从港大到哈佛，RIOS的90后女建筑师张曈曈专访 From HK to Harvard: RIOS Landscape Architect Tongtong Zhang’s Global Design Perspective｜建筑学院 Archcollege ｜建世界03

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「建筑学在世界各地经历着不同的发展阶段，蕴含着各自独特的文化与历史意义，也带来了不同的实践机会。专栏《建世界 | Chinese Architect in the World》将关注中国建筑师在全球各地的实践与探索，旨在促进信息的同时激发新的思考。」 ——建筑学院 Archcollege 编辑部本期专访的主人公张曈曈，毕业于香港大学建筑学院、哈佛大学设计研究生院，现就职于RIOS洛杉矶办公室。

张曈曈 | Sherly

2013-2017：香港大学园境建筑文学士 The University of Hong Kong BA(LS)

2017-2018：2019-2020 哈佛大学景观建筑学硕士 Harvard University MLA

2020-2021：玛莎施瓦茨设计事务所 Martha Schwartz Partners

2021-至今：RIOS

获奖经历

Architecture & Design Collection Award – Platinum (2025)

London Design Award – Gold (2025)

NY Architectural Design Award – Silver (2025)

Muse Design Award – Silver (2024)

Barcelona International Landscape Architecture Biennial – School Prize (2018)

TerraViva Competitions – LA JUANITA – Jury (2024)

#采访目录

› 01.个人专业背景

› 02.专业研究领域背景

› 03.建筑竞赛、评审与荣誉

› 04.展望未来

› 05.作品集

Section 1 个人专业背景

Q1：请您简要介绍一下您的教育背景和职业经历。

Q1: Could you please provide a brief overview of your educational background?

Sherly： 2013-2017年，我在香港大学攻读景观设计本科学位。期间有在英国剑桥大学和加拿大英属哥伦比亚大学交换学习。毕业之后我进入哈佛大学攻读景观建筑硕士学位，期间闲不住gap了一年去欧洲实习和环游。回到美国毕业后，先后在纽约的Martha Schwartz Partners和洛杉矶的RIOS做景观设计师。因为很喜欢洛杉矶的气候和氛围，目前计划在此长居哈哈。

From 2013 to 2017, I pursued my undergraduate degree in landscape design at the University of Hong Kong, during which I also participated in exchange programs at the University of Cambridge in the UK and the University of British Columbia in Canada. After graduating, I went on to earn my Master’s in Landscape Architecture at Harvard University. To gain practical experience, I took a gap year to intern and travel around Europe. After returning to the U.S. and completing my degree, I worked as a landscape designer at Martha Schwartz Partners in New York and later at RIOS in Los Angeles. I’ve really grown to love L.A.’s climate and vibe—so for now, I’m planning to settle down here:)

▲清晨Gund Hall的光线

▲ 在温哥华交换时和studio mates的合影（景观行业奇妙的男女比例）

Q2：您的教育和工作背景地域跨度很大，曾在香港、伦敦、温哥华和波士顿都求学过，工作和实习的经历也是跨越了亚、欧、美三个大洲，是什么促使你辗转不同地域求学与工作？接收世界各地不同的设计风格对你的设计实践有怎样的影响？

Q2: Your education and work experience span a wide geographical range. You have studied in Hong Kong, London, Vancouver, and Boston, and your work and internship experiences have taken you across Asia, Europe, and North America. What motivated you to pursue education and work in such diverse regions? How has being exposed to different design styles from around the world influenced your design practice?

Sherly： 首先，我认为作为空间设计师，到各地采风是很重要的积累。尤其是景观设计师，既要从建筑中，也要从自然界的奇观中汲取营养。其次，只有在一个的城市工作、生活一段时间，才能感受出这个城市适不适合你长期定居。在香港求学四年，我始终难以想象自己在那里长期居留，所以选择了去美国读研；在慕尼黑/柏林生活的六个月，我每个周末都往外跑。这种“辗转”的过程反而让我更清晰地认识到，自己适合什么样的生活与工作环境。

First of all, I believe that as a spatial designer, traveling and experiencing different places is an essential part of one’s creative growth. This is especially true for landscape designers, who need to draw inspiration not only from architecture but also from the wonders of the natural world. Secondly, it’s only by living and working in a city for a period of time that you can truly sense whether it’s a place where you can see yourself settling long-term. During my four years studying in Hong Kong, I could never quite imagine making it my permanent home, which led me to pursue graduate studies in the U.S. While living in Munich and Berlin for six months, I found myself taking trips to somewhere else almost every weekend. In fact, this process of “moving around” helped me better understand the kind of lifestyle and working environment that suits me best.

▲ 在慕尼黑住了四个月的乡野小屋，屋主奶奶超级健谈，但是下雪天出入也着实困难

▲ Gap一年下来用飞机delay的赔偿款去土耳其玩了一圈，在卡帕多奇亚见到了至今印象最深的自然景观之一另外，亚、欧、美三地的设计教育和实践上也确实有很大的差异，在香港大学我们既要学一点中国传统园林的历史，也要学一点欧洲古典园林和由Olmsted开启的现代景观设计理论，可以说是什么都入门了一点。在伦敦/柏林，景观设计总体而言更重历史沉淀与在地性传承，同时也不乏极具实验性的前沿尝试；在波士顿，学校倾向于着眼跨学科、大尺度、全球性的问题，设计的理论性和架空性也更强。

In addition, the design education and professional practice across Asia, Europe, and North America vary significantly. At the University of Hong Kong, we studied everything from traditional Chinese garden history to classical European landscapes and the modern theories of landscape design initiated by Olmsted—essentially, we got a taste of everything. In London and Berlin, landscape design tends to place more emphasis on historical depth and local cultural continuity, while also leaving space for highly experimental and avant-garde approaches. In Boston, the academic focus leans more toward cross-disciplinary, large-scale, global issues, with a more abstract and conceptual approach to design.

Section 2 专业研究领域背景

Q3：能否简要介绍一下您目前的工作状态和正在进行的项目？其中有哪些让您兴奋的点？

Q3: Could you briefly introduce your current work status and the projects you’re working on? What aspects of them excite you the most?

Sherly：目前我在RIOS担任项目设计师，各种类型的项目——商业、住宅、公共、酒店等等都有经手过。一般公司会安排一个人同时在两到三个景观类项目上，这两三个项目一般会在不同的阶段（前期/后期）或者是不同的类别。我目前在做一个已经进入后期的美国商业项目，一个美洲的高奢酒店项目，和一个东南亚的商业景观项目。现在工作中非常让我兴奋的点是图像生成式AI在景观设计中的应用。我最近接触的几个项目，在出渲染图时或多或少应用到生成式AI。AI能够在设计的前期、模型未完善的情况下，为渲染图填充细节，进行艺术加工，极大地帮助到和甲方的沟通。除此之外，我们也在积极探索 AI 在大尺度设计中的作用，例如利用其进行场地资料整合分析、未来场景推演等，以支持更具前瞻性与数据驱动的设计决策。

I’m currently working at RIOS as a Project Designer, where I’ve worked on a wide range of project types—including commercial, residential, public, and hospitality developments. Typically, each landscape designer at RIOS is involved in two to three projects at the same time, often spanning different phases (early-stage vs. late-stage) or different categories. At the moment, I’m working on a commercial project in the U.S., a high-end hospitality project in the Americas, and a commercial landscape project in Southeast Asia.

▲ RIOS洛杉矶办公室的厨房区，（各种意义上讲都是）我最喜爱的区域之一

Q4：基于您在工作和研究中对AI在景观设计领域应用的探索，您认为未来AI与景观设计师的关系应该是怎样的？AI为景观设计领域带来的最大助力是什么？

Q4: Based on your innovative exploration of AI applications in landscape design through your work and research, how do you envision the future relationship between AI and landscape designers? What do you see as the greatest benefit and the greatest risk that AI brings to the field of landscape design?

Sherly：目前看来AI确实还不能能取代设计师。因为读取、学习图像的模式，AI对建筑结构缺乏深入理解，因而难以生成符合物理逻辑和构造常识的建筑空间。在现阶段，AI 更像是设计师的“辅助工具”——擅长处理和整合大量碎片化、复杂的信息（如场地分析、环境模拟等），以及在已有设计基础上进行图像美化与视觉补充（如快速生成渲染图）。这些功能虽不涉及核心创意，却极大提升了设计流程的效率，帮助设计师从大量重复性工作中解放出来。在景观设计领域，图像生成式AI的一个显著优势体现在植物与光影表现上。相比建筑师或室内设计师，景观设计师在AI普及之前常常面临植物模型刻板、光影模拟受限的困境，传统渲染软件无法真实还原自然环境，只能依赖繁琐的 Photoshop 后期处理，且成图效果往往带有明显的拼贴感。而AI生成的景观图像则整体感更强，氛围营造更具感染力。尽管AI仍难以精准绘制一棵树的生长结构，但多数人也无法做到这一点呀：）

At present, it’s clear that AI cannot replace designers. Due to the way AI reads and learns from images, it still lacks a deep understanding of architectural structures, making it difficult to generate spatial forms that align with construction principles. At this stage, AI functions more as an assistive tool—well-suited to processing and synthesizing large volumes of fragmented, complex information (for site analysis and environmental simulations), as well as enhancing and supplementing visual content based on existing design inputs (for quickly generating renderings). While these tasks don’t involve core creative thinking, they significantly improve workflow efficiency and free designers from repetitive production work.

In landscape architecture, one of the most notable advantages of image-generative AI lies in its representation of vegetation and light. Compared to architects or interior designers, landscape designers have long struggled with stiff, generic plant models and limited light simulation capabilities of traditional rendering softwares. It often requires labor-intensive post-production in Photoshop that still results in collaged images. AI-generated visuals, on the other hand, offer a stronger sense of cohesion and a more compelling atmosphere. While AI still can’t accurately replicate the biological structure of a tree, let’s be honest—most people can’t either :)

▲ 测试Midjourney渲染光影和植被的能力，其产出比传统渲染软件更有感染力

▲ 研究生时期项目Neuralism Shenzhen，探究如何使用AI读取并分析城市复杂的区划、建筑种类和人口密度等，并训练AI辅助生成更科学的城市规划模板。图为AI识别遥感图片与生成设计的原理

当然，“AI is only as good as the data it is trained on.”——如果训练数据本身存在滞后或偏差，那么AI模型在“黑箱”运作下得出的判断和生成结果也会存在问题。因此，在将AI运用于场地分析等关键步骤时，我们必须保持足够的专业判断与审慎态度。在图像渲染领域，若希望突破通用AI风格的同质化问题，设计公司也应积极投入自定义LoRA模型的训练。

Q5：在景观行业内，哪些领域正在面临变革？美国景观行业有哪些令人激动的变革与新趋势您正参与其中？

Q5: Which areas within the landscape architecture industry are currently undergoing transformation? What exciting changes and new trends are emerging in the U.S. landscape industry, and which ones are you actively involved in?

Sherly：除了上述提到的AI对景观设计的冲击，我认为环境韧性设计在美国和全世界也是一个在持续更新的议题。在美国，加州是环保意识相对领先的地区之一，针对环境可持续性和碳中和的政策也更为积极。以我目前所在的设计事务所RIOS为例，公司内部设立了专门的“Climate Action Committee”，致力于在设计流程中推动可持续策略的落地，包括材料选择、节能减排等具体举措。

That said, AI is only as good as the data it is trained on. If the training data is outdated or biased, then the AI model’s outputs—produced through a “black box” process—are also likely to be flawed. So when applying AI to critical stages like site analysis, we must maintain professional judgment. In the realm of visual rendering, breaking free from the increasingly homogeneous aesthetic of general-purpose AI tools will also require design firms to invest in training custom LoRA models tailored to their own stylistic direction and values.

▲ RIOS 的项目“Manhattan Beach Dune Restoration”，是环境韧性设计一个很好的例子在我的日常设计实践中，绿色基础设施已几乎成为必备元素。小到透水铺装大到人工湿地，如果一个景观项目未能为环境带来积极贡献，那么它某种程度上就是不成功的。同时，我感受到越来越多以生态修复为核心的项目逐渐涌现——无论是沿海沙丘保护、生态廊道重建，还是洛杉矶河流的水体管理，都反映了社会对环境保护意识的显著提升，也赋予景观设计师更多参与和决策的空间与话语权。此外，随着各种有利政策的出台，本地业主和开发商的环保责任感也日益增强，我见到越来越多的甲方愿意投入更多资源，采取实质性的绿色行动。例如，广泛采用本地原生植物、推行节水措施，以及选择低碳环保材料等。我认为，这些变化不仅让我切身体会到行业的进步，也激励着我不断探索更有效的方式，与业主及公众沟通，推动绿色设计的长远价值和实际益处。

In my daily design work, green infrastructure has become almost a standard element. From small-scale interventions like permeable pavements to larger systems like constructed wetlands, if a landscape project fails to bring tangible environmental benefits, it is, in some sense, unsuccessful. I also observe a growing number of projects centered around ecological restoration—whether it’s coastal dune preservation, ecological corridor rehabilitation, or water management along the LA River. These efforts reflect a heightened societal awareness of environmental issues and offer landscape architects more opportunities and influence in shaping sustainable futures.

Moreover, with the support of favorable policies, local clients and developers are increasingly embracing environmental responsibility. I’ve seen more project stakeholders willing to invest in meaningful green actions—such as using native plants, implementing water-saving strategies, and choosing low-carbon, eco-friendly materials. To me, these changes not only signal real progress in the industry, but also inspire me to keep exploring better ways to communicate with clients and the public, advocating for the long-term value and real-world benefits of sustainable design.

▲ 学生项目，”A new resource flow model: rearrangement, replacement, and recycling”

Section 3 建筑竞赛、评审与荣誉

Q6：除了研究与工作经历，您还在多个国际建筑竞赛斩获奖项。您参加这些国际竞赛的初衷和动力是什么？这些竞赛经历对您未来的研究/工作有何作用？

Q6: In addition to your academic and professional experience, you have also won multiple awards in international architecture competitions. What motivated you to participate in these competitions in the first place? How have these experiences influenced your future research or professional work?

Sherly：参与国际竞赛的初衷是想进行一些自己感兴趣，在工作中却没有机会做到的设计。比如在 Oceanic City-states 项目中，我尝试构建能源如何在环境中循环的系统逻辑；在 Iridescent Exploration 中深入研究沙丘修复的生态策略；而在 Where Time Lingers 中，则聚焦于文物保护与沉浸式游览体验的结合。这些课题在商业项目中往往受限于时间、预算或客户需求难以深入推进，而竞赛则为我提供了一个自由探索的平台。（另外，竞赛的“deadline驱动”特性使其成为克服我拖延症的好方法哈哈。）竞赛还有一个重要价值在于它对设计表达的高度凝练要求。不同于工作中动辄上百页的汇报材料，竞赛往往只允许用两三张版面、五六张图，清晰而有重点地传达设计理念。这种对信息“做减法”的过程，反而锤炼了我在表达上的精确性和逻辑感，让我学会如何用有限的语言与图像讲好一个有力的空间叙事。

My initial motivation for participating in international design competitions was to explore design ideas that genuinely interest me but are often difficult to pursue in my regular work. For example, in the Oceanic City-states project, I experimented with building a systemic logic for how energy cycles through the environment; in Iridescent Exploration, I conducted an in-depth study of ecological strategies for dune restoration; and in Where Time Lingers, I focused on the integration of heritage conservation with immersive visitor experiences. These topics are often constrained by time, budget, or client demands in commercial projects, but competitions provide a freer platform for exploration. (Plus, the deadline-driven nature of competitions is a great way to overcome my procrastination:))

Another key value of competitions lies in their demand for highly refined design communication. Unlike work presentations that can span more than a hundred pages, competitions typically require conveying design concepts clearly and concisely within just one or two boards and five or six images. This process of “subtracting” information has sharpened my precision and logic in expression, teaching me how to tell a powerful spatial narrative with limited language and visuals.

▲ 团队竞赛作品Oceanic City-states, 用一张版表达全部设计理念

Q7：您曾受邀担任国际设计竞赛的评审，接触了来自全球年轻建筑师和设计师的作品与思考。在这个过程中，您有哪些观察与感受？有没有什么建议想对新一代建筑师说？

Q7: During your participation in competitions, have you encountered any challenges or difficulties? How did you overcome them?

Sherly：担任国际设计竞赛的评审，有机会接触来自世界各地的年轻设计师所提出的构想，给我带来了很多很多启发。我能感受到他们对于社会议题、生态议题，以及人类未来生活方式的洞察力和表达热情。不过评审过程中我观察到，很多优秀的设计方案往往不是“最大声”的那个，而是能够在有限篇幅中清晰地表达出设计逻辑、回应场地语境、并提出现实可行性方案的那个。换句话说，表达力和逻辑性，往往比炫技或堆叠概念更重要。如果要给年轻建筑师一些建议，我想说的是：设计是一种长期的实践，它的价值不是只体现在“新”或“快”上，而是你是否真的看见了场地的深层结构、理解了人的复杂需求，并在此基础上提出富有洞察力的回应。同时，要一直保持好奇心。在AI等新技术不断涌现、社会结构持续变化的背景下，设计师需要不断调整自己的工具箱，构建开放、适应性强的设计思维。此外，也不要惧怕表达。清晰、精准、自洽地讲述你的设计，往往就是你被看见的开始。

Serving as a juror for international design competitions has given me the opportunity to engage with ideas from young designers around the world, which has been incredibly inspiring. I can feel their passion and insightful perspectives on social issues, ecological challenges, and the future of human living. However, during the judging process, I’ve noticed that many outstanding designs are not necessarily the loudest or flashiest submissions. Rather, the strongest proposals are those that clearly articulate their design logic, respond thoughtfully to the site context, and present practical, feasible solutions within limited space. In other words, clarity and coherence often matter more than flashy techniques or overloaded concepts.

If I were to offer advice to emerging architects, I would say this: design is a long-term practice. Its true value isn’t measured solely by novelty or speed, but by whether you truly understand the deeper layers of a site, grasp the complexity of human needs, and respond with insightful solutions grounded in that understanding. At the same time, maintain your curiosity. With the continual emergence of new technologies like AI and the ongoing evolution of social structures, designers must constantly update their toolkit and cultivate an open, adaptable mindset. And don’t be afraid to express yourself—clear, precise, and consistent storytelling about your design is often the first step toward being recognized.

▲ 我作为评审的竞赛“La Juanita”官网结果公示

Section 4 展望未来

Q8：您对未来有怎样的期待、计划或展望？

Q8: Given your extensive experience, what are your expectations, plans, or visions for the future?

Sherly：作为一名景观设计师，我期待是能够在不断变化的生态与社会语境中，推动景观设计从“塑造空间”走向“激发生态韧性与社会共生”的系统性实践。面对气候变化、资源紧张与城市化加速等全球性挑战，我认为景观不仅是美学的表达，更应成为连接自然系统与人类活动的关键介面。要把这个目标变成现实，一方面要借助AI、大数据这些新工具来提升设计的精准度，另一方面也要在具体的项目里一点点摸索 —— 怎么和业主达成共识、怎么在施工中临机应变、怎么在预算紧张的情况下守住设计底线，还要应对各种规范和制度的限制。在这些琐碎又真实的挑战中，经验和韧性显得特别重要。我希望从身边的土地出发，做一些踏实的尝试。一步步丰富自己的方法和视野，让设计变成一种持续生长的力量，慢慢影响更多人；让景观设计真正在现实中发声，也离理想更近一点。

As a landscape designer, I aspire to advance the practice from simply “shaping space” to fostering a systemic approach that activates ecological resilience and social coexistence within ever-changing ecological and social contexts. In the face of global challenges such as climate change, resource scarcity, and accelerating urbanization, I believe landscape design is not merely an expression of aesthetics but a crucial interface connecting natural systems and human activities.

To turn this vision into reality, it is essential to leverage new tools like AI and big data to enhance design precision. At the same time, it requires careful, hands-on exploration within each project—finding ways to reach consensus with clients, responding flexibly during construction, maintaining design integrity under tight budgets, and navigating complex regulations and institutional constraints. Amid these detailed and practical challenges, experience and resilience become especially valuable.

I hope to start with the land around me and engage in grounded experimentation. Step by step, allowing design to grow as a continuous force that gradually influences more people—enabling landscape design to truly speak out in reality and move closer to its ideal.