架构师提供的文本描述。想象一下，当你的思想回到过去的时候，你可能会想象一个地点：潮湿的土壤形成了一片柔软的土地，你的足迹，古老的，天气恶劣的楼梯，在早期被用作一条土路，一个可爱的古老的挡土墙和精心珍爱的植物。当我们第一次踏上这片古老的土地时，我们不仅对这个郁郁葱葱的地方感兴趣，而且还对它那铺在每一根纤维中的惊人的美丽感兴趣。

Text description provided by the architects. Imagine a site you might picture, when letting your mind wonder back in time: damp soil forms a soft ground, catching your footsteps, ancient, weather-beaten stairs, that have been used in earlier times as an earthen path, a lovely old retaining wall and carefully cherished plants. When we first set foot on this old soil in the city of Myoren-ji, we not merely got interested by this lush site, but rather fascinated by its' overwhelming beauty, that laid in every single FIBRE.

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

当涉及到建筑时，这种感觉不应该被看作是令人不安的东西，而且它也应该被理由的魅力所占据。换句话说：建造一座建筑并不意味着“把东西放在地面上”，而是要更接近地面的“谨慎交易”。

Such a feeling should never be seen as something disturbing, when it comes to architecture, moreover should it be as such occupied by the grounds' fascination. To put it in other words: to build an architecture does not merelz mean to "put something on the ground", but rather to come closer to the grounds' scrupulous dealing.

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

如果你让你的手指穿过赛鲁伊德果酱的整个表面，无论你从哪里开始，你都可以一次从外到内，然后回到你的起点，而不休息。(B)触摸外部和内部的每一个点，然后回到你的起点，而不抬起你的手指一次。

If you let your finger run across the complete surface of Celluloid Jam, no matter where you would start, you could a) go in one round from exterior to interior and back to your starting point without taking a break. b) touch every point on the exterior as well as on the interior and returning back to your starting point without lifting your finger once.

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

一方面，表面是建筑从外墙到屋顶，再到地板，再到内墙到天花板的流动，因此可以看作是一种无缝结构。另一方面，形状本身是通过切割、打开和弯曲所谓的Moebius条来创造的(Moebius带材是通过扭曲和转动8号形状的皮带而形成的)。

On one hand there is the surface, which results as a flow of the architecture from outer wall to roof to flooring to interior wall to ceiling and can therefore be seen as a seamless structure. While on the other hand the shape itself is being created by cutting, opening and bending the so called Moebius strip (which is formed topologically by twisting and turning a belt in shape of the number 8).

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

你可以感受到对地面的渴望，让它与建筑融为一体。因此，为了建立外部渲染、植物、房间、挡土墙、梯田、古楼梯、露台和阳台之间的几何联系，建筑和自然这两个组成部分通过附着力慢慢地结合成一个统一的质量。

You could feel the longing for the ground to become one with the architecture. So in order to create this connection of exterior rendering, plants, rooms, retaining wall, terrace, ancient stairs, patio and balcony with geometric help, the two components (architecture and nature) have been slowly combined to one united mass by applying adhesion.

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

为了强调这一印象，细胞堵塞的完整表面已经实现，没有可见的连接。木结构采用纤维约束塑料加固，形成独特的内外表面，形成一个流动的壳体，减少了准时的静载荷，使静载荷均匀分布。因此，建筑外壳接近其鼓舞人心的自然例子：蛋壳。

To underline this impression, Celluloid Jams complete surface has been realized without visible junctures. The wooden construction is revetted by fibre restrained plastic to create one unique surface of both interior and exterior and furthermore to form one flowing shell, in which the punctual static loads are being reduced, while the static loads can be evenly spread. So the architectural shell approaches its inspiring natural example: the egg shell.

 © Toshihiro Sobajima

(3)Sobajima Toshihiro Sobajima

在土壤的顶端，摩比厄斯带与地面接触，自然和建筑之间的边界就像融化的塑料一样，消失得无影无踪。这种分离仅仅是由眼睛看到和投射出来的。

On top of the soil, where the Moebius strip touches the ground, the border between nature and the architecture dissolves into nothing, just like melting plastic. This separation is merely seen and projected by the eye.