3. quoted image of Gagaku (quoted from Hikawa Gagaku-kai's website: http://www.akasakahikawa. or.jp/about/class/gagaku/)
4. the Egawa family residence (main roof structure)
5. wood 0
6. wood 1.2
7. donated wood 3-6
8. Anemic Cinema
9. replacing sound field with magnetic field
10. gift wood 7
11. looking at a piece of wood
12. study model 1 (peripheral visual space and auditory space)
13. study model 2
14. study model 3
15. study model 4
16. study model 5
17. study model 6
18. absolute site 1_magazine cover
19. study list
20. absolute site 3_Magazine(Photo by Shigeo Anzai)
21. Yoko Ono-1666-Eye Blink
22. time compressed perspective
23. completed model 3
24. completed model 4
25. completed model 5
26. completed model 6
27. completed model 7
28. completed model 8
29. completed model 9
30. completed model 10
31. completed model 11
32. completed model 12
33. completed model 13
34. completed model 14 (back cover)
◀Cover photo: Photographed by Shigeo Anzai (Taken from the flier for the final Modern and Contemporary Architecture Exploration Tour, The Museum of Modern Art, Saitama, 2008)
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 earthquakeresistant 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 photography 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
BB' cross section S=1:50
Cross Section S=1:50
North elevation S=1:50
2F plan view S=1:50
1F plan view S=1:50
0.4sec
0.3sec
0.1sec
340,000㎜＝1sec
絶対現場敷地周辺
34,000㎜＝0.1秒
340㎜＝0.001秒
3,400㎜＝0.01秒
木霊の家
原点=木造軸組
四つの通し柱
桧 120×120 ℓ=5,380
Sound dimensional drawing
Sha-kan Method S=1:700
0.4sec 0.3sec
0.1sec
340,000㎜＝1sec
34,000㎜＝0.1秒
340㎜＝0.001秒
3,400㎜＝0.01秒
原点=木造軸組
四つの通し柱
桧 120×120 ℓ=5,380 Sound Dimensions (Drawing)Speed of Sound = Dimension
square timber used in the experiment S=1:2.5
Base line F Existing Axis Drawing (absolute site) S=1:50
胴差赤松 120×120×3.0ℓ 継手 ℓ=390
ℓ=390 120×120×4.0ℓ
Base line (6) Existing Axis Drawing (absolute site) S=1:50
妻梁 105×105×4.0ℓ 継手 ℓ=390
胴差赤松 120×120×4.0ℓ 継手 ℓ=390
土台米ヒバ 120×120×4.0ℓ 継手 ℓ=150
Base line (1) Existing Axis Drawing (absolute site) S=1:50
Rectangular drawing of assumed existing image S=1:20
Reference: NIKKEN College of Architecture Level 2 Architecture Test 2023 Design Charts Model Answers
Video clippings used in the creation of the 3D model for "Absolute On-Site" (the one that shows the best placement)
Initial notes using the "Absolute Site" video (to determine the location of each material)
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
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
Main reference source: "Practical Design Methods for Wooden Houses" by Takao Ohba, 2006.
"House of Wood Spirit" Drawings
The House of the spirit of the tree
Yusuke Ehara
One summer day, A was strolling through the town. This town is filled with various sounds today.
Mr. A, who likes to take walks around town, had a secret He does not use his eyes.
One day, as Mr. A was walking down the street as usual, he heard a sound
The place where the various sounds were heard was about to start construction to demolish an Japanese old house.
B, who was doing construction work, said
B "We're going to tear down this house."
A, who did not use his eyes, felt somewhat sad.
A "Why are you destroying it? Why don't you just put it back in order?
Actually, B also had a secret: B did not use his ears.
When B saw the sad look on A's face, she did not "break it" as usual, B carefully removed the walls and floor, and "put it back together" with wooden bones.
After the construction was finished, A went inside and said
"Wow, that's great! I feel the same rhythm when I do thi s.
"Rhythm...? Maybe that's because it's based on 910mm, which is called "shaku-kan-ho".
But B could not understand the rhythm very well.
experience the rhythm of the Japanese system of measure
B "Rhythm...?"
A thought for a moment and then said.
A "I
always concentrate on the sounds, so I sense length by the rhythm of the sounds."
transparency
B "Then, let's make a place where many people can feel the rhythm you just felt.
A “Perhaps if we made the floor “transparent”, the rhythm would look better?”
place of clinging on
B “Transparent” is the most “empty” of all.
But there is a
lot of stuff here.
(concrete) iron reinforcing bar
steel pipe
foundation
glass
wooden board
aluminum (Al)
wooden pole
A"I don't use my eyes, but I
think the opposite of transparency is dirt or shadowy black. So, if I were to arrange what I see here, it would be in this order."
B "But the shapes are still different.
A "Well, sound can travel 340 meters per second Note 1 ,
so if we use this as a standard, we might be able to experience the rhythm together... I'll try to cut it with that length."
Note 1: Velocity of sound (m/sec) = 331.5 + 0.6 x temperature (°C) 340 (m/sec) at an air temperature of approx. 15°C
B, who was watching, said
B " Let's try to put this material between the wooden bones."
A replied
A "Sound always comes from different directions, so if you try to put it in that direction, it will work."
B "Well, let's imagine that the sound is coming from the four directions toward the pillars at the four ends."
A "But this doesn't allow me to feel the sound and the rhythm of the wood inside."
B "Yes, well, let's put this sound wall inside so that we can feel the difference in rhythm inside.
Because, you see, sound bends (diffracts).
I think we should imagine the sound being bent by the wood, and make the material a little more realistic."
A“It’s a great collection of sounds, it’s very special, Well, then, let’s make the floor this way, too, and break off the edges.”
B " Wow! Looks like you've got some outside sounds coming into the tree.
But it's still a little wobbly..."
A "Let's connect the gaps with the remaining material, Then it will be more balanced...!"
A "Wow, if you and I work together, we can make all kinds of shapes to match the sound."
A "If you put a white board up here like a painting... you can feel the rhythm of the sound..."
The original length of the tree can be lengthened, or the original columns can be taken down and replaced with other timbers because they are now old...
B "If you pulled it out, you have to support it here! It's going to fit perfectly!"
A "Let's put a roof over half of it... I'll decide the length."
B "Let's make this place climb like a ladder!"
B "Finally, we've got the balance right, and I'm glad it's not wobbling around in the rain and wind.
A "Let's put the extra material up, we can still put it somewhere..."
B "But this... where to put it is very important.”
Thus, little by little, thinking of each other, closing their eyes, covering their
their ears, and touching the materials, the shape of the building was created.
A "Time seems to have slowed down..."
B
"This is the rhythm you felt, I feel a mysterious power..."
"I don't know why, even when I'm not concentrating,
I see more patterns, lights, shadows, and dirt in the trees than before..."
Thus, one house was created.
As time went by, we began to call it "The house of 木霊" Note 2 , as the visible trees seemed to throw back the sounds from outside, and the building itself seemed to emit sounds.
Note 2:In Japan, the Chinese character for "木霊" has two meanings: echo and tree spirit.
Afterword
In this story, A and B, who have a secret, meet in a certain town and create "Kodama no Ie (House of Kodama). When I saw this, I noticed something. There are many other houses in this town. All of them have their own individuality, each with its own way of construction and decay. Even if the story is the same as this one, the way things are placed in each house is different. This will tell us about the individuality of each house to many people.
Even if they are not there, I feel that a house where people have lived for a long time has a lot of power.
The wooden structure has absorbed this power, and if you carefully "restore" it and combine it with a rhythm other than the rhythm of the wood, you can feel its power. It will become a new rhythm that will spread throughout the town.
Then we will be able to naturally sense the power in the town that we have not felt before, and we will be able to have a more human experience every day.
The need for presence awareness beyond the visual
Trial Experiment of Extended Methods of Architectural Recognition
Yusuke Ehara
The need for presence awareness beyond the visual
Trial Experiment of Extended Methods of Architectural Recognition
Yusuke Ehara
Need for presence awareness beyond the visual
Trial Experiment of Extended Methods of Architectural Recognition
Yusuke Ehara
Background of the experiment -
Study of the occupation of the visual domain and the auditory world in the perception of architecture
When humans perceive something, they rely on vision about 83% of the timeNote 1 (fig. 1). This indicates that vision accounts for a very high percentage of the five senses. Vision is the act of sensing light with the eyes to obtain information. In other words, people obtained most of their information from light. Everything emits light in one form or another. Hearing accounts for only about 11% of the total, which is extremely small. You can see how humans do not use their sense of hearing. Here, I questioned this dominance of sight and wondered if we could expand the possibilities of hearing. What would happen if the current world of light were converted into a world made up of hearing filled with sound? Such a simple question was the starting point of this project.
Note 1: It is said that the percentage of the five human senses used is approximately 83.0% for sight, 11.0% for hearing, 3.5% for smell, 1.5% for touch, and 1.0% for taste. Educational Equipment Editorial Committee, edited by JUSE Press, 1972.
From a Comparative Artistic Perspective -
Results and Considerations from a Western/Japanese Comparison
When considering music and architecture from a fundamental perspective, one often hears that music is a temporal art and architecture is a spatial art. For example, Goethe and Hegel said, "Architecture is frozen music, Gefrorene Musik” Note 2. In other words, when the time of music solidifies, it becomes space. But this, for me, could be swallowed as a clichéNote 3, but did not lead to an empirical understanding. (04/2022)
Now, let me elaborate a little further. Today, there are three main ways to connect music and architecture.
(1) Focusing on the performance space and the theme of sound field
(2) Developing around the issues of number and proportion (semantic)
(3) Comparing the forms of time and space (structural theory).
(1) has as its starting point the actual playing of music in space, and (2) recalls the proportionalist development of Pythagoras and Plato in the past, as well as the Greek theory of esthetics, which is linked to order Note 4 (fig. 2). (iii) is an attempt to develop a theory of time and space from the perspective of comparative art and to discover similarities on a structural level.（I attempted to verify each of them (from Taro Igarashi's "Musa, the Beautiful Goddess"). I attempted to verify each of them, especially (3), which deserves to be described. The reason for this is explained later. (05/2022)
In my research from a comparative artistic viewpoint, I will first make a dichotomous comparison between the West and Japan in music. In the West, classical music, which is widely dedicated to the gods, is the most widely rootedNote 5; in Japan, "Gagaku "Note 6 is considered traditional music, but it is not as well known as in the West. Furthermore, the West alone has spun off the idea of a connection between music and architecture through "notations” Note 7. I have attempted the same notations in gagaku as well (fig. 3). However, I could not obtain reliable results. (06/2022)
There were two major reasons for this. Gagaku music does not co nstitute a "melodious" whole like classical music. This is because it allows for so-called dissonance. It is also passed d own from master to apprentice through "shoga" Note 8and does not have a musical score. Therefore, there is no small amount of change from performance to performance. These two major differences from classical music are the result of the discussion of the results. (07/2022)
Let us once again summarize the characteristics of Gagaku. For one thing, it embraced dissonance, and for another, it emphasized one-timeliness. In other words, it embraces ambiguity and instability, which are not strongly valued in the West. In fact, fig.1 (Black: (Source for
when you listen to Gagaku, you will find this concept drifting in the air in a very "natural" way. I feel that this is also very important in Japanese architecture.The rise of reproduction technology during Japan's rapid economic growth caused architecture to lose its one-time nature, and people became accustomed to copying the same things Note 9 . The influence of this trend continues to this day, leading to a decline in our aesthetic sense of buildings and the birth of the term "scrap and build," which has become a false "norm" in Japanese architecture. The term "scrap-and-build" was born, and it has come to be regarded as the false "norm" of Japanese architecture. However, as mentioned above, this is not really the norm. Just as the one-time music of Gagaku (ancient Japanese court music) was familiar to everyone in the past, our original way of thinking was not rationality, but a state of accepting various things as they are and weaving them together in an ambiguous manner without cutting them down (fig. 4). (09/2022)
This discovery has changed the view of architecture from a comparative artistic perspective in Japan and the West, and has begun to reveal the type of architecture that should be pursued in the future. At the same time, it can be said that the research conducted in accordance with (3) has borne fruit. Next, we considered what was necessary for the output of this research and how to express it.
Note 2: Although Goethe/Hegel is mentioned here, it is said that E. P. Fenollosa originally described the rhythmic beauty of the eastern pagoda of Yakushiji Temple. This common phrase has been used by many later commentators.
Note 3: Cliché (French: cliché, pronounced [klɪ 'ʃe]) refers to a phrase (common phrase, cliché), expression, or concept that has lost its intended force and novelty as a result of overuse. In music, a cliché is also a change of one of the component tones by a semitone or whole tone when the same chord is played for a long period of time.
Note 4: In ancient Greece, Pythagoras discovered that chords could be generated by dividing a string into simple integer ratios. Plato also visualized the relationship between sounds in terms of length. Some of the melodies of music are the same as those of architectural order, and we can sense the relationship between the two.
Note 5: Classical music is a broad term, but there are many different types of music. The classical music I am describing here refers to hymns such as requiem, which are played in churches and other places of worship.
Note 6: "Gagaku" refers to ancient Japanese ceremonial music and dance, music and dance introduced from the Chinese continent and the Korean peninsula during the 400 years between the Asuka Period (when Buddhism was introduced to Japan) and the beginning of the Heian Period (794-1192), and music that was adapted to Japan's own style in the Heian Period (794-1192), which is now performed mainly by the Imperial Household Agency. It is now performed mainly by the Imperial Household Agency. It is also highly regarded abroad as world classical music.
Note 7: Notation using a specific symbol or sign. A notation system in mathematics, a notation system in music, and so on.
8: A method of transmission from master to pupil by oral tradition without notation. A performance is symbolized and vocalized into a song.
Note 9: Walter Benjamin, "Artworks in the Age of Reproduction Technology," in Art in the Age of Reproduction Technology, translated by Hisao Takagi and Kohei Takahara, edited by Motokazu Sasaki, Shobunsha, 1999, p.41.
5 Policies and Intentions - Determining Design Conditions and Effective Catalysts
(1) Awareness of materials/substances
In considering a catalyst for a more effective chemical reaction between sound (music) and architecture, I considered it most important to avoid as much as possible the fixed thinking of the past. In this age of visual perception, the starting point for picking up a new way of thinking should be something very essential and fundamental. It is a way of looking at things that is suspicious of the commonplace. First, we must change the way we look at the materials and substances that have been used as building materials. This is not an easy task. First of all, we emphasized that there are possibilities that cannot be understood even with a very poor way of thinking, and that we should not throw them away but leave them in place. For example, the difference in color. If architecture is a concrete thing that exists in the reality of space, music is an abstract thing. Therefore, we consider the matter close to the relationship between the two, such as transparency or opaqueness, black and white.
fig.3 ——Gagaku
are its unique characteristics. It was revealed that the fixed information medium of diagrams was not suitable for this project.
Notation While referring to Western musical scores and graphic notations, I notated the piece sensitively using my absolute pitch sense. Although I was able to show the music as figures, it was difficult to express the dissonance and one-time nature of Gagaku, which
fig.1 ——Percentage of Human Sensory Modalities (Black: Visual)
(Source of information quoted = Editing Committee for Educational Equipment, JUSE Press 1972)
fig.2 ── Orders as architectural theory for new construction (Serrio, "The Book of Architecture," Vol. 4, "The Five Styles of Building" [left] and Vignola, "The Five Orders of Architecture" [right]).
of information quoted Sebastiano Serlio, Tutte l'opere d'architettura et prrospetiva di Sebastiano Serlio Bolognese,1600
Zürich
Jacomo Barozzi da Vignola, Regola delli Cinque
d'Architettura, 1562［Bibliotheca Hertziana,
I tried to reclassify the various materials, assuming that glass is the most transparent and abstract (i.e., music), while earth, concrete, dirt, and darkness are concrete and architectural.
(2) Shape representing sound (music)
In addition, in order to visualize auditory information, some f orm must be created. That form should be the one that has the highest affinity with sound (music). In his book "The Composition of Cognition, "Note 10, psychologist U. Neisser explains that the way humans perceive things is that they first perceive a vague atmosphere and then recognize details. Therefore, I explored the form of sound (music) in various ways and tried to grasp the vague elements of sound rather than focusing on each individual detailed form. As a result, I found that all the detailed forms can be generally explained by three elements. The three elements are (1) circle〇, (2) wave～, and (3) direction→
(3) Relationship between activation of peripheral vision and forest-like space, wooden axis and auditory space
Let's unpack some more of U. Neisser's "Composition of Cognition," which I referred to in the previous section. The vague whole to detail flow of object recognition is very easy for us t o understand. For example, we all know that when we go for a walk in the forest, we get a very "rich" experience that activates various sensory organs. The interpretation of this mechanism is that we perceive many things only with our eyes, which allow us visual hegemony. However, unlike man-made spaces, forests are filled with trees, shimmering leaves, colors of the ground, and many other elements that do not allow our eyes to focus on them. In other words, we use our peripheral vision (fig. 5) first for perception, not our central/effective vision. This is an opportunity for the other senses. The senses of hearing, smell, and touch are all important for the senses of perception, because with sight alone we can only perceive a vague whole, while with hearing we can hear the rustling of leaves, smell the soil, and experience the texture of the wood and soil (sometimes we may even suck the nectar from a flower with our mouths).
We believe that the equivalent architectural space is the wooden frame. Although we usually recognize exposed structural timbers in various parts of a building, we rarely have the experience of being surrounded by timbers. However, when we perceive a single piece of wood, we fall prey to our central vision, but when we are surrounded by wood, we should be able to experience a sensory experience similar to that of a forest space (although the dimensions of the wood are the same, there are many differences in details such as grain, annual rings, and wood color) (fig. 6). In addition, wooden-axle houses are more common in urban centers, where people come and go, than in suburban areas, where they are independently built through mass production. When one experiences a wooden shaft, one's senses are limited by the wood alone, but the sounds of urban life and construction coming in from outside the wooden shaft may lead to an experience that stimulates the sense of hearing. Those who enter it would feel as if the wooden shaft absorbed the mundane sounds drifting in the residential area like a sound-absorbing material and allowed them to reach my ears.I believe that the equivalent architectural space is the wooden frame. Although we usually recognize exposed structural timbers in various parts of a building, we rarely have the experience of being surrounded by timbers. However, when we perceive a single piece of wood, we fall prey to our central vision, but when we are surrounded by wood, we should be able to experience a sensory experience similar to that of a forest space (although the dimensions of the wood are the same, there are many differences in details such as grain, annual rings, and wood color) (fig. 6). In addition, wooden frame houses are more common in urban centers than in suburban areas, where they have become independent due to mass production. When one experiences a wooden frame, the senses are limited by the wood alone, but the sounds of urban
music gagaku Masonry (church and hall) Wooden structure (house and stage) Luxury Objects -Dedication to God-
Low-class Objects -Everyday life is full of...ARCHITECTURE
life and construction coming in from outside the wooden frame may lead to an experience that stimulates the auditory sense. Those who entered the house would feel as if the wooden frame house, like a sound-absorbing material, absorbed the mundane sounds drifting in the residential area and allowed them to reach my ears.
(4) "Numbers" connecting hearing and vision
Then, it would take a little more assistance to say that the wooden frame is a world made of hearing. This is because senses other than the sense of hearing are intensified at the same time. That in itself is fascinating, but this study is about the relationship between architecture and sound (music). Now let us consider the relationship between sight and hearing from the perspective of those who usually sense them. There are people in the world who don't use their sense of sight and people who don't use their sense of hearing. What they can share with each other is numbers. Therefore, in architectural language, we should focus on dimensions in design. The non-sighted person concentrates on hearing. The most suggestive number for the hearing is that sound travels about 340 meters per second Note 11, a scale that is far removed from everyday existence. Those who don't use their sense of hearing concentrate on their sense of sight. The most visually suggestive number is the Japanese shaku-kan-ho, which is the most realistic physical scale. It is familiar to the Japanese. First of all, the equation of time and space is established by the fact that it moves 340 meters per second. When this is put into the grit of the shaku-kan method of wooden frame construction, time is compressed and we perceive a momentary landscape that we cannot experience in our daily livesNote 12
(5) "Absolute site (1987)Note 13" (fig. 7)
In Japan, there are still many mass-produced wooden frame house s that were created during the period of rapid economic growth. We easily tear them down for reasons such as aging, and build new ones. Then we build new ones. In the West, brick and concrete are the main materials, which have a longer service life and are less frequently renewed. Comparing the West and Japan, we can see that the awareness of building longevity is quite different, although there is a dry/wet difference. Through the parallel trial with sound, we have learned that Japanese pe ople have long held the value of accepting the deterioration of architecture as a good thing, rather than simply destroying it. If this is the case, it is understandable why Japanese people would want to breathe life back into buildings that would other wise be destroyed through music, transforming them into once-in-a-lifetime entities.
In other words, all the existing wooden frames in Japan that are omnipresent had all the potential to be shown as a work of this time, but by showing their completion in a way that overlaps with what Ryoji Suzuki tried to do in 1987, they will be imbued with a stronger message. In addition, the strong link between the idea of the absolute site and the present study is also due to the strong link between the design of the present project and what the architects of this period have felt.
Note 10: U. Neisser, "The Composition of Cognition: How Humans Perceive Reality"
Note 11: Speed of sound (m/sec) = 331.5 + 0.6 x temperature (°C) 340 (m/sec) at approximately 15°C
Note 12: In Ono Yoko's "Eye Blink," the movement of eyelids was filmed by time-lapse photography, and this was demonstrated by having the viewer experience the gap between the rhythm of the time-lapse photography and the rhythm of the blink.
Note 13: To give an overview of the project, there was a common plan in 1987 to demolish a wooden house and build a new building on the site. Ryoji Suzuki decided to challenge this plan, and instead of destroying the commonplace house, he demolished it, leaving only the wooden frame intact, in an attempt to rewind the act of construction. Metal wires were placed for the purpose of short-term earthquake-resistant construction, and six-thirds glass plates were inserted into the entire structure on the first floor, with T-shaped steel bundles used in key places. Afterwards, the glass floor was broken with a hammer in front of a crowd of people who were attracted by the architecture without knowing the specific intent of the project, and this was captured on video.
fig.6.1 ——Forest (Mt. Miwayama, Ibaraki, walking trail)Photo by Yusuke Ehara Activation of other senses by peripheral visual space
fig.6.2 ——Egawa Family Residence (1-1 Nirayama, Nirayama, Izu-no-kuni City, Shizuoka Prefecture); photo by Yusuke Ehara I feel that the wood-frame frame of the house has a great power to create a forest-like space (a space that activates one's peripheral vision).
fig.7 ——Absolute site (4-12, Jingumae 2-chome, Shibuya-ku, Tokyo); photo by Shigeo Anzai (source: The Museum of Modern Art, Saitama, FY2018 Modern and Contemporary Architecture Exploration Tour, final installment flier)
fig.8 ——House of Wood Spirit (same left)Photographed by Yusuke Ehara/Cooperated by Takashi Kuroda and Retsu Kitahara (2023_02_03)
Summary - The auditory world and narrative plurality as a process connecting
After that, based on research from a comparative artistic viewpoint, the culmination of a year of thinking about matters in the aural world led to a design using the existing wooden frame as the site, with the help of Ryoji Suzuki's "Absolute Site". The research process up to the output of the project has been descr ibed in chronological order. The final output is shown below (fig. 8). We believe that the need for recognition of existence beyond the visual sense, which is also the title of our research, is a very important topic. This is because today, due to the increasing complexity of media and the improvement of information transmission technology, many people are connected to their daily lives solely through the medium of sight. At first glance, we often feel that it has become more convenient to have access to a great deal of information at once, but I feel very uncomfortable with the current situation and feel that it makes life difficult. This is because we are now filled with visual information in the form of photographs and images, and I feel that the five senses that we used to use in our daily lives are becoming less and less useful.
In my research to date, I have focused on the relationship with hearing, but what about other sensory organs? In the course of this research, I focused only on the auditory sense. However, this would mean that the auditory sense would replace the hegemony of the visual sense, and over time, the auditory sense would again become crippled. So, what we should be aiming for is not a world occupied by the sense of hearing, but a space in which the various sensory organs can be activated. Nevertheless, it could be said that the final output was aimed at the auditory world, but in such a way that other organs are also aroused. I think it is wonderful that there are so many different ways to tell the story of one work. I would like to think about this again in the next output (plurality of narratives).
Theory
Theory
研究資料 木霊の家
Kodama
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, cocreator Kyoji Takubo, and all the other people involved, I would like to take this opportunity to express my heartfelt respect to them.
Yusuke Ehara
Until the production of this correlation map(2022/12/16)
This research, which has gradually uncovered measures to find a relationship between architecture and sound (music), has naturally branched out and has become unmanageable. Therefore, rather than simplifying and summarizing, we decided to affirm this complicated situation once and look back on the past in the order of the numbers in the figure above, and use them as clues for our output.
Art in the Age of Reproduction Technology
DS＋R（slow house）
Differences between Western and Eastern views of music
菅木志雄「包囲周閉」
Study of Gagaku
知覚循環
1本の木材を音源
とした空間の研究
Gagaku Notation
correlation map
Study of 105 square timber Annual Ring/Grain Studies Egawa Residence
Form of sound in 1 second
Form from words
Unfoam
(each item is presented in chronological order of the time studied)
/Notes for a discussion on the subject of "Architecture and Music
/An Attempt at Gagaku Notation
/The scene of Gagaku "Shoka" tradition (quoted image used)
/Cross-sectional drawing of the Egawa Family Residence
/Attempt of Notation in the Egawa Family Residence
/Analysis of deviation points in wooden frame
/Experiment of replacing sound field with magnetic field
/The relationship between the disappearance of AURA and reproduction technology (arrangement)
/John Hayduck research
/Wood scans from a home improvement store
/Wood grain/annual rings of wood
/Anemic Cinema (using quoted images)
/Rotation experiments
/ synonyms for "sound/music" drawing
/Form/idea drawing from letters
/Form from letters / form study
/Form from sound / Idea drawing
/ Form from sound / form study
/Conclusion of morphological analysis
/Three Elements of Sound Drawing
/ Tentative concept
/Thinking of the Mono-ha (Shio Suga and Tomonori Kimura) (use quoted image)
/ "Cognitive Composition
/ Study Model with Wood Cognitive Diagram
/ "Eye Blink" by Yoko Ono (image used for citation)
/ "Absolute Field" (image used for citation)
/Compression Diagram of Time
Items marked with "*" (use of quoted image) are indicated on the page from which the quoted image was taken.
▼ Research to find the unique form of Gagaku music "Koshitenraku" by representing each part of the music in graphic notation.
▲Oral tradition of "shoka": sound holds meaning and concept, but does not evoke anything concrete
1間（ここでは約1,885mm)
to explore the relationship between objects
▲1/100 AA' Cross Section
▲Egawa Family Cross Sectional Chart Launch ⅰ: Making the Japanese shakuhan system familiar to the hand. Experiments
▲Egawa Family Cross-sectional Diagram Start-up II: Familiarizing the hand with the Japanese shakuhan system. Experiments to explore the relationship between light, wind, and heat
▲1/100 BB' Cross Section
2022年
238.95×112.5mm Ball point pen / Tracing paper
貫の痕跡 Yusuke Ehara
248.609×207.9mm Ball point pen / Marker / Tracing paper 2022年
Yusuke Ehara
▲Arrange the drawings of the Egawa family residence by component and attempt notations.
あの夏の日の格子
1間（ここでは約1,885mm)
(The above five works are based on actual measurements and the report on the repair work of the Egawa family residence.)
Yusuke Ehara 201.25×140.25mm
Ball point pen / Marker / Tracing paper 2022年
▲The stones used for the foundation of the Egawa family residence were buried in the ground:
This was an opportunity to consider time and drawings in parallel.
石(地下)の足跡
▲Investigating deviations in wood-frame construction: sketches exploring dissonance in architecture
▼Study of foreign matter: sound field → magnetic field, sound source→magnet, sound spread/interrelationship→iron sand
▲The Role of Gagaku Standing and Poetic Texts: A Study to Explore the Relationship between the Loss of Aura and Reproduction Technology in the Arts in General (Including Music/Architecture).
Research to explore the relationship between the disappearance of aura and reproduction technology in the arts in general (including music/architecture). Perspectives on comparative art theory. ヴァルター・ベンヤミン「複製技術の時代における芸術作品」『複製技術時代の芸術』 高木久雄・高原宏平訳、佐々木基一編、晶文社、1999年参照
◀▲Research
on John Hayduck (architect)
I analyzed the relationship between music and the forms Haydak creates using sketches and other materials. (The sketches are used to feed the forms.)
▼ I was given a piece of wood that had deteriorated over time at a home improvement center.
One piece of wood contained a variety of information.
▲Write down the annual rings and stripes on a piece of wood one by one.
Know that there is information that cannot be captured by sight alone. Relation to unfocused experience
右下QRコード内動画切り抜き引用
▲Anemic Cinema: Read backwards, ameniC cimenA, is not unidirectional but omnidirectional, like music. Figure images that appear to move smoothly when rotated.
▲ Rotation experiment: a rotation was applied with respect to the approximate center of the annual ring with reference to the Anemic Cinema. It was found that it did not have omni-directionality like music. Discovery of a connection with Gagaku
❶観念ドローイング
ⅰ文字からの形態
❷形態スタディ
③観念ドローイング
ⅱ音からの形態
▲Form Study (Study from Letters_Conception Drawing) Study on the "form" of sound from "écriture
◀ Searched the Internet for "sound/music" and came up with the following synonyms: Since the way we perceive sound varies gr eatly depending on individual emotional fluctuations, we thought that an exhaustive research method would be effective.
▲Conceptual Drawing
A drawing of a conception: something that could not be shaped, but could be expressed with two-dimensional information.
We were able to classify them into 20 types as elements (continued on next page)
❶観念ドローイング
ⅰ文字からの形態
❷形態スタディ
③観念ドローイング
ⅱ音からの形態
▲Conceptual drawing: Listen to each of the six "Gagaku" instruments for one second, Draw a picture with a makie within a certain time on a paper of a given size (continued on next page)
▲Listen to Gagaku for 1 second and represent it in the form Summarize what each has in common, etc.
❶観念ドローイング
ⅰ文字からの形態
❷形態スタディ
③観念ドローイング
ⅱ音からの形態
▶Sketch of a conceptual drawing on p29-32 in three dimensions
: Going for a direct form. I made the sketches while being conscious of the fact that they existed in reality, not in a singular form.
(continued on next page)
▲Three elements of sound form (hypothesis) : The findings in the morphological analysis on p22-36 indicate that the sound element is completed by three elements.
▲Three Elements of Sound Form Image Drawing (Circle, Sphere)
▲Three Elements of Sound Form Image Drawing (Directional)
Elements of Sound Form Image Drawing (all)
木材認知図・寸法・視野の領域の角度
のみで構成された世界の建築
装置としての空間
3寸5分材（105角材）
物質的なの建築（形態が音を想起させる）
実空間
▲Tentative Concept - Architecture to connect to each idea I would like to create an architecture that does not impose a sound image, but rather creates an opportunity for people to recall their own images.
どこか（観念世界）
そこ（建築空間）
木材は「自然」であり、その一部でもある「もの」。
木材は斜交いとしての機能を有しているが、
少し押したら落ちてしまう無意味さも有している
その無意味さに気づくと、入れ替わるように
外の風景を〈見る〉。
ここで人は、観観念的な「自然（世界）」を見ている。
木材は体験者をどどこかへと接続させる媒介である。 求心性を持っていない。
ここ（体験者/居住者）
▲Reference 1: Kishio Suga, "Infinite State: A "thing" with spatial expanse. https://www.tokyoartbeat.com/articles/-/an-introduction-to-mono-ha
▲Reference 2: Kishio Suga, "Encircling Perimeter: A "thing" with spatial expansion
同じ形態を持った違う素材のモノたち。
この中には、①木目のある板と②木目の写真があった。
それらの関係が空間的に拡張されたとき、
〈現実〉と〈虚構〉の弁証法によって生成される空間での
経験の仕方が“分分からない”。
「そそこ(建築空間)が“分分かる“」を無効化する。 そこ（建築空間）
ここ（体験者/居住者）
②の所在は観観念世界であり、空間を再構築し、
体験者は観観念世界との結びつけを深める。
▲Reference 3: Yuki Kimura, "post disembodiment": Blurring the line between there (architectural space) and somewhere else (conceptual world) https://www.takaishiigallery.com/jp/archives/3683/
The "Perceptual Circulation" Model
① 予期により活動を方向づける図式（スキーマ）を予想 (人の記憶や知識に寄与するため、時間的広がりを持つ) ② それをもとに探索(五感を用いた調査)を行い対象を観察する
③ 探索の結果は元の図式を修正する
④ ①から反復する（より多くの情報を取り入れる）
▲U. Neisser, "Composition of Cognition": U. Neisser, known as the father of cognitive psychology, proposed the "perceptual cycle" model, which incorporates the active activities shown in the above figure into the perceptual model, regarding cognition as a continuous process of anticipation, exploration, and information extraction. This is a very good way to systematize the human senses
▲A model of form study using perceptual cycles: Perceptual cycles are things that are expressed when humans perceive things, and in a broad sense, the act of creating architecture is also a kind of act of perceiving things.
▲Wood Placement and Cognitive Processes for Study: Revealing the latent soundness of the members using U. Neisser's "Composition of Cognition".
▲Wood Placement and Cognitive Processes for Study: Revealing the latent soundness of the members using U. Neisser's "Composition of Cognition".
視覚 光 秒速約30万km
聴覚 音 秒速331.45m
圧縮された距離ができる Ⅰ 遠距離視覚
Ⅴ 接触（触覚）
Ⅵ 想像
この距離を埋めるための装置
33.145m 0.1秒/音速の空間
◀▲Compression of time by the difference between the speed of sight and hearing: flipping the speed of sound and light into distance. Later, we will discover similarities with Ono Yoko's "Eye Blink
Eye Rotation
Eye Rotation
標準レンズ：一番人間の視野に近い
日常生活での有効視野のイメージ
▲Research on the extent and degree to which people can see objects (Increasing our knowledge of hearing, in turn, requires a detailed knowledge of vision.)
音波３
輪郭が揺らぐ
音波１
A model of experimental space based on wood cognitive diagrams: forms are also created to create experimental devices and fall into paradoxes. And its groundedness is required. The groundedness o f this apparatus was fragile.
▲Yoko Ono-1966-Eye Blink
In a moment of time when you close your eyelids, familiar things begin to look different. This work shows the relationship between architecture and the compression of time.
右下QRコード内動画切り抜き引用
▲"Absolute Site" by Ryoji Suzuki
A work that sublimated a wooden shaft used as a house for a long time into an exhibition space by exposing it.
I felt similarities with my own research this time.
解体年：1987 年
場所：東京都渋谷区神宮前２丁目４－１２ かつての用途：住宅
木造の寸法 maximum minimum
音の寸法
340,000 mm /1秒
木軸をリズムとして捉え、音速と言う速度の
寸法を木軸に挿入する。
建築内部の密度を上昇させる
▲Compression diagram of time
Sound enters the existing wooden shaft (absolute site) and, in turn, time compression occurs due to the collision between sound time and the dimensions of the wooden shaft.
翻って、時間が圧縮され、 今まで見ていたが、注目していなかった
物を認知し始める
Arbeiten bei Schneider Studer Primas GmbH
01/03/2024-jetzt
Diese Daten wurden von Yusuke Ehara erstellt
Andere sind BLAU markiert
Alle Daten sind Eigentum und autorisierte Daten der Schneider Studer Primas GmbH
Zeitraum 03/2024Wettbewerb und Weiterbearbeitung Bahnhofsgebäude
Einige der Fotos, die ich während der Standortbesichtigung aufgenommen habe
Jugendherberge und Umgestaltung Bahnhof, Pontresina. Wettbewerb auf Einladung
Was ich getan habe
Während der Wettbewerbsphase habe ich eine Standortbesichtigung durchgeführt. Mitarbeit am Sanierungsplanung des RhB-Bahnhofs Pontresina, UNESCO-Weltkulturerbe. Ich denke darüber nach, wie ich die Hauptnutzungen inklusive der erforderlichen Zusatzfunktionen (Kioske) innerhalb des historischen Gebäudes platzieren kann, welche Probleme hinsichtlich der Erreichbarkeit bisher aufgetreten sind und wie es in Zukunft genutzt werden soll. (Wir wurden auch gebeten, ein neues Hostel zu bauen. Zwei weitere Mitarbeiter waren dafür verantwortlich)
Außerdem war ich in der letzten Phase für die Visualisierung des Designs verantwortlich. Wir haben ein 3D-Modell erstellt, ein darauf basierendes axometrisches Diagramm erstellt und Zeichnungen angefertigt, die nicht nur das Innere des Gebäudes, sondern auch die Aktivitäten in der Umgebung und die zukünftige Nutzung zeigen.
Studie zur Organisation von Funktionen für die Renovierung des Bahnhofsgebäudes EG
Jugendherberge und Umgestaltung Bahnhof, Pontresina. Wettbewerb auf Einladung
und Umgestaltung Bahnhof, Pontresina. Wettbewerb auf Einladung
Bestehender Bahnhof und neue Herberge
Neue Herberge und Umgebung
Blatt 1 der Wettbewerbspläne
Erstellen von Publikationszeichnungen für bereits errichtete Gebäude
Es wird nach MINERGIE-P-ECO Standard gebaut. Die Anforderungen von SNBS sind zu erfüllen. Es gelten die erhöhten Schallschutzanfoderungen gem. SIA 181.
Erstellen von Publikationsplänen mit Vectorworks
Teil der erstellten Zeichnung (um 50 % bzw. 25 % verkleinert)
Zeitraum 06/2024-
Ein Wettbewerb zur Sanierung eines Wohngemeinschaftshauses am Imfeldsteig in Zürich und zum Bau einer weiteren neuen Wohnanlage auf dem gleichen Grundstück.
Was ich getan habe
Ich habe den geplanten Standort besucht und eine Felduntersuchung durchgeführt.
Wir haben das historische Gebäude, die Zugangswege, die Topografie und die Vegetation analysiert.
Auf dieser Grundlage erstellte ich Aufrisszeichnungen, ein physisches Modell und ein digitales Modell. Ich half auch bei der Erstellung von Lageplänen und von möblierten Grundrissplänen.
Zeichnungen des bestehenden Gebäudes Grösse 1:400
Modell Grösse 1:200
Wohnhaus Imfeldsteig, Zürich. Wettbewerb auf Einladung
Situationsplan Grösse 1:2000
Möbelplatzierung Grösse 1:1000
Zeitraum 09/2024Erweiterungsbau für das Demenzhaus in Hochdorf
Situation mit Dachaufsicht 1: 1000 Fotos von drei Arten bestehender Gebäude zum Zeitpunkt der Standortbesichtigung
Demenzhaus Hochdorf. Wettbewerb auf Einladung
Was ich getan habe
Basierend auf der Felduntersuchung habe ich einen Lageplan, einen Aufriss und eine Querschnittszeichnung erstellt.
Demenzhaus Hochdorf. Wettbewerb
Ansicht West 1: 400
Ansicht Ost 1: 400
Schnitt A-A 1: 400
Ansicht Süd 1: 400
Zeitraum 10/2024Unterstützung bei den notwendigen Einreichungen für einen Wettbewerb für einen bereits vom Unternehmen entworfenen Apartmentkomplex.
Luegisland, Gutenswil. Wettbewerb auf Einladung
Schrödinger's cat
Was ich getan habe
Ich schloss mich diesem Projekt in der Mitte an und war für die perspektivischen und axonometrischen Diagramme verantwortlich, die das Konzept, die Umgebung und die Interaktionen zeigten, die in den eingereichten Dokumenten abgebildet wurden.
Zwei Verwendungsmöglichkeiten
Wohnquartier Luegisland, Gutenswil. Wettbewerb auf Einladung
Raumfolge Zimmer - Bad - Zimmer
4.5 - Zimmer - Wohnung im Dachgeschoss
Blick über das Glattal Wohnquartier Luegisland, Gutenswil. Wettbewerb auf Einladung
Terrassen gegen Süden
Wohnquartier Luegisland, Gutenswil. Wettbewerb auf Einladung
Research project
St. Josef Sheim
0. Was ist das für ein
This place in Dietikon is called St.Josef Sheim and used to function as an annex to a church. There are several small rooms for children to live in, as well as a chapel. Currently, the host family “Sven” has purchased the site and manages it as a shared house (WG). Eighteen people of various ages, one dog, and two cats live here together now.
Index
0. Was ist das für ein Ort?
0-1 Index
1. Über die Ausstellung - Archiv eines hauses-
1-1 Fotosammlung und Ausstellung
1-2 Die Form eines gleichzeitig hergestellten Fotohalters
2. Über Ruheraum
2-1 skizzieren
2-2 detaillierte Zeichnungen
2-3 Jazz
2-4 von jetzt an
We (my Japanese friend Imada Koyomi and I) are very interested in this place because we live in a church-turned-house, which is very rare in Japan. Last May, a large event was held here, and we were thinking of using part of the chapel as a way to create an opportunity to interact with the people who live here.
A flyer for the entire event was created by a resident
Here, the two of us held “Ausstellung -Archiv eines hauses-”. We prepared several types of Japanese tea and thought up ways for us, who speak poor German, to communicate with other people.
All the elements that made up the booth were made up of things that were in the house, and although it was only held for one day, we were able to create an exhibition that encompassed other times as well.
Archiv
Image of the exhibition
The explanation that was actually placed at the site
Scenes from the exhibition
We prepared a large number of photographs and constantly screened them on TV.
I randomly selected 15 from the collection and stored them in a box.
The 15 selected photos
1-2 Die Form eines gleichzeitig hergestellten Fotohalters
We designed a box to hold the 15 selected photos. We didn’t have a place to work, so we worked in our own rooms. We bought the materials at a hardware store.
Appearance when deployed
Some photos of the box
We are now part of a collection of points, the near-infinite time that the long history of people and architecture holds.
A record records time, and its size changes depending on the length of time recorded. It is a black circle, not a square.
A circle has no direction, and makes itself infinite. It is not brown, it is not a square, it is a collection of points.
A photograph is a point that cuts out a part of time, and is physically a square, not white.
Points gather little by little, and become a line, not black, not infinity.
We are not white, and we cannot feel infinity.
Before we knew it, points began to look like ellipses, not black.
An ellipse is not infinity, but this time it is 15. 15 is not white, it is a collection of points.
The collection of points is not black, not a record, it is us.
This time let’s call it autonomous.
Material: MDF, wooden bar, cardboard. Neither white nor black.
I created the poem using the philosophical term “sideways slip of meaning,” and determined the form accordingly.
This is the break room on the second floor. We watch TV, play board games, and have meetings.
It’s a lovely place, but it’s starting to get old, so we must redecorate it.
(There’s no deadline for this project, but some residents are curious to see how this room will change.)
The adjacent terrace (which should be renovated at the same time)
Inside the Ruheraum
Each piece of furniture in each room was given a number.
For me, the furniture here is very attractive because it contains the time it has been used since it was purchased. So I decided to measure the dimensions and examine each piece in detail.
(This is half my hobby. I worked on it bit by bit over the weekend.)
Some of the sketches I drew (internal)
Some of the sketches I drew (external)
It turns out that each piece of furniture has its way of being used and viewed. For example, it’s easier to understand how to use and what a sofa is when you look at it in plan view than when you look at it in elevation. Conversely, it’s easier to imagine a chair when you look at it in elevation.
That’s interesting, isn’t it?
The chair (No.3)
The sofa (No.8)
I used Vectorworks to draw each sketch. (I may draw more if necessary.)
I haven’t yet been able to indicate the dimensions, but I felt the thought and the length of time each piece of furniture has been spent on, and I thought it was very important when thinking about how this room will be used in the future.
Part of the furniture (interior)
I also feel that the building, which is a plate, is very important, just like the furniture, which is food.
I felt that it was important to see them as equals.
As I was drawing, my eye was drawn to the finer details than to the architecture.
It was clear that it had been put to good use.
Matisse, who boldly creates paintings that transcend perspective, seemed to have the potential to change the way we perceive space.
Many people in this church play musical instruments. In “Ruheraum”, you can hear the sounds of the residents playing from multiple directions, making it feel like jazz music.
Among Matisse’s works, there is a collection titled “Jazz.” How did he perceive jazz?
I’ve been to a number of jazz sessions at Mehrspur. I play the violin, and I really admire their free playing style.
A drawing I made when I went to listen to jazz in Mehrspur / Sketches of “Ruheraum”
I want to try making furniture.
I don’t yet have any idea what the best way would be.
But my experiences since coming to Switzerland are starting to lead to furniture making.
