这个项目以接近三公顷的几乎没有人迹的森林开始。这里离Niseko的滑雪场只有很短的距离，这里的寂静是度假的喧嚣的对立面，这种喧嚣已经把这个著名的滑雪区的几个城镇变成了日益郊区化的杂乱无章的扩张。
This project begins with close to three hectares of barely touched forest. Only a short distance from Niseko’s ski slopes, the silence here is the antithesis of the vacation bustle that has turned several of the renowned ski area’s towns into a haphazard sprawl of increasingly suburban dimensions.
因此，设计方案不是为了建造房子，而是为了在森林中与森林共处。
Solitude – Enchanted by the beauty of the region but disturbed by this relentlessly encroaching pseudo-suburbia, the owners, a large family, are seeking escape in the forest’s solitude. Consequentially, the brief is not for a house but for a time in and with the forest.
树木–场地是一个几乎完美的正方形，有160米长的边缘，到处是高大的松树。当我们走近时，一个小丘阻止了任何进入场地的观点。唯一的通道是一条沿着北部边界的小型农村公路，多年前就已经降低了。在我们爬上这个土丘后，我们站在树木之间。一个平缓的斜坡向南延伸了大约100米，然后在一个陡峭的山坡上划定了遗址的南部边界。大约在一半的地方，在遗址的西部边界有一块空地。
Trees – The site is an almost perfect square with 160-meter-long edges, filled with tall pine trees. As we approach, a mound prevents any views into the site: The only access, a small rural road running along the northern boundary, was lowered many years ago. After we climb up this mound, we stand between the trees. A gentle slope leads down towards the south for about 100 meters before the top of a steep acclivity demarcates the site’s southern border. About halfway in, there’s a clearing at the site’s western boundary.
本能–在树木之间移动唤起了人们的好奇心。我们正在探究周围的环境。每一个细微的动作都会改变我们的感知深度。我们发现的这块空地是场地中唯一一个距离将树木变成抽象背景的地方。然而，我们没有把建筑放在空地的中间（这将导致360度的背景），而是一直在边缘的树木之间蜿蜒前进到空地上，受到周围树木的保护。
Instinct – Moving between the trees evokes curiosity. We are probing the surroundings. Every subtle movement changes the depth of our perception. The clearing that we have discovered is the site’s only place where the distance turns the trees into an abstract background. Yet instead of placing the building in the middle of the clearing (which would result in 360 degrees of background), we keep meandering between the trees at the edge to the clearing, protected by the trees around us.
森林–建筑物在水平方向上的分支。在房子里移动就是在森林里移动。当我们的视线不断从远到近变化时，森林既是遥远的背景，也是可触摸的环境。
Forest – The building branches out horizontally. Moving through the house is moving through the forest. As our views keep changing from far to near, the forest is both distant background and tactile environment.
每根树枝的末端都被切开。我们越接近极端（树枝的末端），我们就越被吸引到森林里。虽然内部的保护使我们在身体上与森林的体验相分离，但通向森林的窗口的焦点和规模却强化了它。我们正坐在森林里。
The end of each branch is cut open. The closer we move to the extremes (the end of the branches), the more we are drawn into the forest. While the protection of the inside separates us physically from the experience of the forest, the focus and scale of the windows to the forest intensify it. We are sitting in the forest.
在房子的中央脊柱，这种重点的选择被一种多面的瞬间性所取代。当我们周围的森林的众多景色充斥着这个空间时，森林内的原始体验就一直存在。
In the house’s central spine, this focus of selection is replaced by a multi-faceted instantaneity. As a multitude of views of the forest around us are filling the space, the original experience inside the forest is always present.
对话–“森林中的房子 “不是一个固定的形式，而是一个与森林不断变化的对话。最终建成的只是一个对周围环境进行探测和回应的过程的结果，以创造一个家庭既可以在一起又可以自己在一起的地方，在那里他们可以成为森林的一部分。
Dialogue – The House in the Forest is not about a fixed form but an ever-changing dialogue with the forest. The eventually built is merely the result of a process of probing and responding to the surroundings to create a place where the family can be both together and by themselves, where they can become part of the forest.
Architects: Florian Busch Architects
Area: 230 m²
Year: 2020
Architect In Charge:Florian Busch Architects
Design Team:Florian Busch, Sachiko Miyazaki, Mayo Shigemura, Luca Marulli, Tenesha Caton, Max Duval
Structural Engineering:OAK, Masato Araya, Takayuki Fujimoto
Contractor:Wakisaka Corporation
City:Rankoshi
Country:Japan