宮坂家族住宅建立了兩種不同文化（西方和日本）美學(xué)的聯(lián)系橋梁。為適應(yīng)總裁忙碌的生活方式，以及為年邁的父母提供一個住所，這座住宅被設(shè)想成城市花園綠洲中一顆璀璨的明珠?？蛻魪囊婚_始就表達了他對“西式”風(fēng)格以及他父母對日本傳統(tǒng)風(fēng)格的訴求。

The Miyasaka residence bridges the aesthetics of two disparate cultures (Western and Japanese), emblematic of neither, yet summoning echoes of both. Built to accommodate the busy lifestyle of the president of a major commercial building contractor, as well as providing a place of repose for his elderly parents; the house was conceived to appear as a radiant jewel in the midst of an urban garden oasis. From the beginning, the client expressed his wish for a “Western” style home, as well as his parents’ desire for Japanese tradition. Above all else, the family wanted to construct an edifice radiating a sense of strength, permanence manifested in physical form as their legacy in Obihiro.

每個人都會用自己獨特的視角來理解這棟住宅，無論是西式還是傳統(tǒng)日式，這都無關(guān)緊要。

Everyone sees the house through his or her own eyes and it is irrelevant if one views it as Western or as Japanese.

在某種程度上它是自然的，因為這個結(jié)構(gòu)是對其基地和居住者的詩意表達; 在某種程度上它是舒適的，因為它有效的解決了居住者對功能和精神生活的需求；在某種程度上它也是美麗的，因為它將展現(xiàn)新的驚喜、神秘和喜悅，這些將是建筑受益一生的元素。

No matter how one interprets it, the truth of the house will shine through, moving one’s emotions by evoking a feeling of nature, comfort and beauty. It is natural in the sense that the structure is a poetic translation of its site and occupants; comfortable in the sense that it uniquely solved the occupant’s functional and spiritual living requirements and beautiful in the sense that it will continue to reveal new surprises, mystery and delight – the elements that make architecture rewarding for a lifetime. 

在這個項目中，建筑師提出了一種尊重自然材料的設(shè)計方法。元素的連續(xù)性，內(nèi)外空間聯(lián)系的重要性，但最重要的是，對結(jié)構(gòu)的詩意運用的理解，它是一個超越物質(zhì)層面到精神層面的轉(zhuǎn)換器。

To this program, the architect brought an approach to design that honors the use of natural materials. A continuity of elements, the importance of connection of inside to outside, but above all else, an understanding of the poetic use of expressive structure as a generator of space that transcends from the physical plane to the spiritual.

建筑師嘗試將早晨的陽光引入主臥和廚房區(qū)域，并將午后的陽光引入父母的房間，同時保留現(xiàn)有景觀，最終成為了該平面布局。抬高二層以在它和樹冠之間插入一個連續(xù)的玻璃天窗，從而在大量積雪的冬天，內(nèi)部能夠滲入更多的自然光。這導(dǎo)致了整個二層以一層為基礎(chǔ); 讓它看起來像漂浮在基地上，就像一只在飛行的鳥。

The architect’s efforts to bring morning sunlight into the master suite and kitchen area, afternoon sunlight into the parent’s suite, while preserving the existing landscape ultimately provided a genesis for the plan. Elevating the second story allowed for the insertion of a continuous band of clerestory glazing between it and the canopy, thereby introducing an incredible amount of natural light to penetrate throughout the interior even during the heavy snow buildup of winter. This resulted in the entire second story being held proud of the first; providing the sensation of it appearing to float above it’s base, like a bird frozen in mid-flight. 

帶廣地區(qū)容易發(fā)生地震。為了幫助抗震，膠合層壓梁設(shè)計成彎曲的元件，這也使得天花板、墻壁和地板之間的界限變得模糊。

The geographical area is earthquake prone. To assist in earthquake resistance, glue-laminated beams were conceived of as curved elements; a decision that also allowed a blurring of the distinction between ceiling, wall, and floor; the result is a comforting, womb-like space for its occupants. A fusion of radial and triangular geometry, it consists of two linear wings emerging from a radial central section. 

此外，還需要將日本傳統(tǒng)的需求融入到設(shè)計之中，并將日式房間與佛教祭壇以及神社的獨立區(qū)域融合在一起，同時也需要符合日本的風(fēng)水。房子的布置及其曲線形狀允許它在基地現(xiàn)有的樹木之間進行布局。

A further consideration was blending the traditional Japanese needs within the design, incorporating a Japanese room with a Buddhist altar and a separate area for the Shinto shrine while also being faithful to the Japanese version of Feng Shei. The placement of the house and its curvilinear shape allowed it to weave between the existing trees on the site. 

宮坂先生評論其住宅說道:“這房子令我很開心，仿佛它在跟我對話?！?/span>

Mr. Miyasaka refers to his house by saying; “this house makes me very happy, it speaks to me.” 

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