|԰������-�й��羰԰����-�й��羰԰�������ۺ��Ż� - 风景园林网
Gerry.Cruz���ڹ��ܻ�Ҫ����׷����Ƹ���
[���ڣ�2009-08-05]  ��Դ���������ܿ���  ���ߣ�   ��������(0)��ӡ



����Gerry.Cruz--SED��������������ִ������ܼ�

����1988��10�±�ҵ�ڷ��ɱ�Զ����ѧ����ѧרҵ������ѧ��ѧʿѧλ��1989�����ʦִҵ�ʸ�֤�飬����2002���ҵ�ڷ��ɱ�������ѧ���������̹���˶ʿѧλ����1989��1997��һֱ���������������������Ľ�����ƹ�˾������SED�����־��۹���ִ���ܼࡣ

��������SED

�����������ܿ�����������һ����������������2002���ҵ�ڷ��ɱ�������ѧ���������̹���˶ʿѧλ��Ϊ�κ��������������������

������ArchWeekly����According to your resume, you got a degree of B.S. Architecture from Far Eastern University in Manila and acquired a Masters degree in Architectural/Project Management from University of the East also in Manila in year 2002, what made you change your career into Landscape Architecture?

�����Ͷ���������Զ����ѧʱ����������ǽ���ѧ�ܿγ̵�һ���֣���˶�����˵�����۲�����һ��İ������������˵��ɫ��ת��������˵��ְҵ��չ����ʵ�ϣ�ֻҪͨ�����۽�����ɿ��ԣ��Ϳ��õ���רҵѧλ�������ڵ�ʱ��һ�߹�����һ�߼���˶ʿרҵѧϰ��ʱ�����޶����ò��ź����á��ҵ�ְҵת�۵�ʼ�ڱ���������ۣ��ù�˾�ڷ��ɱ������������µ����С�飬��Ԫ���Ĺ�˾�Ļ���ȫ�µ����֮·��һ���޴����ս��������ʱ���ҷ����Լ������ھ��������ѯ�����Ҷ�����һ��ְҵ�͸��˷�չ�е�Ī��ɾ͸С�

����Landscape Design is a part of curriculum or a course in B.S. Architecture that��s why it is not strange to us Architects and therefore I can say that it is not really a change in career path, but rather we can say it��s a career development. In fact, I could have also acquired a degree in Landscape Architecture should I pursue to take the Licensure Examinations for L.A. but due to time constraints while working and at the same time taking up my Masters degree, this was put on hold. This career development started when I was employed by Belt Collins Hong Kong to build and start a new team on their Manila office (VHS Philippines) I thought it would be such a very big challenge working in a multi-national company and in a new designing path. Since then I got hooked up on Landscape designing and landscape consulting with different offices, that should I say was a fulfillment and rewarding for my career and personal development.

�����������ܿ�������ѡ�����SED�����ֹ��ʣ�����ο��ǵģ�

������ArchWeekly����Why did you join SED, what do you think about this company?

�����ҴӸ���������������SED�������Ǵ���־�ϣ����ѣ�ͬ�»����������ɱ����ʦ�����Ƕ�SED����֪������ĺá���Ե�ɺϣ����������ǰ��˾�������͸������ʱ��SED��Ȼ�������Ҹ��Լ�һ�λ��ᣬ�����Ÿ���˾����һ���쵼������һ�η���ʽ�����ԣ��Ҹ�ϲ����֮Ϊһ������̸������������ĺܸ������������Ļ���������ʶ�����־��۹�˾�������Ǵӹ�˾�����ǹ��������������ϲ�������Ҿ����Լ���������ȷ��ѡ�񡣼���SED������רҵ��������е�һ�λ�����Ҳ��һ����ս����������������������רҵ������ƹ�˾�У���˾����㶼�����Ҹ��ش�����Σ������Ǹ�����ƺ͹����Ŷӣ����Ǹ������β��빫˾���񡣹�˾ӵ��һ�������д����Ա�����������ڷ�����������ĵã���ͬ������

����I learned about SED on magazines, friends, colleagues and other Filipino designers. I didn��t get any negative feedbacks about it and it was during that time I want to have a breather on my former office and it came at a right time, I gave it a try and during the informal conversation/interview with one of the company��s executive, I was glad and somehow it gave me a perception on how they manage and work that it made me thought I am on the right track.  Joining this company is a big step and challenge for me, a young competitive and professional organization, the Management has entrusted me with more responsibilities, not only in design conceptualization, not only in handling teams but as well as being involved in managerial level.

����An organization with productive and proactive people and people who embraces all the knowledge and experience I can share, people who listens to ideas and vice versa, all these to help both parties make improvements.

�����������ܿ�������Ŀǰ��SED�����ֹ�����������ŶӺ���֮ǰ��������Ŷ�����Щ���죿

������ArchWeekly����How can you differentiate SED team and the teams you led in your previous companies?

�������Ҽ���SEDʱ������Ŷ��Ѿ����úܺ��ˡ�������֮ǰ����ģ�����һ����������м����רҵ�Ŷӣ�����֮ǰ�쵼�����ŶӲ���̫���������ʵ��Ҫ���������һ�˵SED��������ʦ�Ǹ���ǿ�ҵ�ѧϰԸ�������Կ��ŵ�̬�������ҵ����֪ʶ�;��顣

����When I came in, teams were already there and doing well. Only minor changes and improvements are needed. As I stated earlier it��s a young competitive but much more professional organization with productive and proactive people, it was not a big disparity between my former office but rather a huge comparison where this young organization have a great willingness to learn and have a more respect in my experience, knowledge and they welcome it with openness.

�����������ܿ��������ѹ�˾�����ڶ������ҡ��������Ƿ���һ����������ͥ�����з�����Ȥ�£�

������ArchWeekly����You take office as a ��second home��, would you like to share with us some interesting issues happened in SED?

������ֻ���������ְ칫�ң���Զ����ɱ����κ�һ�����Һ͵����������Ҷ���Ѱ칫�ҵ����Լ��ĵڶ�����ȥ���ܹ��������ҵ�һ�С�SEDӵ�����õİ칫���������ʦ������������ɷŷ���С�������Ҽҵĸо���

����It is not only the office itself but in any place where I work other than my homeland will always be my ��second home�� in order to enjoy my stay anywhere. SED can do just that because of the office environment they wanted to project, I guess that is one of the advantages of being a not so big company where we can always feel a homey and family atmosphere.

�����������

�����������ܿ������ܲ��ܼ򵥽���һ���������е�������

������ArchWeekly����Would you like to elaborate on the Design belief that you use?

���������Ͳ������κδ������ƣ������������Ƿ���ʵ�֣����ܻ��������ӱ�����ǽṹ���Ƴ³��£����ǽ���ֻ��ӵ����������ۡ�һ��������������˭����������������ÿ���˶������ڿ��Ǹ������غ��������������ơ�

����There is no such thing as a wrong design, it��s just a matter on whether is it possible, is it functional, is it aesthetically pleasing and can it be structurally sound. Or it only looks good? Because anybody can do an eye-pleasing design but not everybody can create a good design by considering these factors.

�����������ܿ���������ο��������ܾ�����ʽ����仰�����������������������

������ArchWeekly����How do you understand your design philosophy ��FORM FOLLOWS FUNCTION�� and how do you show it in your designs?

�������ܾ�����ʽ��仰Դ������������ʦ������?�Ͱ���?���ء���Ϊһ�����ʦ�������Ų�������㡣Ư����������������������Ǹ���Ƶ�ijЩ����ʹ��������ġ�������������о�ϰ������λһ�塱��ָ�ľ��ǣ�1. ����߱������� ��ÿ���������������Ŀ�ģ��� 2. ������� ��������Ŀ���߿�ʵʩ�ԣ��� 3. �߱��ṹ���� ��ǿ�Ⱥ��ȶ��ԣ��� �������л��ῴ���ҵ���Ƴɹ��������Ǿ��� ������Ӳ�������ǽ������棬���ܿ��������ܵ�������ЩҪ�أ����û��ṩһ�����ú�г�������������Ƶ�ΨһĿ�ġ�

����It was a design idiom of the Great Architect Frank Lloyd Wright. As a designer I fully believe and respect this, a word which can mean that beauty can only achieve if it has a purpose, or in any way that you won��t sacrifice its function just to have a nice form. This idiom goes hand in hand with ��The TRINITY of Design��; this consists of 1. It must be Functional (everything must be with a purpose), 2. It must be Aesthetically Pleasing (beauty, but possible to build) and lastly, 3. It must be Structurally Sound (strength and stability). You will always see and feel these phrases and belief in all my designs whether in a Landscape projects (softscape, hardscape) or in an Architectural designs I have done, to give its end-user a better and harmonious environment, a better place to live.

�����������ܿ���������Ϊһ���õ������ƷӦ�߱���Щ���أ�

������ArchWeekly����What kind of elements a project must have to make it a successful one?

�������Ҷ��ԣ���������������Ψһ�ԡ���������������úͿռ��ϵǡ���Ǽ����ؼ�Ҫ���ۺ����ϼ��㣬���ں���Ȼ���Ļ�֮��Ļ���ƽ��Ԫ�ؾ�����Ƴ��������Ŀ��

����In my own opinion, Individual character, its uniqueness, introduction of new technologies and its space programming. Mixing these with all the basic elements in balance with nature and cultures can elevate a certain project to its success.

����������Ʋ�ҵ

�����������ܿ������������⡰���ʦӦ�߱��߶�������θС���仰��

������ArchWeekly���� What is your understanding of the phrase ��Designer should have a good sense of social responsibility��?

�������ʦ��������˼������еĻ��ʹ���������Ӧ�ÿ�����Ŀ�������صĴ�ͳ�Ļ�����ʷ����������Ҫ�ú�˼����Щ���أ�����Ϊ��Ŀ�����ʦ�͸�Ӧ�õ����������Ϊ�����ƿ��ܻ�Ӱ�쵽�����պ�����

����Designers not only works with his mind and draw with his hands but he should take into considerations all the traditions, culture and the history of any place where a project is located. These give you responsibilities not only to the locality, the people but also to social influences you would create.

�����������ܿ�������Ϊһλ�ܳ��ľ������ʦ�����Թ����г�δ����չ�кο���?

������ArchWeekly����As an Outstanding Designer, what��s your opinion of the domestic market in the future?

������Ȼ�й��Ǻܹ����ķ�չ�г���������ҵ�ڽ���Ҫ�������ǵ����󣬶��ǿͻ�����������ϲ�þ������ǵ���ơ�һ����������ʦֻ��������Ƴ�������ӱ���������β����׷����������Ը����Ǵ�����õ��������

����It is a very big market out there, it is just a matter of keeping pace of the people��s needs and wants but this does not mean that we have to follow their opinion or personal goals. A good designer will always start and introduce a trend, new technology and will always pursue on his ideas and concept to create an ideal environs for a better place to live

�༭��royal | �Ķ��� ��
�� ����(0)λ���ѷ����˿���  ����鿴 ��
�������ۣ�����5����  ��������(0)
���飺 ������ ����
������
������ ������
  • ���������ϵ��£����ظ����йط��ɷ���
  • �е�һ����������Ϊ���µķ�������
  • ��վ��Ȩ������ɾ�������е���������
  • ��վ��Ȩ����վ��ת�ػ�������������
  • �������ۼ����������Ķ���������������
�����Ƽ�
��ҵ����
  • 24Сʱ�ȵ�
  • һ���ȵ�
  • һ���ȵ�
Baidu
map
');var k=9; -->