第一篇：同濟(jì)大學(xué)建筑學(xué)專業(yè)英語(yǔ)閱讀材料125

STAIR SEATS

… we know that paths and larger public gathering places need a definite shape and a degree of enclosure, with people looking into them, not out of them – SMALL PUBLIC SQUARES（61）, POSITIVE OUTDOOR SPACE（106）, PATH SHAPE（121）.Stairs around the edge do it just perfectly;and they also help embellish FAMILY OF ENTRANCES（102）, MAIN ENTRANCES（110）, and OPEN STAIRS（158）.* * * Wherever there is action in a place, the spots which are the most inviting, are those high enough to give people a vantage point, and low enough to put them in action.On the one hand, people seek a vantage point from which they can take in the action as a whole.On the other hand, they still want to be part of the action;they do not want to be mere onlookers.Unless a public space provides for both tendencies, a lot of people simply will not stay there.For a person looking at the horizon, the visual field is far larger below the horizon than above it.It is therefore clear that anybody who is “people-watching” will naturally try to take up a position a few feet above the action.The trouble is that this position will usually have the effect of removing a person from the action.Yet most people want to be able to take the action in and to be part of it at the time.This means that any places which are slightly elevated must also be within easy reach of passers-by, hence on circulation paths, and directly accessible from below.The bottom few steps of stairs, and the balusters and rails along stairs, are precisely the kinds of places which resolve these tendencies.People sit on the edges of the lower steps, if they are wide enough and inviting, and they lean against the rails.There is a simple kind of evidence, both for the reality of the forces described here and for the value of the pattern.When there are areas in public spaces which are both slightly raised and very accessible, people naturally gravitate toward them.Stepped cafe terraces, steps surrounding public plazas, stepped porches, stepped statues and seats, are all examples.Therefore:

In any public place where people loiter, add a few steps at the edge where stairs come down or where there is a change of level.Make these raised areas immediately accessible from below, so that people may congregate and sit to watch the goings-on.* * * Give the stair seats the same orientation as SEAT SPOTS（241）.Make the steps out of wood or tile or brick so that they wear with time, and show the marks of feet, and are soft to the touch for people sitting on them – SOFT TILE AND BRICK（248）;and make the steps connect directly to surrounding buildings – CONNECT TO THE EARTH（168）….

第二篇：建筑學(xué)專業(yè)英語(yǔ)——韻律

There are lots of approaches to the rhythm of landscape.The more often used are as following:

1.The simple rhythm

The simple rhythm refers to the successive arrangement ofthe scenes repeating the same kind of elements in isometry.Such as the trees along the sidewalk with equal distance in between, the long corridors in the same height and distance, the mountain trails or the mountain climbing wall with same height and width.2.Alternative rhythm

Namely, the successive arrangement of the scenes repeating more than two kinds of elements by turn.3.Regular changed rhythm

Regular changed rhythm refers to rhythm arises from the gradual increase or decrease of the successively repeated parts of the design at certain aspect, the density of colors, the thickness of the materials ect.At same time,it usually reflects the gradual change of degrees and quanlity between the different components.3.See-saw rhythm

See-saw rhythm is brought about by one or more factors undulating regularly in appearance.The sky in wildwood area

adpots this kind of rhythm.4.Mimesis rhythm

The mimesis rhythm refers to the successive arrangement of the scenes with the composition of uniform and different elements.For instance, the shape of the parterres may be the same, while the species and arrangement of the flowers and grasses inside are different.5.Interlaced rhythm

Namely, the rhythm caused by certain factor which regularly alternates and crosses in length and breadth.The changes happen vertically and horizontally or in many a direction.The space may be open or poky,bright or dim,the scenery is sometimes gaily colored, sometimes simple but elegant elegant,living or quite.The suitable organizing can still be rhythmical.In the actual arrangement of the landscape, a number of rhythm are applicable to one scene.The reasonable combination may create more desirable and artistic scenery on the premise that the function of the landscape are available.Therefore, rhythm is a crucial aspect concerning the unity and variety of the scenic layout.

第三篇：同濟(jì)大學(xué)建筑學(xué)考研心得體會(huì)

曾以夢(mèng)想為名賦予一段時(shí)間以主題和意義，過去的一年左右時(shí)間，我憧憬，茫然并且努力，重復(fù)著一條無(wú)數(shù)學(xué)子瀝血的路。初試復(fù)試，之后等來錄取的結(jié)果，和朋友們按慣例的考后狂歡一鬧就是一周，之后又很快地各奔他鄉(xiāng)...直到某天，守著世界杯醒來的清晨，可以獨(dú)自一人慢騰騰地考慮早餐，我在全家的吧臺(tái)前悠閑地枕著晨光，觀看著同濟(jì)門口穿梭的熟悉身影，卻開始對(duì)著那段記憶恍惚不已——此時(shí)此刻便是自己想要的那種生活嗎？這也是我最近常常想起的問題。

跨專業(yè)——對(duì)設(shè)計(jì)專業(yè)的無(wú)限向往萌生驚險(xiǎn)一躍的念頭，像很多投奔建筑的同學(xué)一樣，我打小放下的繪畫夢(mèng)想遲遲未能熄滅。一句“畫畫沒意思”讓我成為了一名純粹的理工男，懷著對(duì)發(fā)動(dòng)機(jī)的向往就讀了機(jī)械學(xué)院的能源類專業(yè)，然后就發(fā)現(xiàn)陰差陽(yáng)錯(cuò)的高考強(qiáng)大坑爹的一面——專業(yè)細(xì)分之后我讀的是暖通空調(diào)，其他被分出來的專業(yè)與發(fā)動(dòng)機(jī)也相去甚遠(yuǎn)。由而渾渾噩噩四年，期間自然也沒能籌備到轉(zhuǎn)專業(yè)的資本。之后畢業(yè)了，從事綠色建筑咨詢的工作，單位在郊區(qū)，租金低廉，房間朝南，外帶大陽(yáng)臺(tái)；工作不算辛苦，無(wú)需加班，甚至有些安逸。因?yàn)槭菄?guó)有企業(yè)，大家相處地都很愉快，常有聚餐或者體育賽事的福利，但總感覺少了什么，總希望生活能夠與眾不同，總希望自己的能力能夠得到完全的發(fā)揮，總覺得不該按部就班地去做踐行文檔的道路，于是想著：考吧，是時(shí)候出發(fā)向前了。

自然先學(xué)畫畫，對(duì)此并不陌生，一直很好奇建筑速寫那種獨(dú)特氣質(zhì)的來源，模仿卻難得其韻。初學(xué)時(shí)，為了克服拿筆的心理障礙，我狠著心臨摹照片，國(guó)家地理的圖夠漂亮，艱難的臨摹自然有了一份興趣和快慰。報(bào)了海上藝號(hào)手繪的課程后，我跳過了素描的部分直接開始了建筑繪畫，最早是練線條，是個(gè)頗見功底的活，聽說有些院校的建筑系排線得練兩年...除此之外，我在建筑學(xué)方面的積累也少的可憐，畢竟身處垃圾建筑滿大街的中國(guó)，畢竟平常的生活里缺少對(duì)空間的關(guān)注，竟然從未對(duì)這些龐然大物提起過興趣。最囧的一次，手繪班老師在課上讓畫手繪，要求隨意發(fā)揮，我竟畫了個(gè)歐式的小房子，門廊用的形式在現(xiàn)在看起來近似于帆拱，也算是歷史上的結(jié)構(gòu)奇跡，結(jié)果被老師嘲笑不已?？磥?，開發(fā)商對(duì)歐式的親睞，它的影子事實(shí)上也存在非專業(yè)的民眾身上。就是這樣，我在 “一窮二白”的狀態(tài)下起步，在海上藝號(hào)老師的指導(dǎo)下開始陷入到對(duì)于方盒子們特有美感的迷茫狀態(tài)之中。

旁聽史論課程最后成了太美妙的一次經(jīng)歷，原本分不清歐式中巴洛克與新古典區(qū)別的我一邊在歷史書中找到對(duì)應(yīng)，又在盧永毅老師的課程上逐漸明晰了其發(fā)展脈絡(luò)，現(xiàn)代建筑也仿若歷經(jīng)滄桑之后的自然成果，其不再面目可憎。有了一點(diǎn)甜，便會(huì)更加努力地吸吮。王受之先生的建筑史乃至設(shè)計(jì)史也是相當(dāng)生動(dòng)的課程，最有意思的是里面會(huì)有和盧老師不相一致的觀點(diǎn)，由此可見到這種歷史解讀一定程度的主觀和多元。另外，通過閱讀《建筑師》雜志，很多細(xì)節(jié)逐漸漂亮鮮活起來，無(wú)論是對(duì)路斯的討論還是對(duì)貝倫斯的剖析都仿佛讓這些大師再度復(fù)活。歷史以別樣的姿態(tài)自述，實(shí)在美不勝收，而對(duì)建筑學(xué)的理解也因此變得更富有角度。隨著了解一天天變得豐滿，興趣與看待的方式由此變得更加成熟，對(duì)于所謂的建筑觀，彼時(shí)也開始有了模糊的概念。

從未有過像快題這樣快節(jié)奏的經(jīng)歷，在本專業(yè)“養(yǎng)老”四年，最讓人糾結(jié)的還是時(shí)間限制，三小時(shí)的題目常常一畫就是一整天，好在之前上了海上藝號(hào)的手繪班，在手繪方面做了積累，時(shí)間都花在方案上了。畢竟初學(xué)建筑毫無(wú)概念，最可怕的莫過于不知道好的建筑究竟應(yīng)該是怎樣。缺少標(biāo)準(zhǔn)，缺少常識(shí)，還缺少方法。如何理解建筑成為那段時(shí)間最困擾的事情，為此在海上藝號(hào)老師的要求下我在文遠(yuǎn)樓做過實(shí)測(cè)，在C樓蹲過點(diǎn)，揣摩過B樓，測(cè)繪出平面后，研究過平面圖紙與實(shí)際空間的對(duì)應(yīng)。讀建筑評(píng)論也是那時(shí)的必修，印象最深的有馬清運(yùn)的父親住宅，最為佩服的是墻體的構(gòu)造形式，簡(jiǎn)單普通的建筑材料產(chǎn)生了別樣卻也和諧的建筑外觀；還有劉家琨的鹿野苑石刻博物館，穩(wěn)健的體量和粗獷的外表一下子讓我領(lǐng)略了現(xiàn)代建筑的美，入口以及流線的別樣處理讓人感嘆其匠心獨(dú)運(yùn)的細(xì)致。不過最有幫助的還是盧老師的課，那些對(duì)于建筑大師及其代表作品的專題解析，讓我獲得不少閱讀建筑的視角和方法。路斯的繆勒住宅算是其中最為特別的了，毫不起眼的外表之中竟藏有多變而個(gè)性鮮明的空間。這點(diǎn)直到后來讀了一篇名為“七個(gè)住宅的剖面路徑研究”的論文，才讓我領(lǐng)略這種空間設(shè)計(jì)的強(qiáng)大之處。

略懂空間之前，每每掙扎于游離在門外的狀態(tài)，偶爾瞥見一眼門內(nèi)的精彩便會(huì)雀躍不已，現(xiàn)在回想，這種狀態(tài)也許是最好的，可以耽于一根筋似的傻學(xué)。此時(shí)便會(huì)感受到另外一種魅力，就會(huì)需要一些寧?kù)o的力量，所以像《空間組合論》這種早期國(guó)內(nèi)大師的作品便足夠感人。整本書的閱讀方式還是蠻有趣的，開篇部分雖然是枯燥抽象的文字，但后篇占據(jù)整書大部分的就是圖示說明了。彭一剛老前輩的線稿非常精彩，精準(zhǔn)而自如，內(nèi)容雖基礎(chǔ)卻能受用很久。欣賞著這些嚴(yán)謹(jǐn)而自然的美，連抄繪他的圖示都成為了一種樂趣。更多的基礎(chǔ)方面學(xué)習(xí)來自《建筑概論》，組合論中的部分內(nèi)容在這本書中得到了更多的解釋，結(jié)構(gòu)與空間，空間與尺度...學(xué)習(xí)快題之后，這些體會(huì)就會(huì)更加深刻。之后因?yàn)榭荚嚫母锏木壒剩?012年考研第一次由歷史與理論改成建筑基礎(chǔ)的綜合科目）又讀了構(gòu)造、建物、節(jié)能等，都能有所獲益。所以，也許要多虧了同濟(jì)突如其來的改革，我對(duì)于建筑的理解才會(huì)更為全面自信。

快題自11年5月份始是就報(bào)了海上藝號(hào)快題班，在老師的指導(dǎo)下幾乎一直在練的，從最初的不堪入目到后來技法的穩(wěn)定成熟，積攢下來的量估計(jì)不下80張。相關(guān)的筆記也堆得厚厚的一摞。唯一的感慨是快題在快題之外，每一次的突破都不會(huì)是在對(duì)快題本身的研究上，隨著量的增多，快題的表達(dá)乃至讀題解題會(huì)自然而然地成熟起來。對(duì)節(jié)能、對(duì)構(gòu)造、對(duì)物理的學(xué)習(xí)則會(huì)增添別樣的理解角度，做法也會(huì)豐富。設(shè)計(jì)是富有創(chuàng)造力的活動(dòng)，但是談創(chuàng)新，先得有積累。

考研結(jié)束后的一段時(shí)間，隨著導(dǎo)師做了次課程設(shè)計(jì)，是與大四學(xué)生同堂的聯(lián)合設(shè)計(jì)，舊城區(qū)更新的項(xiàng)目。與著名的同級(jí)本科生共事甚感壓力，好在有強(qiáng)勢(shì)的也有隨和，個(gè)人覺得后是者更為成熟的設(shè)計(jì)態(tài)度，畢竟團(tuán)隊(duì)作戰(zhàn)，要懂得什么時(shí)候妥協(xié)。所以過程還算順利，R的模型表達(dá)能力和速度都讓我震撼；S的小空間做的相當(dāng)別致精彩，讓我對(duì)本科生的設(shè)計(jì)能力有了深刻印象；Z的總體協(xié)調(diào)能力怎么看都極具領(lǐng)導(dǎo)氣質(zhì)，卻謙虛得一塌糊涂；而兩個(gè)隨和的美國(guó)人Stephen和Ashwin總是鼓勵(lì)我們，對(duì)我這個(gè)一口爛英語(yǔ)的半調(diào)子尤其有耐心。拼死拼活最后總算趕出了成果，不糟糕也不牛叉，第一次的課程設(shè)計(jì)以此謝幕，不算遺憾。

考研走來，回頭時(shí)才發(fā)現(xiàn)已遠(yuǎn)行至此。對(duì)面游泳館旁的臨時(shí)停車場(chǎng)已經(jīng)停業(yè)，取代之的挖掘機(jī)昭示著新的建筑即將破土動(dòng)工，期待一下這份同濟(jì)建筑的新作吧。不再去想那個(gè)生活的難題，我在路上，走過考研。

第四篇：建筑學(xué)專業(yè)英語(yǔ)視頻翻譯

A very long time ago, far away in China, a villager living along the banks of the Yellow River built a simple mud hut to shelter his family.Thousands of years later in the year 1420, the empire’s best craftsmen put the final touches on the ultimate masterpiece of Chinese architecture---the Temple of Heaven.“Chinese buildings evolved from simple shelters into complex magnificent structures with great swooping roofs, stately columns, and rich detail.”

Between this simple mud hut and this amazingly complex structure---its every detail full with cosmological symbolism---is a tale of emperors, monks, scholars and genius craftsmen---a story which explains an architectural tradition of great beauty and flexibility.And to start this story at the beginning, we have to leap back two millennia, to when the brilliant tyrant QinShihuang becomes the first emperor of a unified China.In 1938, an American fighter pilot flying over a remote part of China, spotted giant pyramid-like structures below.In his excitement he took a photo and declared to the world that he had discovered a lost civilization.What he discovered, however, weren’t pyramids, but massive tomb mounds.And the grandest of them all was the tomb of the man who unified China.“Our story begins with the tomb of QinShihuang the first emperor of China, who lived 200 years before Christ.”

A brilliant warrior and tactician, he annihilated all his rival states and created the imperial system which survived until the year 1904.And the grandeur of his tomb matched that of his ambitions: For more than thirty years he used 700,000 workers---probably more manpower than the pharaohs had assembled to built the pyramids---to re-construct his kingdom in the private underground world of his tomb, with palaces and courts for a hundred officials, rooms containing countless gems, rivers of mercury and candles which would never burn out.They sat you can’t take it with you, but QinShihuang sure tried.“His tomb was guarded by hundreds of terracotta warriors, but just as fascinating were the clay model houses that were found inside his tomb.” Because of their belief that people had to provide for their ancestors in death, the early Chinese buried their deceased with clay models of the structures they depended on in life-granaries, houses, watchtowers and the like.These 2000 year-old models are the only surviving examples of early Chinese wooden architecture, and from them we can see how houses were constructed around the time of the first emperor.These models show a type of wooden house that incredibly can still be seen today.So why did the ancient Chinese build in wood rather than stone, like the ancient Europeans? The availability of wood in the extensive forests of early China was no doubt a major factor.The ancient Chinese did know how to build with stone, and how to use the arch… and they used the arch extensively for tombs, gates and bridges.However they rejected the stone arch for building houses, temples and palaces.To see why we can again find clue from the tomb of the fiest emperor.Archaeologists recently excavated from the tomb a 2000 year-old sword that is still sharp as a razor.The reason it is still sharp is because it is coated with chrome-a fact that may not seem too amazing until you realize that chromium wasn’t invented until 1938-the same year the tombs were spotted by that American pilot.This means is that the ancient Chinese developed incredible metal-working skills very early in their history, and so they had metal woodworking tools at a very early date.Stone can be used to fashion and work stone, as early Britons must have done to build Stonehenge.But iron tools were necessary for wood carving and joinery.And with such tools, however primitive, wood construction was much easier than construction in stone.Western cultures began their architecture without iron tools.So they started in stone and brick and continued building with these materials.The Chinese, on the other hand, began building with wood and continued to do so for 6000 years, starting with the basic Chinese house which was first developed on the flood plain of the yellow river.In areas prone to flooding, this structure was raised on pilings.In the central yellow river valley of China it rested on solid platform.Stone bases for each column, twice the diameter of the column, were placed on this platform, then the column raised on top of this.So, the elevation of a Chinese building has three elements: the podium underneath, the columns in between and big roof resting on top of the columns.Four columns form what is called a bay;groups of bays then form the different types of buildings.From the earliest times the Chinese separated the supporting from the enclosing elements of a building.This meant the interior columns supported the roof weight completely, while the walls were just for privacy and protection from the elements.In a country plagued by powerful earthquakes, the Chinese didn’t build solid walls, which could be cracked and rent apart by an upheaval of the earth’s crust, but rather they built flexible structures without using glue or nails.These structures could ride the heaving earth like a boat, shifting and settling back, with the platform acting almost like a raft.Heavy roofs with tiles were supported by columns built of white fir which was four times stronger than steel, and six times more flexible than concrete.It was the beginning of an architecture of great beauty, elegance and practicality.The first feature of a Chinese building that usually impresses a visitor is the elegant, sweeping and seemingly gigantic roof.Western architecture, with its spires and Greek columnsthe Duo, a block, like a capital, placed at the top of a column.The gong, a bracket placed across the top of the deng, and the spacers between them, called the sheng.“ The degree of complexity is wonderful, with brackets locking together like a Chinese puzzle without any nails or glue.With these duogong the Chinese could extend the roof overhand, without having to building more and more columns inside.To extend the overhang even further, the Chinese devised a clever solution.The roof overhang is one end of a kind of see-saw.Its weight is counterbalanced by the weight of the center of the roof, at the other end of the see-saw, on the fulcrum of just one column.This device, called an ang, lets one column to do the work of three, And makes the heavy tiled roof seem to float in mid-air.Heavy roofs create what is known as 'shear stress'.The Europeans built ”flying buttresses“ to bear the enormous stress created by a cathedral dome.The Chinese on the other hand used brackets at the joints of frames to carry this shear stress down through the brackets and columns into the ground.Increasingly complex bracketing accompanied ever larger, more complex multi-leveled roofs: which came in a myriad of shapes and sizes.”A standardized system of architectural measurement was established in the year 1103, with the publication of Li Chieh's Methods and forms of architecture, a treatise adopted throughout the vast, yet centralized, empire.This book defined the basic units of measurement as standardized sizes of the duogong bracket arms.Depending on the size of the bracket was determined the size of every other element in the building: such as the thickness and height of the columns.This standard survived into modern times.These rules of Chinese architecture governed not only the construction of an individual buildings but also the planning of the layout of a town, a temple, or a palace complex.Ancient Chinese Shamans oriented buildings according to the dictates of feng shui, or wind and water a way of determining mystical forces flowing through the earth.The principles of feng shui were turned into rules used to align man-made structures harmoniously with the currents of the earth's forces, known as chi.These rules controlled siting, ground plan, decoration, and even color.Although steeped in ancient Chinese animistic religion, most of these seemingly mystical rules have their origin in a few simple and practical facts about the climate of central China.China is situated in the temperate zone, with a southwest prevailing wind.By orienting buildings to the south or southeast, the Chinese take advantage of the warmth winds and sunshine from the south to provide people living in halls and courtyards with a pleasant micro-climate.Not only buildings faced south but also cities, palaces and tombs.Ancient Chinese shamans found the directions with the aid of a sinan: history's first magnetic compass.The pointer, shaped like a spoon, was made out of magnetic lodestone.It sits within a circle to represent heaven, and on a square plate representing earth.

第五篇：2018年同濟(jì)大學(xué)轉(zhuǎn)專業(yè)(建筑學(xué))第一名 經(jīng)驗(yàn)分享

姓名：李依霖

原院系：同濟(jì)大學(xué)經(jīng)濟(jì)管理學(xué)院 班級(jí)：藝號(hào)2018年轉(zhuǎn)專業(yè)180課時(shí)班

轉(zhuǎn)入專業(yè)：建筑與城市規(guī)劃學(xué)員(CAUP)

建筑學(xué)

藝號(hào)印象：初見李依霖同學(xué)是在2017年的9月份，同濟(jì)新生開學(xué)的時(shí)候。算是藝號(hào)轉(zhuǎn)專業(yè)報(bào)名學(xué)習(xí)準(zhǔn)備比較早的學(xué)員。同樣，李依霖同學(xué)也是來自廣東的一位小姑娘。學(xué)習(xí)態(tài)度很認(rèn)真，為人處事方面也很有禮貌！今年以轉(zhuǎn)專業(yè)第一名的好成績(jī)轉(zhuǎn)入同濟(jì)王牌專業(yè)和她平時(shí)刻苦努力是分不開的。來時(shí)有一定的繪畫基礎(chǔ)，對(duì)于轉(zhuǎn)建院的一些立體構(gòu)成課，平立剖課程，鋼筆畫課程也是未曾落課。在此，藝號(hào)老師為你的成功感到無(wú)比的光榮和開心，希望你接下來在建院的新專業(yè)里面繼續(xù)努力，創(chuàng)造更大的成就和輝煌！！

那么針對(duì)這一段為期將近一年的建筑學(xué)轉(zhuǎn)專業(yè)準(zhǔn)備過程，優(yōu)秀的李同學(xué)又有哪些經(jīng)驗(yàn)帶給大家呢？如下文：

【績(jī)點(diǎn)】說來慚愧，在一個(gè)號(hào)稱績(jī)點(diǎn)很好刷的學(xué)院里我績(jī)點(diǎn)只有4.48_(:3」∠)_然而績(jī)點(diǎn)是很關(guān)鍵的，績(jī)點(diǎn)比別人0.5最后計(jì)算總成績(jī)就比別人高了三分。績(jī)點(diǎn)只看大一上學(xué)期的所以上學(xué)期不要太浪了，剛上大學(xué)大家肯定會(huì)發(fā)現(xiàn)有很多好玩的東西，但是如果想要有充足的時(shí)間來刷績(jī)點(diǎn)和學(xué)畫畫，還是要作出一點(diǎn)犧牲的。高數(shù)的話在初期要充分理解，之后學(xué)起來才不會(huì)那么吃力，語(yǔ)文和公選的話可以盡量多回答問題和把握機(jī)會(huì)上去做presentation,可以加平時(shí)分的。還有就是不要等到快考試了才來看書復(fù)習(xí)，會(huì)累得想要哭出來的.【素描】我覺得素描是需要長(zhǎng)期積累學(xué)習(xí)的，如果只學(xué)幾個(gè)月那么基礎(chǔ)不夠扎實(shí)畫得肯定不夠好。所以沒有基礎(chǔ)的同學(xué)最好在上學(xué)期就開始準(zhǔn)備了。練習(xí)的時(shí)候不要盲目畫，因?yàn)楹芏鄷r(shí)候我們開始的畫法都是錯(cuò)的，是很難保證速度和質(zhì)量的。要多聽老師建議，自己也可以買一些書來研究一下正確的繪畫步驟。開始的時(shí)候要養(yǎng)成正確的繪畫習(xí)慣是比較難的，一定要不斷糾正自己。

平時(shí)練習(xí)的時(shí)候盡量模仿參考圖處理的手法，多思考一下為什么要這樣擺放物體，不同物體的之感要怎么表現(xiàn)……（如何做好畫面效果可以多請(qǐng)教老師）?？傊褪且椒ㄕ_，不要盲目，多思考，虛心接受老師指導(dǎo)。關(guān)鍵是基礎(chǔ)扎實(shí)而不是趕速度、趕量?；A(chǔ)好了速度自然就能上來了。還有就是平時(shí)在畫室跟同學(xué)交流一下增進(jìn)感情是好的，但是不要玩的太瘋了，我覺得畫畫還是需要專注的，如果畫幾分鐘又玩一下會(huì)打亂思路，練習(xí)的效果就出不來了。

【速寫】速寫其實(shí)沒有什么特別的技巧，就是平時(shí)沒事多練習(xí)。一開始肯定大多數(shù)畫出來的都很丑不要因?yàn)檫@樣受到了打擊就不想再畫了_(:3」∠)_如果拖到快考試了再來練效果是不好的。開始我的線條是非常難看的，于是我沒事的時(shí)候就在草稿紙上練習(xí)畫長(zhǎng)線。練多了之后明顯就能感覺到自己畫的速度和質(zhì)量上來了。

還有大家不要因?yàn)橛X得素描比較難就把大部分的時(shí)間都丟到素描上哦，其他方面比如速寫、平面圖（or立構(gòu)）占分也是很多的，平時(shí)畫室開這種課的時(shí)候一定要認(rèn)真上。

【畫室】其實(shí)剛來同濟(jì)上學(xué)的時(shí)候，也有聽過學(xué)長(zhǎng)學(xué)姐介紹過一些其他畫室。之所以選擇藝號(hào)，除了得天獨(dú)厚的地理位置，就在學(xué)校南門，極其方便。節(jié)約很多學(xué)習(xí)成本和時(shí)間，以及畫室是否具有正規(guī)教育資質(zhì)確保學(xué)生權(quán)益，和畫室多年來優(yōu)異的升學(xué)成績(jī)是分不開的。

今年藝號(hào)轉(zhuǎn)建院的報(bào)名總共有將近30人，成功了23人。這一成績(jī)充分的證明了當(dāng)初的選擇是沒有錯(cuò)的。其他畫室我們不知道怎么樣，但今年藝號(hào)總體的升學(xué)率是遠(yuǎn)遠(yuǎn)超過其他畫室，包括據(jù)我了解的設(shè)計(jì)創(chuàng)意學(xué)院升學(xué)率也是很高！

畫室的老師們也是非常友好的，專業(yè)度很高！畫室的內(nèi)部群里老師會(huì)和學(xué)生們經(jīng)?；?dòng)，分析各種不同考試的變化。藝號(hào)方老師在轉(zhuǎn)專業(yè)這邊已經(jīng)有很多年的經(jīng)驗(yàn)，7年的轉(zhuǎn)專業(yè)考試詳細(xì)資料都可以在他那里看得到，姚老師在藝號(hào)工作也很長(zhǎng)時(shí)間了，對(duì)于考試的各個(gè)環(huán)節(jié)，考題風(fēng)格都很了解，性格成穩(wěn)的張老師平時(shí)話語(yǔ)不多，但是對(duì)學(xué)生超級(jí)有愛，非常有耐心。

因?yàn)檫@些年同濟(jì)建院每年的考試題型有些許變化，藝號(hào)針對(duì)轉(zhuǎn)建院開設(shè)了全面系統(tǒng)的課程：除了常規(guī)的素描課，還請(qǐng)來了手繪組的專業(yè)的老師進(jìn)行平立剖的課程開設(shè)，立體構(gòu)成課，建筑手繪速寫表現(xiàn)課，充分全面的去迎接不同考試題型！不知道其他機(jī)構(gòu)是怎么樣，但是個(gè)人認(rèn)為在藝號(hào)你真的可以在未曾進(jìn)入到建院前學(xué)到很多東西。平時(shí)的周末，也會(huì)有很多往屆轉(zhuǎn)上去的學(xué)長(zhǎng)學(xué)姐來學(xué)習(xí)手繪，還有一些來補(bǔ)習(xí)建院大一的素描作業(yè)的，隨時(shí)隨地都可以跟他們交流和互動(dòng)！

總之，對(duì)于畫室的選擇個(gè)人希望以后的學(xué)弟學(xué)妹多打聽多對(duì)比，如果你要我推薦去哪里學(xué)習(xí)，作為藝號(hào)的“自家人”，我肯定會(huì)安利我們的畫室呀！

【閱讀】平時(shí)有空要多看一看一些有關(guān)建筑和建筑師的書籍。一方面能夠幫助考試（面試?yán)蠋煏?huì)問專業(yè)相關(guān)的問題，今年考了根據(jù)文字畫一座城的總平面圖，讀過關(guān)于城市設(shè)計(jì)方面的資料在構(gòu)思方面會(huì)有幫助），另一方面也能了解到自己是否真正地喜愛建筑。其實(shí)面試也沒有特別可怕啦我覺得關(guān)鍵還是要大方，讓老師感覺到你對(duì)建筑很熱愛并且有一定自己的思考就好。

轉(zhuǎn)專業(yè)其實(shí)是一個(gè)有點(diǎn)痛苦的過程，因?yàn)榧纫骖檶W(xué)習(xí)又要花很多時(shí)間練習(xí)畫畫，所以大家要做好思想準(zhǔn)備。有那么一會(huì)我也累得產(chǎn)生過放棄的想法，但是堅(jiān)持下來之后，發(fā)現(xiàn)是對(duì)自己很好的鍛煉，并且努力了有收獲也是很讓人振奮的。人總要為自己的夢(mèng)想奮斗一把，如果大家對(duì)建筑是真的熱愛，那么應(yīng)該趁早開始做準(zhǔn)備了。? ?)?*??