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Stephen Buckle
作為ASPECT Studios現任亞洲區工作室總監和設計總監，Stephen Buckle先生是一位在行業內具有影響力的景觀設計師和城市規劃專家，以其一系列大膽挑戰和打破常規的城市塑造項目而著稱。他致力於通過項目解決當前高密度城市中複雜的社會、環境以及技術挑戰，使其帶來積極反響。
從業二十多年來，他的設計足跡跨越了地域、文化和氣候的阻礙，項目分布在全球多地，其中不乏一系列廣受行業讚譽、屢獲國際大獎的設計作品。
對話Stephen Buckle：
打造具有幸福感的空間
01時機時機：簡單介紹一下您自己與ASPECT吧
About yourself and ASPECT
Stephen Buckle：我是Stephen Buckle，ASPECT Studios的工作室總監和創意總監，負責上海工作室的業務， ASPECT也有一個廣州工作室。我是英國人，從曼徹斯特畢業之後，在很多國家都工作過，比如歐洲、中東，最近十年又在亞洲不同的國家工作。
I’m Stephen Buckle, studio director and creative lead at ASPECT Studios, responsible for primarily for the Shanghai studio. We also operate a studio down in Guangzhou. I'm British and trained in Manchester, but following that, my career has taken me around the world. I have worked across Europe and in the Middle East, and for the last ten years across Asia.
▲ ASPECT Studios上海工作室 ASPECT Studios
在不同文化裡生活和工作的經歷讓我受益很多。它們讓我深刻理解到，文化在設計中的重要性，以及如何在城市環境中回應和反映文化。ASPECT所有的設計都致力於人類和自然環境之間的和平共處。因為只有這樣，我們才可以與地球和諧共生。對我們來說，這個原則在我們的思考過程和設計哲學當中都能看到。
With that diversity of geographies, it's really given me a strong understanding of the importance of culture within design, and how to respond to that within the urban environment. The foundation of ASPECT Studios is solely based on the principle of trying to create balance between the human environment and the natural environment, so we can sustain our existence on this planet. For us, it is something we hold very true to our thought processes and design philosophy, as it were.
之前我在中東工作了幾年，但是接著全球金融危機爆發了。當時幾乎我所有的設計師同事、朋友、包括主管都被調職或者離開了，而我被留在了那裡。那是一個高強度、高壓力的環境，而且還有很多正在進行的工作和項目需要我去處理。最糟糕的是，我不得不分散注意力去做Excel表格和研究預測報告。這對我來說非常無聊，好像靈魂都被抽乾了。
I had been working in the Middle East for a few years, but then the global financial crisis happened. All my design colleagues, friends, and co-directors were kind of shuffled around and disappeared. I was left there in a very intense market with a lot of work and projects still on. But the worst was my focus ended up having to be on spreadsheets in Excel and looking at forecast. I was bored. It was as if my soul has been drained from me.
幸運的是，我抓住了一個機會去感受一種新文化，那就是去廣州。我是十年前去的，和我的商業夥伴與當地一家公司合作，成立了工作室。創業之初的頭幾年還算順利，也是這段經歷讓我對這個國家和城市有了初步了解。但由於當地很多因素，我無法很好地參與我想要做的項目類型。
Luckily, I had the opportunity to come up with a new culture, A new environment in Guangzhou. I left for Guangzhou about ten years ago and set up a studio as part of a local firm with my business partner. We did that for a couple of years, and it was great. It was a good introduction to the country itself. But it was more locally orientated which means I couldn't leverage the type of work that I wanted to be involved in.
後來我搬到了上海，與ASPECT的相遇相知也是從這裡開始的。而且很巧的是，當時ASPECT的創始人想要搬回澳大利亞，而我正在尋找機會。當時的ASPECT已經是一個運作中的工作室，我要做的是直接加入這個團隊，而非需要我從零開始。所以，經過我對設計思路和工作方式的調整和重組，六年後的今天，ASPECT做得很好。
So I relocated to Shanghai. The ASPECT connection was very much here. It was a perfect alignment. The founder of ASPECT was looking to move back to Australia and I was looking for the opportunity. It wasn’t I had to start a studio from a scratch, instead, it was an already made studio that I could walk into. With a few bits of shufflingaround and a realignment of thought process and process in design delivery, six years later, we're doing quite well.
02時機時機：可以介紹一下ASPECT近期做的項目嗎？
Recent projects
▲ Hyperlane超線公園第一期：城市靈感空間 ASPECT Studios
Stephen Buckle：成都的「超線公園」項目是我們最近的項目之一，第一期的「城市靈感空間」在新冠疫情之前開始施工，並在疫情期間完成。它是2.4公裡長的多層的商業空中公園的一部分。整個設計意在創造「滲透性」，即讓周圍社區可以從空間的一端穿行到另一端，同時打造東西走向、直達火車站的連接。
The Hyperlane project in Chengdu, is one of our more recent projects. The first phase of that is completed during COVID, but it started on site just before. It's part of 2.4 kilometer long multi-level sky park. The intention of the whole design is to create that permeability to allow the community to use the space from one side to the other, but also to create the connection east/ west down towards the train station.
▲ Hyperlane超線公園概念圖 ASPECT Studios
我們設計的出發點是以人為本。
So the starting point for us was to look at the people.
基地本身特有的細小狹長的捷徑和巷道是項目的亮點，牆上有很多塗鴉、噴繪等藝術表達，這些牆上藝術傳達出了與眾不同的聲音。
The character of the way of expressing themselves and this tiny little narrow cutaway was a great way. There was graffities. There was spray paints. there was art, there was expressions. There was a voice that was coming through on these artworks that had been put on the wall and stuff.
▲ Hyperlane超線公園原貌 ASPECT Studios
客戶對整個項目的要求是「以人為本」，這和我們的設計態度非常吻合。當一個商業項目提出這樣不膚淺、不以商業利益為主的需求時，實在太讓我們興奮了！他們非常支持超線為周圍社區創造的迷你室外空間，而且不過分糾結於紅線範圍、視線遮擋、公共區域範圍、店面出售率等方面的事情。在中國工作十年之後可以和這樣的客戶合作，讓我喜出望外，內心更是喊出「這樣的業主和項目怎麼才出現！」的話語。
The client brief for us is to orientate on people. It's a commercial development and to hear these words, not superficial, not just marketing spin『we like people』, Actually its depth of their soul. No, it doesn't matter, if you're blocking the view here, it's great that you create in these small social spaces that aren't on his red line that aren’t on the public realm and create sort of social infrastructure for the community as a whole. Rather than solely focused on selling the shop fronts, renting them out and making quick money. And it's a welcome relief after ten years here to work with client like that I was like 『Oh, where have you been.』
▲ Hyperlane超線公園第一期：城市靈感空間 ASPECT Studios
超線這個項目裡，通過對一個形態的變化，讓它滿足不同的功能需求。即使處於新開發的區域，在城市的街道尺度上，這個設計從人進入場地的那一刻起，就和場地創建了強烈的視覺連接。這樣較小的空間裡，人們可以在這談天說地、做即興藝術，舉辦展覽、表演或者音樂會。我們希望利用社區本身的特質，創造一種獨特的設計語彙，然後將它以不同的形式在每個空間內表現出來。
I'm representing that in a way which allowed it to transition the morph within the design to meet the different functional needs. So from expressing itself at an urban scale onto the main streets, creating a strong visual connection at a point of arrival for the whole new development, through to smaller scale spaces where people can come together, such as impromptu arts and exhibitions, and displays and music can take place in; through to smaller scale places where two people can sit down and have a chat. What we wanted to do was create a singular expression of its idea of a community. This form wraps around and transition within each of these spaces and performs in different ways.
▲ Hyperlane超線公園第一期：城市靈感空間 ASPECT Studios
政府對這個項目的態度是非常積極的。他們不僅讓我們主導了場地的設計，還鼓勵我們去影響周圍的道路規劃，探尋如何以可持續的理念去考慮行人導向的環境，以及高鐵站與大學的連接。整個超線有2.4公裡，但我們創建了豐富的人行網絡、舒適的步行空間，更加注重以人為中心、以行人為導向的環境。
The governments embracing the ideas of the project has been really positive. They've allowed us to influence not only the on-site design, but they are also encouraging us to influence the entire road network. Look at how we can create a more pedestrian orientated environment, considering sustainable transport ideas for the connection from the train station to the university. It's 2.4 kilometers, but creates cycle networks, walking networks and more people-orientated or human- and pedestrian-orientated environment.
▲ Hyperlane超線公園效果圖 Aedas
03時機時機：在ASPECT工作是一種怎樣的體驗？
Teanworking and collaboration in ASPECT
Stephen Buckle：ASPECT有超過220名員工，全球9個工作室。在這些工作室裡，我們有極其豐富且多樣化的設計技能和經驗可以帶到項目當中。
We have over two hundred and twenty staff across nine studios. Now, within those locations we have a myriad of different skill sets and experiences that we want to bring to every project, or we may need to bring to certain projects.
▲ ASPECT Studios上海工作室 ASPECT Studios
對我們來說，現在重要的是從這些知識中學習成長，並在內部分享這些知識。我們也會嘗試開發知識庫，這樣可以鞏固我們在設計方面的立場、想法、精神和原則。公司內部，我們也將知識庫作為一個培訓平臺，每個人都可以從平臺和項目中學習，所以本身這個事情就是一個活的項目。
Now the important thing for us is to gain from that knowledge and to share that knowledge internally. We also do that through the creation of knowledge packs, which are shared internally and externally. It really cements our position, ethos and principles on certain aspects of design. We share that internally as part of a training platform everybody can learn from. Combined with that is also LIVE-on projects.
例如，上海工作室正在做的項目涉及到生態建築（或者綠色幕牆），我們就會把有相關知識的同事組建成一個團隊，包括墨爾本和雪梨參與過我們雪梨中央公園（涉及40層高綠色幕牆）的同事。我認為這是一個將我們團隊國際視野、知識技能和設計經驗高度融合的一種方式，並且結合項目當地文化和體驗，兩者相輔相成，共同為項目帶來最佳的設計解決方案。
If we have a project that we're working on and we require a living architecture and green facade treatment on the project, we』ll pull together a team, including some guys in Melbourne and Sydney, who have worked on the One Central Park project, which is like a forty-stories high green facade project, and get them involved in the creative process. I think It's a balance of international knowledge, skills and experience, bringing the best and highest thought processes and intelligence through a project, combined with local knowledge and experience in culture. And two of those coming together.
04時機時機：您認為建築與景觀之間的關係是怎樣的呢？
Design focus
Stephen Buckle：我所有行業內的朋友都是建築師，所以我要謹慎選擇我的用詞，哈哈。
All my friends are in the industry, they are all architects, so I』ll choose my words carefully.
當建築師在思考一個高層建築（通常是混合功能的），一般指三到六層的零售或商業和一些辦公樓等。他們對建築表面的設計考量，更多時候是從城市大尺度的立面、鳥瞰效果圖的角度來理解整個氛圍和比例關係。但是在這些宏大的思考和建築落地之後，場地並沒有考慮到人的尺度，比例是失衡的。無論建築師說多少次建築的表皮、立面、塔樓是多麼地美，大部分人的生活僅僅只會接觸到日常視線的範圍，也就是建築一到三層的範圍。
When they're dealing with a large tower, which quite often mixed-use projects, you get three to six floors of retail, commercial and some towers and the towers are offices... The consideration that they're giving on the faade, at an urban scale of how that feels and the scale proportions of it, at a big city scale when they're doing their big elevation, their bird's eye view, their renders… After that big impact, they're not for the human scale consideration when that facade comes down hits the ground. Everything is disproportionate, it's not considered at a human scale. No matter how many times an architect will tell you how beautiful its facade is, elevation is, tower is… day to day people are operating at a human level. They are dealing with the peripheral of their view. They’re dealing with the first two to three floors of buildings.
▲ 南信控股青島環球金融中心 ASPECT Studios
因此，我們常與建築師合作，一起研究較低樓層的材料、開放性、透明性及通透性，讓建築巨型的姿態留在高空中，確保讓它在接觸地面時有一個人性化的尺度。
So we'll work collaboratively with the architects on the materiality, the openness, the transparency of the permeability at those lower levels, and let the building, as a strong, overarching gesture coming from the sky stop, and allow it to have a human scale interface.
我們有一些項目非常大膽。因為從中可以看出客戶對景觀的重視，在建築和景觀部分投入了同樣的精力，這對我們來說是件好事。景觀設計並不總是遵循建築的設計方向，或者是建築的附屬。其實景觀需要有強有力的立場，尤其是當我們試圖去打造一個品牌印象的時候。這裡指的是，當人們進入場地後他是能夠有記憶點和體驗感的。
Some of our projects are very bold. We were put into them because the client is investing in the architecture and the landscape equally, That is a good position for us to come in. It’s not always our designs are following the direction of the architecture and not always are landscapes sympathetic to the architecture. We feel that landscapes need to stand strong on their own, particularly when we're trying to create a brand experience. It’s something people can bring a point to understanding and memory when they visited the project.
在我看來，人在設計裡的體驗才是最有意思的地方，因為在設計裡體驗才能對人們產生持久的影響。我喜歡和我所有的建築師朋友一起工作！在理解了他們對場地、元素的思考過程後，景觀設計師會帶入不同角度的想法，摩擦創造出一種積極的能量。這是一種很好的能量，能激發一些很棒的項目。
There's the lasting impact that design can have on them and the experiences they have within it, which is the fun part that we bring to it. I love working with all my architect friends! Taking the thought process of how they might consider a site, the elements they are thinking about… our approach from a different angle to a landscape architect is that merger, which is friction, creates a good energy. With good energy, it can result in hopefully nice cool projects.
▲ 合肥睆投萬科天下藝境 ASPECT Studios
05時機時機：作為一名景觀設計師，您是怎樣理解本地文化和市場需求與景觀設計之間的關係的呢？
About local culture and market
Stephen Buckle：我認為有種想法是非常粗魯的：在進入一個不同文化後，自以為了解並大言不慚地教育當地人他們自己的文化。我可以從這個時代、一些與時俱進的角度來談論這件關於人、空間和環境的話題。
I think it'd be very rude to come into a culture, think I understand it and then try to teach the local people about their own culture. And I can talk about things that are of our time and of forward-facing things that are about people, place, the environment.
ASPECT在項目中會觸及文化並試圖以一種當代的方式表現它。這是一種「萃取」，也是引導設計的過程，而不是直接表現具象的事物。我認為這種過程對這個時代很重要，我們不應該單純地複製過去的東西，而應該做這個時代的設計。ASPECT的項目展現的就是這個時代的作品，而不是反覆地回顧過去、找尋已有的答案。我想強調的是，對於過去，我們可以回顧、學習、適應、提取、連接、尊重它，但同時也要關注未來。
We touch on culture in our projects, and we try to represent it, but in a contemporary way. It's an extraction. It's a guide during the design process. It's not literal. But I think that's important to be of our time. We shouldn't be replicating stuff of the past. We should be doing designs that of our time. I'm representing these years, not looking back to the past for all of our answers. we can look back and learn, adapt, morph and use in a way that allows us to have some connection to the past, respect to the past, but be forward focused.
▲ 上海傳統弄堂 ASPECT Studios
我們在新天地做了一個項目，就在馬當路上，周圍有一個老社區。在景觀設計部分，我們試圖捕捉上海的傳統街道氛圍，並以現代的方式展現它。其中涉及的是尊重和反映過去的生活、傳統材料、顏色等，並試圖創造性地讓它更具時代先進性。
There are projects we’re doing one in Xintiandi, down the road to Madang Lu. It is within the existing community. The landscape there is trying to respond and reflect to traditional backstreets of Shanghai and to use that in a contemporary way. It's about respecting and reflecting the past, traditional materials, colors or even ideas and trying to reposition it in a creative way to be more forward thinking now.
▲ 上海旭輝The Roof - 南側建築剖面 ASPECT Studios
▲ 上海旭輝The Roof - Sky Garden ASPECT Studios
我們做過很多混合功能的商業項目。在高密度城市市區中，綜合體商業開發的價值至關重要，政府也正往這類型項目進行資金傾斜。所以需要找到一個平衡，權衡好環境、城市地區的社會需求，同時考慮開發商的投資。我們就是這樣通過項目去定位自己並同時在設計中權衡各方需求。
There's a lot of projects that we've done, where it's a mixed use commercial project. The value of mixed use commercial developments in tense urban areas is essential. The government are funding those types of projects. So you need to be at a balance both the environmental needs and the social needs of an urban area while capitalizing on the investment of the developer. That's kind of where we see ourselves, as coming in this.
▲ 上海旭輝The Roof - Living Architecture內庭院 ASPECT Studios
▲ 上海旭輝The Roof - Living Architecture臨街 ASPECT Studios
我認為設計行業有一個非常明顯的陷阱, 就是「所想即所見」——不受歷史、環境或是文化主題、元素啟發而設計。對於設計行業來說，落入這個陷進比想像中更容易。
I think there's a trap that the design industry has allowed itself to fall into, and that is, the literal representation, rather than being inspired or suggested or guided by a motif or an element, whether or not that's historical , environmental or cultural. It's quite easy for the design industry to turn that into a very literal representation.
但這不僅僅在中國存在，全球其他地方也是一樣。只有當我們和個別客戶、合作方、建築師合作時，才有機會建立一種能量場，並向好的方向發展。幸運的是，只要有一個項目讓人們開始有不同的認知，那下個項目就會向前個項目好的方向學習、借鑑，這是一個發展和成長的過程。
But it is not just China, it’s happened globally. It's only when we get the opportunity to work with certain clients and collaborators and architects, where we can create an energy and goes in a certain direction. Often, one project will start to get people to think differently, and then the next we learn from it. This is the process in a development and the growth.
▲ 上海旭輝The Roof – Sky Deck 恒基旭輝
沒有任何一個想法是完全獨立的新思想，一切都是建立在過去的影響之上的，包括過去的視覺構成、傳統的和非傳統的事物。但是這個過程需要不斷地累積才能形成力量，被客戶和市場所接受，這就是為什麼我們做的項目本身都要獨一無二。我們從歷史和文化中汲取靈感和反思，並將它置於未來環境中思考並定位。無論如何，我們都要嘗試，雖然這也很挑戰我的團隊。我們要求每個項目都要有自己的故事，有自己的表達方式。
No idea is uniquely singular to itself as the new idea. Everything is a building upon past influences, past visual compositions, traditional and nontraditional. But it needs momentum and needs to be embraced by the people that are investing in it. So that's why everything that we try to do is at least stands unique to itself. We will draw inspiration and reflection of the past and culture. We will try to position it for the future. Above all, we try, and it kills my design team. Everything we strive to be unique. Each project has its own story to tell, has its own expression.
▲ 萬科西九廣場 ASPECT Studios
06時機時機：科技發展對景觀設計有什麼影響呢？
Landscape designer perspective view of technology today
Stephen Buckle：我們有一些項目也在關注技術的發展，但是這是一個有雙面性的話題。首先，一些智慧城市的倡議是非常有意義的，他們很好地順應和捕捉了具有前瞻性的、可持續的未來需求。雖然這有時會成為市場營銷華而不實的漩渦，還可能會給項目價值帶來損害。但是另一方面，我又認為有必要創造不需要依靠技術的體驗和環境。
Yes, we got some projects that are looking at that and I think there's two factors. One, some of the smart city initiatives are great. Having a good way of really capturing a forward-focused, sustainable look into the future. Sometimes that gets wrapped up in a big marketing spin, which is kind of to the detriment of the value that they could bring to projects, the different systems and so on. But I do think at the same time saying that, there is a need to 『un-smart cities』 to create experiences and environments that you don't have to rely on digital technology to exist.
誰都經歷過當微信壞了不能登錄時的絕望。因為這樣我們無法付錢，無法去任何地方，無法登錄滴滴……一切都崩潰了。對我來說，這很好地說明了對科技依賴的我們是多麼地脆弱。
You know, I know the feeling of despair I get when my WeChat breaks and I can't log on, because I can't pay for anything, and I can't go anywhere and I can't get my Didi and everything falls apart. Now I think for me, that's just a great representation of how fragile our reliance on technology is.
▲ 武漢金地中法仟佰匯 ASPECT Studios
回想一下我出生的年代，沒有手機、沒有數位技術，沒有CAD，沒有網際網路。我的童年就是爬樹，滿身是泥，體驗各種生活，比如在樹林裡走小路，在森林裡用小樹枝搭東西。那是我的童年，我小時候的經歷對我今天的生活有很大的影響。所以，從我的青年時代到我的成長曆程，到我所去過的地方、見過的事物，所有這些不同的經歷造就了今天的我，現在的我。
Now, if you mirror that back to I was born in an era they weren't mobile phones. There wasn't this digital technology, there wasn't CAD, there wasn't the Internet. My youth was climbing trees, getting muddy and experiencing things like woodland trails and building stuff out of twigs in the forest. That was my childhood. That foundation of my youth is the influence on my life today. From the youth and growing up to the places I've been the things I've seen. All of these different experiences created this thing today, which is me.
▲ 武漢金地中法仟佰匯 ASPECT Studios
對於大部分的年輕一輩，他們不會有我說的那樣的經歷，不會與野生動物和大自然有任何物理上或者情感上的接觸和聯繫，他們甚至害怕蟲子和昆蟲。「環境」或「生態系統」這些詞，對他們來說會意味著什麼？生態系統是一個循環，涉及生物、太陽、大海、月亮、雨水系統、以及植物和野生動物，而我們又是野生動物的一部分。但是，如果我們不了解自然系統和它的重要性、不儘早向下一代傳遞這些觀念，他們將如何應對全球更大的危機，包括環境危機和能源危機？
The generations of today that are being born, they won't have these experiences, they won't have this ability to be physically and emotionally in touch with wildlife and nature. They will be afraid of bugs and insects. What does that actually mean as an environment or an ecosystem that when we look at the word? So ecosystem is a cycle, is a system that involves both living things, breathing things, the sun, the sea, the moon, the rain systems, as well as the plants and the wildlife. We are part of the wildlife. Now our choices that we make, if we don't have an understanding of nature and natural systems and the importance of them, and we don't install that in our younger generations from an early age, how are they going to respond to the globe with a bigger crisis in the world, which is the environmental and the energy crisis?
▲ 合肥萬科「城市之光」商業地塊 ASPECT Studios
在我的作品和職業生涯中，關注的一直是景觀裡的人文和社會性。但在推動生物多樣性和可持續發展的生態系統方面，這個行業中有一些了不起的「守護者」。比如AECOM的Lee Parks，簡直就是「可持續設計和生態平衡之神」！我十分尊重這些人所做的工作，並努力使自己完成一些相同的目標。
A lot of my work and career focus on the people side of landscape architecture and social side, but I think there is some amazing custodians in the industry that really drive home a lot of the biodiversity- and sustainability-driven ecosystem creating the landscapes. Just to name a few… Lee Parks in AECOM, a God of sustainable design and ecologically balanced solutions! I've got a lot of respect for the work that they do. It strives myself to achieve some.
ASPECT背後最關鍵的驅動力是「打造具有幸福感的空間」，並在其文化和環境需求中取得平衡。
The most critical driver behind ASPECT Studios is simply creating places where people want to be and balancing that with the environmental needs of the site of culture.
07時機時機：有沒有什麼話想要對年輕設計師說的呢？
To young design generation
Stephen Buckle：我認為比電腦技術、能力等硬技能更重要的是對設計由衷的欣賞和熱愛，這並不容易。設計這個行業並不是一個只有美好的夢幻仙境、創造環繞城市的綠地和美好環境就夠了的。實際上這是一項艱巨的工作，整個設計行業都是這樣，不僅僅是景觀設計。
S : I think there are more important things than skills, technology, abilities and modeling and doing all of the production, gives an appreciation of character. It's not easy. It's not like the dream environment where you come in, you have some nice beautiful ideas to create these tapestry of green, circles around the city and create a lovely environment. It's hard bloody work. It's across the whole design and it's not just landscape, but within the whole industry.
▲ 工作室Workshop ASPECT Studios
如果你對設計沒有熱情，那就放棄吧。如果你不關心設計，對你的工作在環境和社會上可能造成的影響也沒有激情的話，那放棄吧，去做點別的事情。因為你的時間會消耗得很不值得，你應該去做你喜歡並熱愛的事情，否則你工作的最終也不會給別人帶來任何價值。
If you're not passionate, give up. If you don't care, if you're not passionate about the work, the impact your work and can have on the environment or society, give up! Going to do something else. Because you are not worth your time. Go doing something that you'll enjoy your passionate about, because otherwise the end result of your work aren't going to bring any value to anybody else.
至於進入這個行業的理由，或者如果你思考過為什麼會選擇景觀的話，其實可以歸結為對設計的熱愛和性格方面的原因。
It does come down to passion and characteristics, if you hold your reasoning for getting into the industry, or the thought process you've gone through to why do you choose landscape.
▲ 工作室Workshop ASPECT Studios
所以我希望，當學生們畢業之後，不把重點放在電腦技能上，而是放在自己的想法、自己的存在，以及為什麼要從事這個行業的熱情上，讓它成為你的動力。努力加上永不放棄，你會成功的。
So hopefully, when students are coming out they don't focus on technical skills. Focus on your own consciousness and in your own being and your own passion, for why you are in the industry and let that be your driver. Combine that with hard work and never giving up. And you will succeed.
主編：田寧採訪人：Alex、d.e.r媒體部統籌：田寧、Alex拍攝：d.e.r媒體部視頻：田寧 實錄校對：Kelly、Alex、魯
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