我的独立建筑设计实践是从2007年开始的,至今为止有三个建成作品对我有着重要的意义。从中可以探讨一些相关的词汇。上海油雕院美术馆——建筑师上海油雕院美术馆是我第一个完成度较高的建筑作品。在赢得竞赛之后,我至少做过50个不同的立面方案供一轮又一轮的筛选,这可能可以从一个侧面反映出青年建筑师在中国做建筑设计所要面临的境况,而我实在是幸运很多了。领导最终选择了混凝土立面方案,因为外观方正大气,造价可控。这样的过程就像是长跑,你必须有足够的耐力和信心,积极地面对一切挑战,才能走到最后。在油雕院美术馆漫长的项目过程中,我发现对建筑基本问题的具体回答,往往可以切实地帮助推进整个设计。例如对“体量”感的苛求,促使我寻求如何用斜墙达到突出入口,围合内院的目的。而作为对“场所”的回应,促使我决定去除所有围墙,形成开放的入口广场空间,且没有台阶,只有缓坡。混凝土挂板“材质”和“构造”是个难点,当时国内还没有采用混凝土干挂幕墙的先例,我只能硬 My independent architectural design practice started in 2007, so far, three completed works have an important meaning to me. From which you can explore some related terms. Shanghai Oil Sculpture Art Museum - Shanghai Oil Sculpture Museum Museum is my first completed higher degree of architectural works. After winning the competition, I have conducted at least 50 different facade programs for rounds of screening. This may reflect one aspect of the situation young architects are facing in building design in China, and I really Lucky a lot. The final choice of concrete facade leadership program, because the appearance of the Founder atmosphere, cost controllable. This process is like a long distance run, you have to have enough endurance and confidence, and actively face all the challenges in order to come to an end. In the long project of the Oil Sculpture Art Museum, I found that concrete answers to the basic building questions often helped to actually promote the entire design. For example, the “volume” of the demanding, prompted me to find how to use oblique wall to highlight the entrance, the purpose of enclosing the inner courtyard. In response to “venue ”, prompting me to decide to remove all the walls, forming an open entrance plaza space, and no steps, only gentle slope. Concrete siding “material ” and “structure ” is a difficult point, at that time there is no precedent for the use of concrete dry curtain wall, I can only hard