Drawing by yusukeehara

"House of Wood Spirit" Drawings

Initial launch using "Absolute On-Site" video excerpts

Excerpt from "Absolute On-Site" video

Assumed existing image elevation S=1:50

Rectangular drawing of assumed existing image S=1:20

Existing 1st Floor Plan S=1:50

Existing 2nd Floor Plan S=1:50

Existing 2F roof plan S=1:50

Existing axis assembly drawing (absolute site) as ① S=1:50

Existing axis assembly drawing (absolute site) as ⑥ S=1:50

Existing axis assembly drawing (absolute site) as A S=1:50

Existing axis drawing (absolute site) as F S=1:50

105 square timbers used in the experiment S=1:2.5 S=1:5

Dimensional drawing of sound Speed of sound = dimensions S=1:700 Sound dimension drawing Scale method S=1:700 --- "House of Wooden Spirit"----. First floor plan S=1:50

Main reference source: "Practical Design Methods for Wooden Houses" by Takao Ohba, 2006.

This design was based on a video of an existing wooden frame that once existed in Tokyo Gaienmae, which was used in Ryoji Suzuki's "Absolute Site" (1987), as the only documentation of its existence, and was designed with the actual construction in mind. I selected this legendary work, which has formal similarities with the absolute site but is little known due to its brief exhibition only, as a stage to output my past research while exploring its possibilities in the modern age. (If you are interested, please click the QR code below right to watch the video.)

To give an overview, in 1987, a wooden house was demolished and a new building was constructed on the site, a common scheme in the modern era. Ryoji Suzuki decided to call a halt to this plan, and instead of destroying the house, he demolished it, leaving only the wooden axis intact, in an attempt to rewind the act of construction. He then placed metal wires for the purpose of a short-term earthquake-resistant structure, and inserted glass panels of six-thirds glass on the first floor only, using T-shaped steel bundles in key places throughout. Afterwards, the glass floor was broken with a hammer in front of a crowd of people who were attracted to the architecture without knowing the specific intent of the project, and this was captured on video. This goes beyond the meaning of the architecture and leads us to various speculations.

Like "Absolute On-Site," I dare not use explanations, but rather attempt to convey the work through the medium of drawings alone. I was fascinated by the fascination of the design and its strong message in a single 21:08 video. Although it may not be as powerful as this overwhelming work, I hope that it conveys the unspoken enthusiasm of a person who has devoted four years to designing.

Also, although this love will never reach the author of "Absolute Site," Mr. Ryoji Suzuki, co-creator Kyoji Takubo, and all the other people involved, I would like to take this opportunity to express my heartfelt respect to them.

Yusuke Ehara