A metaphor used in philosophy is "Mobius's ring". This involves taking a piece of tape which is black on one side and white on the other, and twisting the tape halfway and connecting the ends, to form a loop where the side that was black imperceptibly connects to the white side. The idea is to twist the thought that the front is normally black and the back is white, to create a metaphor for connecting and inverting the inside and outside.
My intent in Knockout the moonlight was to create space like "Mobius's ring". The inside imperceptibly becomes the outside, and vice versa. The rule to this end is a "unicursal band". Normally, architectures follow an unwritten rule to be configured of the inevitable materials of floors, walls, and roof, but Knockout the moonlight is not dependent on any such accepted configuration styles. Instead, in a single savage brush stroke, I wrapped up the air of the plot to create a "somewhat inside-ish atmosphere". Just like the inside of a Japanese kimono is formed by wrapping a long band around and around the body. However, the wrapping for Knockout the moonlight is done in a "somewhat" manner, so this creates offsets and gaps above and blow the band. These offsets and gaps are themselves the upper skylights for casting light inside, the garden, and the vaulted ceilings.
This allows for sufficient light intake, privacy, and a relaxing external space, even in the middle of an overcrowded city.
Also, this band which is a wall is formed as a single brush stroke, thereby challenging the boundary between "landscape" and "architecture". This is because there are three types of walls, "outer wall", "landscape wall", and "partition wall", but this wall serves as all three in one. The band that started as a "partition wall" imperceptibly becomes the "outer wall" and "landscape wall" along the path of the brush stroke. And inverted, as well.