架构师提供的文本描述。环面的基本成分是双层结构，由一个白色的半无定形盒组成，它漂浮在下层，周围是玻璃和穿孔铝板。这一层的透明性和开放性是一种自然的解决方案，因为它的功能要求是将沙龙的存在暴露给潜在的顾客和其他路过的人，以及在被弯曲的穿孔分区包围的商店区域外开辟地面，作为“狗跑”场，狗可以在那里自由地跑来跑去。曲线墙的明显自由线实际上是基于我们对所谓的“欢迎区”的仔细认识，即需要在建筑工地外向城市环境开放的口袋区域。停车、入口处和室外设备空间等区域的切断导致了墙的不规则曲线作为这些操作的输出。

Text description provided by the architects. Basic composition of TORUS is a bilayer structure consisted of a white, half-amorphous box floating on the lower layer softly surrounded by glass and perforated aluminum panels. The transparency and the openness of this layer is a natural solution for the functional requirement to expose the presence of the salon to prospective customers and other passer-bys, as well as to open up the ground outside the shop area surrounded by the curved perforated partitions as "dog-run" field where dogs can freely run around. The apparently free line of the curved wall is actually based on our careful recognition of what we call the "welcoming zones", i.e., the pocket areas required to open up to the urban context outside the building site. The cutting-outs of such zones as parking, entrance and spaces for outdoor equipment have resulted in the irregular curve of the wall as the output of such operations.

 © STUDIO DIO

演播室DIO

上层单元包含两层楼，与开放的、透明的下层形成鲜明对比，其沉重、庞大的外观几乎像一辆全副武装的坦克，保卫着客户家庭相当内敛的生活。仔细观察，墙壁表面显示出类似手工陶器的质地，而不是扁平、统一的工业产品。

The upper unit containing two floors within presents a sharp contrast to the open, transparent lower layer with its weighty, massive appearance almost like a heavily-armed tank defending the rather indoorsy life of the client family. With a closer look, the surface of the wall shows a texture similar to a handmade pottery instead of that of a flat, uniform industrial product.

 © STUDIO DIO

演播室DIO

类似陶器的质地是反复将防水材料涂抹在墙上的艰苦手工操作的结果。除了对近景纹理的考虑外，这第二层的外部也涉及到我们对建筑物的更远距离前景的敏感性，这是通过将天空转录到墙上的操作来实现的。转录过程如下：首先，在框架完成之日(第一阶段)，我们拍摄了一张地点上方天空的照片，然后将该图像抽象为灰度梯度图(第二阶段)，然后在墙壁的四面仔细复制，作为起伏表面的等高线图；最后，我们在根据轮廓线控制其厚度(从0到30毫米)的同时，用修整砂浆覆盖了表面，从而出现了模糊不清的云天纹理。如下图所示，完成后的墙自然地呈现出天空的细密云彩特征。

The pottery-like texture is the result of painstaking manual operation of repeatedly applying and spreading the waterproof material onto the wall. Beside such a consideration to the close-up texture, the exterior of this second layer also involves our sensitivity to the longer-distance outlook of the building, which is realized by an operation of transcribing the sky onto the wall. The transcription process is as following: first, we took a picture of the sky right above the site on the day of framework completion (PHASE 1); the picture was then abstracted into a gray-scale gradation graphic (PHASE 2), which we applied as the contour map of the undulating surface by carefully duplicating it on the four sides of the wall; finally, we covered the surface with finishing mortar while controlling its thickness (varied from 0 to 30mm) based on the contour lines – and thus emerged the ambiguous cloudy sky texture. The finished wall naturally takes on a feature of the sky with wispy clouds, as shown in the pictures below.

 © STUDIO DIO

演播室DIO

上述外墙的处理，使我们可以在浮箱的角上制造出奇特而模糊的边缘，这明显有别于我们所熟悉的用一般工业材料制造的建筑角落的锋利边缘，从而使这座建筑在普通的城市景观中脱颖而出。在一个多云的日子里，漂浮的物体看起来就像与天空融为一体，而它的边缘随着它们融化成背景中的渐变云而失去了各自的物质性。环面可能是一种罕见的建筑，在云层下比晴空下看起来要好得多。

The treatment of the exterior wall described above has allowed us to produce quirky and blurry edges on the corners of the floating box, which is obviously different from the familiar sight of sharp edges of building corners fashioned with usual industrial materials – and thus make this architecture stand out in the ordinary cityscape. On a cloudy day, the floating mass looks as if it blends in with the sky, while its edges lose their individual materiality as they melt into the gradational clouds in the background. TORUS is probably a rare architecture that looks much better under clouds than clear sky.

 © STUDIO DIO

演播室DIO

让我们进入一个巨大的浮动盒子，它看起来非常排斥周围的城市环境。入口处有一个小的口袋空间：虽然它仍然是一个露天的空间，但由于比例和开口的精心处理，它在某种程度上带有室内气氛。就在大门里面，巨大的盒子里有一个巨大的空隙。这是环面内的特殊气氛，一个甜甜圈状的几何图形，里面有一个很大的开口.虽然建筑物的外观意味着最终的关闭，但它包含了一个令人惊讶的巨大空间或“外部”几乎错误的街道或露台-这实际上是一个玻璃覆盖的内部空隙。

Let us move up into the massive floating box, which appears extremely exclusive of the surrounding urban context. Beside the entrance door is a small pocket space: although it is still an open-air space, it somehow bears an indoor atmosphere due to the careful treatment of proportions and openings. Right inside the entrance door is a huge void within the massive box. This is the particular atmosphere inside TORUS, a doughnut-like geometry with one big opening within. While the outlook of the building implies ultimate closure, it embraces a surprisingly voluminous space or “The Outside” almost mistakable for a street or a patio – which is actually a glass-covered interior void.

 © STUDIO DIO

演播室DIO

这种“外部效应”的首要因素显然是屋顶上巨大的顶灯，但还有另一个，相当模糊的因素：坚固的内墙装饰。实际上，这种材料本身就是一种普通的、廉价的胶合板，在日本的任何五金店都能买到。为了使这种日常材料具有特殊的触觉质量，我们将面板切成宽度为200 mm的窄板，然后手动从每一块板上取出软部分，让硬质颗粒在表面突出。随着涂饰白漆(这需要一个特殊的准备，以均匀的油漆表面吸水和非吸收部分)，普通的材料已经变成了一个独特的整理材料像这样。

The prior factor of this “outside effect” is obviously the gigantic top light on the roof, but there is another, rather obscure one: the rugged interior wall finish. The material itself is actually an ordinary, cheap plywood panel available in any hardware store in Japan. To give the particular tactile quality to this daily material, we cut the panels into narrow boards of 200mm width each and then manually removed the soft parts from each and every board to let the hard grains stand out on the surface. With the finishing white paint (which needed a special preparation to evenly paint over the water-absorbing and non-absorbing portions of the surface), the ordinary material has been turned into a unique finishing material like this.

这项极其费时的工作是由我们的教职员工和由首席建筑师前田(Norisada Maeda)领导的私立学校的学生们完成的，花了大约两个月的时间才完成了所有必要的木板，以填满大楼的内墙(如果把这项工作投入到专业木匠和画家…身上，这是难以想象的)。。由此产生的差异从远处看可能显得相当轻微和模糊，但仔细观察将显示粗糙的，但也有品味的纹理，人工老化的墙，如下图所示。

This extremely labor- and time-consuming work was all done by our staff and the students of the private school led by the chief architect Norisada Maeda, and it took about two months to finish all the boards necessary to fill up the interior wall of the building (it is unimaginable how much it would have costed if the work has been committed to professional carpenters and the painters…). The resulted difference may appear rather slight and obscure from a distance, but a closer look will show the rough, but also tasteful texture of the artificially aged wall as shown in the picture below.

 © STUDIO DIO

演播室DIO

像胶合板这样的通用工业材料通常要求-甚至是夸耀-它们的质量达到了极限的均匀性，尽管它们无法消除木纹上的细微差别，例如它们的木纹。这与当代消费者对这种均匀加工材料的有序外观的偏好相呼应。然而，我们认为，这种对表面清洁和/或秩序的短视品味是当今建筑质量贫困的主要原因之一。就连胶合板也有其个性特征，就像每个人都有不同的脸型和生活史一样。人工老化处理暴露出每一个工业加工胶合板内的个体“木材”性质，是我们对构成实际建筑空间的木质材料的一种敬意。

General-purpose industrial materials like plywood panels usually require – or even boast of – ultimate evenness of their qualities, although they can never get rid of slight differences in, for example, their wood grains. It echoes with the contemporary consumers’ taste for orderly outlook of such evenly processed materials. We consider, however, such myopic taste for apparent cleanliness and/or orderliness as one of the big reasons for the qualitative poverty of today’s architecture. Even the plywood boards have individual characteristics, like each and every human individual has different face and life history. The artificial aging treatment to expose the individual “wood” nature within each and every industrially-processed plywood is a sort of a manifestation of our homage to the wooden materials that make up the actual architectural space.