我们已经设计了许多着陆点。它是一个漂浮在空中的地方，从那里你可以回顾你刚才的位置，并期待你将去的地方。在这个房子之前完成的川西的房子，也是登陆的建筑。
We have designed many landings. It is a place floating in the air, from which you can look back to where you were just before, and look forward to where you will go. House in Kawanishi, which was completed before this house, was also architecture of landing.
最重要的是，登陆的空间比平时要大一些。它既不属于一楼，也不属于一楼。一楼的水平已经被调整为坐在上面的书桌的功能。这表明了建筑的立场，即试图在内部和外部之间保持一点距离。
Most important there was that the space for landing was slightly bigger than usual. It belonged to neither the ground floor nor the first floor. The level of the first floor has been adjusted to function as a desk sitting over it. It showed the position of architecture that tried to keep a little distance from the interior and the exterior.
和川西的房子一样，有意划分的楼梯在这所房子里形成了一个平台，微妙地漂浮在地板上750毫米。我们试图表现这种不属于任何一个楼层的模糊感觉，不是通过实际的落地，而是通过其他的操作，如窗户的安排。虽然它们有一个传统的规模，但开口的大小很容易被操纵，因为它们不受物理体的规模限制。
As well as House in Kawanishi, intentional division of stairs makes a landing in this house, floating delicately 750mm above the floor. We tried to represent this ambiguous feeling of belonging to neither of the floors not by actual landing, but by other manipulation such as window arrangement. While they have a conventional scale, the size of the opening is easy to be manipulated, as they are not restricted by scale of physical bodies.
在《Hieidaira的房子》中，利用谷仓的传统形象，我们试图让原型的房子看起来比它们的实际尺寸小。在这个房子里，我们平均放置了三排窗户，期望在它的尺寸上带来一个规模上的差距，以及一种神秘的漂浮感，这与在登陆时的感觉相似。
In House in Hieidaira, utilizing the conventional image of barns, we tried to make archetypal houses look smaller than their actual size. In this house, we placed three rows of windows equally, expecting to bring a scale gap in its size, and a mystical feeling of floating, which is similar to the one felt on landings.
“彦根的房子 “是为滋贺县彦根的一对年轻夫妇和他们的孩子设计的独栋别墅。到目前为止，这个住宅区主要由草地组成，但很快就会被现成的房屋所占据。我们面临的挑战是在那里寻求一个合适的建筑形式，它将解决任何周围的环境，保持草原的记忆。
“House in Hikone” is a single family house for a young couple and their children in Hikone, Shiga. A residential area so far existing of mainly grassland, but soon to be occupied by ready built houses. The challenge was to seek a proper built form there, which will resolve any surrounding environment, keeping the memory of grassland.
其结果是有42个窗户的白色椭圆形圆柱体，其中插入了木箱和地板以创造一个生活空间。它被斜着放在场地里，在相邻的房屋之间留出空间。许多窗户将视野分割开来，使外墙成为一个过滤器。通过这种方式，房子已经准备好应对周围环境的任何变化。奇怪的是，看不见的部分得到了适当的补充，出现了某种类型的透明度。
It resulted in the white oval cylinder with forty-two windows, in which wooden boxes and a floor were inserted to create a living space. It was placed diagonally in the site, remaining space between adjoining houses. Many windows segment the view and make the façade work as a filter. In this way, the house is ready for any change in the surrounding environment. Curiously enough, invisible parts were supplemented suitably, and a certain type of transparency appeared.
外墙，窗户被平等地放置在上面，调解了各种生活问题，而它又独立于它们。它看起来好像是从建筑中翻新出来的，用于不同的用途，我们期望它能给这个房子带来某种类型的新鲜的废墟质量。
The outer wall, on which windows are placed equally, mediate a variety of living issues, while it is independent from them. It appears as if it is renovated from the building for a different use, which we expected to bring a certain type of fresh quality of ruins to this house.
Architects: Tato Architects
Area: 106 m²
Photographs: Shinkenchiku Sha
Construction: Amuza Koumuten
Structure: Takashi Manda Structural, Takashi Manda, Taijiro Kato
Design:Tato Architects, Yo Shimada
Team:Yo Shimada, Takeo Watanabe, Yuka Himeno
Country:Japan