将大家天马行空的思维进行几轮洗礼，每个人在毕业设计中体现出的结果，则反映了每个人意愿改变自己的程度。现在RISD建筑系的研究生项目分为两年和三年两种，根据不同学生背景和基础进行决定。

室内建筑专业：学生作品

室内建筑专业：课程与活动

以上图片来自

https://intar.risd.edu/work/#/new-gallery-41/

更多内容请点击了解

采访团队 Interview team | Sherry, Luke, Liming

翻译 Translation | Kuan

编辑 Editor | Yihan

版权归作者所有,

如需转载请联系ArchiDogs获得授权

THE END

反向激励，在加速这个社会的黑化

平安信托深陷“爆雷”旋涡：终于尝到“偏爱”房地产的苦果

专家一会说要过“紧日子”，一会说“认为没坏就能用”是不对的

芒果TV十年：源自如日中天时的“诺亚方舟”计划

🪁来汕头，实现“露营自由”