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創作之思考 / 前提：
在建築創作／習作的過程中，型式，尺度，比例，質地，紋理，材料等選擇不一而足，在這樣的多重發散的選擇下，我們如何將物件組合，將空間建立？建築中的牆或柱或窗所立的位置為何在那裏？是如何決定的？這些建築基本元素建立的過程中，我們或許可以探索這些動作能引發出什麼？除了滿足實用需求外，我們好像也可以再談再高一點層次的，從實用中跨越出去的，一種時代感甚或是精神性。建築創作／習作可同時追求精神性飽足及實質上的舒適。這兩種特質雖然很少同在，但應該有權共存。有形的元素負責實用的面向，無形的元素負責藝術的挑戰。
而在實用前提下再去談論到那個靈光／精神向度時，我們似乎只能依賴直覺感受。我們如何去＂抓取＂一個不可知的向度與氛圍，那些無法以科學公式分析重組的思考。而邏輯與理則學無法歸納與標誌的範疇，我們或許能以哲學思考，文學想法或身體記憶來可能的無限靠近那個靈光。
The premise thinking for creative practice :
The process of architectural creation/exercise involves numerous choices such as form, scale, proportion, texture, grain, material, and more. With so many divergent options, how do we combine objects and establish space? Why are walls, columns, or windows positioned where they are in architecture? How are they determined? In the process of creating these basic architectural elements, we can explore what actions they can trigger. In addition to meeting practical needs, we can also discuss at a higher level, transcending from utility, a sense of era or even spirituality。Architectural creation and exercises can pursue both spiritual fulfillment and practical comfort at the same time. Although these two qualities are rarely seen together, they should have the right to coexist. Tangible elements are responsible for practical aspects, while intangible elements are responsible for artistic challenges.
When it comes to exploring the spiritual or abstract dimension of architecture within a practical context, intuition seems to be our only guide. How do we capture an intangible dimension and atmosphere that cannot be quantified or manipulated through scientific formulas? The logical and rational realms are limited in their ability to comprehend this aspect of architecture, so perhaps we can approach the spiritual realm through philosophical pondering, literary musings, or bodily recollection, in an attempt to get as close as possible to that elusive spark.
以下對個人創作／習作之重點或者偏見做非邏輯推演的名詞解釋：
未完成性
建築為容器是一個可能不必要再討論的議題，然而在空間建立的過程中，建築師容易以一個控制狂般的腳色登場，不自覺的去置入太過武斷的生活想像與思考，而忽略了未來可能的使用者的再度定義。建築可以為背景，建築師腳色需要某種程度的自我控制和尊重他者，其設計可為他者而存在。建築，是要讓其他事物成為可能，是為了要容納些什麼而建，建築也會因本身和其他事物的緊密相連而變得更加豐富，而不單單是建築師自身的創作獨白，或是含混不清的個人衝動。
從容器的未完成性導向行為的未知。建築師的謹慎與自制，或能在創造一個環境／空間的時候，隱含了鼓勵多樣行為與活動的可能。活動行為的交會與未知可能不用以一個複雜的產物來體現，相反的，其最終的設計結果應該是簡單的，卻能夠引出活動行為的不可預測與多重性。
The following is a non-logical deduction of the key points or biases in personal creation/practice :
Open-ended
Architecture is often considered as a vessel, a container for human activities and experiences. However, it is important to recognize that the role of an architect is not that of a controlling individual who imposes their own vision onto a space. Rather, architecture should be seen as a backdrop, a stage set that enables and enhances the activities and experiences that take place within it.
To achieve this, architects need to exercise a certain degree of self-control and respect for others. They must recognize that their designs exist not for their own self-expression, but for the benefit of the users of the space. In this way, architecture can be viewed as a means of making other things possible, a tool for accommodating specific needs and desires.
The unfinished nature of the container can be a driving force for unknown behaviors. The caution and self-control exercised by architects in creating environments or spaces can imply the possibility of encouraging diverse behaviors and activities. The intersection of activities and the unknown need not be embodied in a complex product. On the contrary, the ultimate design should be simple but capable of eliciting unpredictable and multiple activity behaviors.
內部與外部
建築是一個非自然的建立過程，建築行為的實施必然會導致外部空間＿自然環境的喪失。我們在談論建築時，必然不能忘掉其反自然的本質。建築能反映一部份的文明意圖，然其本質是暴力且強大的。一道牆的豎立，就無可避免的界定了內部與外部，我們將自然隔絕在外，得以安身立命，免於風吹雨淋。而當自然被隔絕於外，那自然如何再度被引進，自然如何與建築的幾何互動？面對自然，我們應該要嘗試著去閱讀並捕捉其長處，梳理過後再滲入，而不僅僅是帶入無規則的佈景和道具般的風景景象。
建築創作得以抽象化自然，當風／光／水／綠意 被汲取／挑選後再導入建築內，其自然便具張力。
Interior / Exterior
Architecture is a non-natural process of construction, and the implementation of building activities inevitably leads to the loss of the external space's natural environment. When we talk about architecture, we must not forget its anti-natural nature. Architecture can reflect a part of civilization's intentions, but its essence is violent and powerful. The erection of a wall inevitably defines the inside and outside, and we isolate nature outside, so that we can live in comfort and avoid wind and rain. However, when nature is excluded, how can it be reintroduced, and how can nature interact with the geometry of architecture? In the face of nature, we should try to read and capture its strengths, sort them out, and then incorporate them, rather than just bringing in irregular scenery and prop-like landscape.