“Ginsyadan` is the name of the garden at “Ginkakuji` in Kyoto, which is made of white gravel and shining in the moonlit night. As a clue to create the architecture, I often think it is important to read the context of the site and submit a planning which shows a certain response for the neighboring environment. However, today the neighboring environment is only a part of space-time continuum cut off slightly. Thus, there are not many meanings to be particular about the temporal place. And I think it is more important to create the system which should called real International style or “Inter-topos`. The site located in the south of Wakayama castle in Japan which was the village of samurai residences in the past. Now, each site is sectioned spaciously on the street which was formed a grid. It has ideal environment to live. But on the other hand, there is not much personality of the site. I considered how I should design the house on the site of 580 square meters. At first I tried to form the new outside domain which was subordinate to the building in the site, because an influence given from neighboring environment was poor. It will develop like the microcosm cut out from neighboring environment. But it is not a plan of the inner court separated from the outskirt but I cut a space that a domain led to the sky like scooping water with a palm. ? Demands of the client were gathered by some words below: He wants, ?the house of exposed concrete. ?a pond (a basin) in the garden. ?a whirlpool bath. ?invisible approach from the outside. Of course designer is not needed only for concretizing these words. So we have to read a meaning covered by the back of words. Therefore I thought about a meaning of exposed concrete that the client said. Probably it pointed at matière of concrete. But usually people realize “exposed concrete` as the whole images of well-known buildings made of exposed concrete which they experienced in the past. So they almost lose sight of matière of concrete, and they are particular about the finish of the surface that they looked short sight. It is a matter of course for the client. And it was an opportunity for me to reconfirm a meaning of the exposed concrete again. It’s natural that exposed concrete is not finished because it is not covered anything. I thought it will be finished by the realization of who feel it. Therefore exposed concrete is never finished without high quality architectural space. The building consists of three blocks, main building, the detached building which contains the library, and garage whose roof is the slant of the glass. The building that is made in bearing wall structure consolidates elements for level power on the outskirts of the building, and all surfaces facing the garden are windows. I set up a lattice of the aluminum to consider the privacy in front of the windows on the second floor where private rooms were arranged. This lattice determines not only simple blindfold but also quality of the space of this house as a layer. In consideration to connect the space, I decided lattices position. The outer wall of the garage facing the street was finished in the only white. Because I didn’t want to make the wall surface of concrete which is the first face visitor meet. The visitor gets into the domain of the house through the gap between the white wall and the detached building, like the people enter the Japanese tea room through the small door named “Nijiri-guchi`. There are many small windows in the wall surface of the detached room. When you look at the inside through these small windows from the outside, you can feel the sky opening above the domain of this house. Previously I said the outskirt of the site is a part which determines the domain. But I thought it should leave consecutive imagery to the neighboring environment without unsociably. Thus, I arranged small courtyards and aluminum lattices partially and there are many small windows in concrete wall. It means a transmitting filter. Space falls out through courtyards and lattices. At the same time I put the mirror materials of the stainless steel on the entrance door and transactions of the wall facing the garden for erasing its existence. Also the staircase disappears from sight when seeing from the approach facing the garden. In the garden, I was conscious of nature reproduced artificially. It is not a natural pond but reproducing a flow of the white gravel such as `Ginsyadan` which was conscious of water. “Ginsyadan` means a courtyard which has white gravel with straight lines represents waves, and it is in Ginkakuji Temple that is one of the most important historically buildings in Kyoto of Japan. It is just like Japanese dry landscape garden. To emphasize a flow of the water, the square unit which made of stainless steel flat bar was overlapped with from the upper reaches to the lower reaches. At autumn evening, if you see “Ginsyadan` in the night of full moon, you will be fascinated with a flow of the water when quartz glitters, and the Japanese maple turned burning red. In another garden which spreads in the north over the approach, there are 8 olives in form to cross grid. When completed, the client said that an impression of the concrete changed. After all “exposed concrete` is not finished even if only looking surface of the concrete.