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Yusuke Ehara Selected works 2 0 2 2 - 2 0 26

STATEMENT I believe architecture contains time. Time leaves traces on buildings. It deepens their value, enriches their atmosphere, and gives meaning beyond their physical form. The longer architecture exists, the more layers of time become embedded within it. My question is whether this relationship with time can already be designed from the very beginning. Through different methods, I attempt to inscribe time into space. Sometimes this is achieved through reused materials that carry memories of previous lives and transform reality into something unfamiliar. Sometimes it is expressed through complete and timeless forms that evoke an infinite duration. At other times, it emerges through the deliberate ambiguity of material density and perception, or through structural forces that create a fleeting moment detached from ordinary reality. These strategies are not aesthetic gestures alone. They enrich the fundamental role of architecture by allowing people to experience not only space itself, but also different dimensions of time. I see architecture as a medium capable of making time tangible.

1-1 2020 1-4 2021 1-4

1-2

1-4

Unbuilt - Academic Projects (ZHAW / CST)

2022 1-4

1-1 Reuse Window Columns in Winterthur 1-2 Sägerei in Scharans

1-3

1-3 Diploma as “Wooden Spirit House” in Tokyo 2-2

1-4 Other selected works

1-3 2023

03/2026--06/2026

Japan

1-4

09/2025--01/2026 09/2022--02/2023 04/2020--02/2022

Italy

2024

Built - Realized project(Private / USI / SSP) 2-1

2-1

Switzerland

2-3

2-1 Railway Station Redesign, Pontresina. Invitational Competition and Detailed design 2-2 Interior work for a bar which called “Balt” in Tokyo 2-3 Photo exhibition for St.Josef sheim in Dietikon 2-4 Workshop “Marble - Wood” in Mendrisio / Drawings for Competitions

2-4 2-2

2-4 2-4

03/2024--07/2025 2025

11/2020--05/2022 04/2024--05/2024 02/2026--02/2026

2-3

1-1 2026 2-4 1-1

2-4 3 Index

5-18

1-1

1-2

19-26

27-32

1-3

1-4

33-34

35-42

2-1

2-2

43-44

45-46

2-3

2-4

47-48

Index

1-1

Reuse Window Columns The project understands the transformation of the existing building not as an outward expansion, but as the creation of spatial depth. Its starting point is the historic urban structure of Winterthur, where the clear relationship between inside and outside gradually disappeared during industrialization. Window columns create a new spatial layer between the building and the city. They provide orientation, encourage social interaction, and reinterpret the boundary between inside and outside. At the same time, the existing structure is largely preserved and adaptively reused with minimal intervention. The project is based on three key principles: 1) Spatial depth instead of spatial expansion 2) Transformation of the existing building through minimal intervention 3) The layering of different time periods to create a new architectural identity The façade is therefore understood not merely as a building envelope, but as a spatial and structural element that connects the past, present, and future. Yusuke Ehara Betreuung: Marc Loeliger / Patric Furrer

Thermatron

Booba

Window Columns Site Theaterstrasse 29, 8400 Winterthur, Switzerland / Use 16 × 2.5-Zimmer-Wohnungen 5 Window Columns

1-2

Window Columns

1-1 I A F

OST ANSICHT 1:200 5

6.OG 1:200 5

WEST ANSICHT 1:200 5

5.OG 1:200 5

BB SCHNITT 1:200 5

4.OG 1:200 5

G B

SÜD ANSICHT 1:200

3.OG 1:200 5

NORD ANSICHT 1:200

2.OG 1:200 5

AA SCHNITT 1:200

1.OG 1:200 0

7 Window Columns

Gleichzeitig versammeln sich Menschen, diskutieren und treten miteinander in Beziehung. Heute lässt sich in Winterthur trotz seines Wachstums teilweise ein Verlust an räumlicher Identität beobachten. Viele Entwicklungen orientieren sich an einer Ausweitung nach aussen. Darin sehe ich die Möglichkeit, den Blick wieder auf die Qualitäten des Inneren zu richten. Anstatt sich immer weiter nach aussen zu öffnen, kann die Stadt durch räumliche Tiefe an Charakter gewinnen. Die Stärkung innerer Räume schafft nicht nur Identität, sondern fördert auch soziale Beziehungen. Menschen mit unterschiedlichen Fähigkeiten und Interessen können innerhalb einer Gemeinschaft engere Verbindungen aufbauen und dadurch eigenständige Entwicklungen hervorbringen.

1-1

Wände und Decken werden nur dort verändert, wo es notwendig ist. Bestehende Stützen, Eingänge, Treppen und Fenster bleiben weitgehend erhalten und werden für eine neue Wohnnutzung weiterverwendet. Insbesondere in den Geschossen 1 bis 3 entsteht dadurch eine ressourcenschonende Transformation des Bestands. Die Aufstockung übernimmt dieselben räumlichen Qualitäten und führt sie weiter. So entsteht ein wirtschaftliches, rationales und gleichzeitig vielfältiges Wohnkonzept.

6.OG

nsion

Winterthur denkt, fallen einem heute ahlreichen Bildungsinstitutionen und e Gebäude der ZHAW ein. Für mich deshalb stark als Studentenstadt

5.OG

dert war Winterthur jedoch eine von d Gräben umschlossene Stadt. Die ierte als geschützter Raum mit einer Grenze zwischen Innen und Aussen. ren und Ideen passierten diese h eine lebendige Gemeinschaft mit enen Identität entstand. strialisierung im 19. Jahrhundert ch die Stadt grundlegend. wie Sulzer und Rieter trieben das terthurs voran. Die ehemals nach e Stadt begann sich nach aussen Die Grenzen der mittelalterlichen an Bedeutung, und die Entwicklung unehmend in die Peripherie. Veränderung des Verhältnisses von en auf städtebaulicher Ebene auch architektonische Fragestellung.

4.OG

Eine dritte Zeitebene Während unserer Seminarreise nach Belgien haben mich die Arbeiten des Architekten Marcel Raymaekers besonders beeindruckt. Seine Projekte nutzen bestehende Materialien auf neue Weise und setzen sie als räumliche Elemente neu zusammen. Dadurch entstehen Formen und Räume, die in konventioneller Architektur kaum möglich wären. Für mich eröffnet dieser Ansatz eine dritte Zeitebene. Es geht weder um eine nostalgische Rückkehr in die Vergangenheit noch um einen direkten Blick in die Zukunft. Vielmehr werden Elemente unterschiedlicher Zeiten miteinander kombiniert und in einen neuen Zusammenhang gebracht. Durch diesen bewussten „Zeitfehler“ entsteht eine neue räumliche Qualität. Architektur wird zu einem Ort, an dem Vergangenheit, Gegenwart und Zukunft gleichzeitig erfahrbar werden.

Fenstersäulen als räumliche Tiefe

2.OG

Theaterstrasse

Diese räumliche Tiefe wird im Projekt durch die Fenstersäulen erzeugt. Sie bilden nicht einfach einen Puffer zwischen Innen und Aussen. Vielmehr werden die Fenster selbst zu räumlichen Elementen. Durch ihre ungewöhnliche Ausrichtung entsteht eine zusätzliche Schicht zwischen Gebäude und Stadt. Blickrichtungen werden gelenkt, Räume erhalten unterschiedliche Orientierungen, und die Grenze zwischen Innen und Aussen wird neu interpretiert. Dadurch entstehen nicht nur Beziehungen zur Stadt, sondern auch neue Verbindungen zwischen den Bewohnerinnen und Bewohnern. Die Fenster werden zu Vermittlern von Gemeinschaft und Kommunikation.

3.OG

Rationalität und Vielfalt

Gleichzeitig bewahren die Wohnungen ein hohes Mass an Privatheit. Die räumliche Organisation EG / Situationsplan Inneren verbindet1:1000 Rationalität mit Vielfalt. Die Maisonette-Typologie erinnert an Le Corbusiers 0 20 50 mälde Die Berufung des heiligen Unité d’Habitation. Sie ermöglicht eine 100 effiziente gt Caravaggio einen dunklen Nutzung der bestehenden Gebäudestruktur und n ein göttlicher Lichtstrahl eindringt. trägt zur Reduktion der CO₂-Emissionen bei.

Kre

as s tr

Booba Fenster

Thermotron Fenster

Anordnung der Maisonettewohnungen Anordnung der Maisonettewohnungen

fu s

1.OG

ONAL VERSION

911

1.05

3.073

3.49

2.98 23 5

12 7

1.521

975

1.46

3.55

4.911

C Fenster Thermotron 49

P Beton mit Waschbeton Oberfläche Flatliner

1.31

6.00

D Dach Fenster Booba

5.00

5.283

K Stahl profile Juch Areal 1.65 L Bahan stahl Juch Areal

4.40

1.65

626

3.74

1.15

892

E Treppenhaus Juch Areal

4.00

3.50 71

1.30

1.70

F Dach Fenster Siskant

2.453

M Stahl profile Juch Areal

J Tür Flatliner

2.80

2.85 71

5.283

G Stahlbeton Fenster 1 Booba

A Fassaden Hohlprofile Thermotron

1.70

1.432

3.22

B Gitterrost

2.85

3.74

1.70

3.33

1.20

O Stahl H-profile Thermotron

I Fenster Süd Siskant

4.34

4.00

N Stahl profile Juch Areal

3.50

1.70

2.41

6.95

1.70

H Stahlbeton Fenster 2 Booba

6.95

M PRETON-Wand Personalhäuser Triemli

BAUTEILKATALOGUE 1:50 0

2.5

Window Columns

1-1

2.5

Bestand Wieder Reparatur Abbruch Neubau

FLACHDACH VEGETATION (SEDUM) 100 MM SUBSTRAT FILTERVLIES 20 MM DRÄNSCHICHT SCHUTZVLIES BITUMENDICHTUNG ZWEILAGIG (WURZELFEST) 22 MM OSB-PLATTE (IM GEFÄLLE 2%) 200 MM HOLZBALKENDECKE (RE-USE) ZELLULOSE-EINBLASDÄMMUNG DAMPFBREMSE / LUFTDICHTHEIT 25 MM ABGEHÄNGTE DECKE GIPS 2×12.5 MM ca. 360 MM

TOTAL

BODENAUFBAU PARKETT ZEMENTESTRICH (SCHWIMMEND) TRITTSCHALLDÄMMUNG PE-TRENNLAGE OSB-PLATTE HOLZBALKENDECKE (RE-USE, JUCH-AREAL) MIT ZELLULOSEFÜLLUNG / AUFHÄNGUNG FÜR ABGEHÄNGTE DECKE ABGEHÄNGTE DECKE GIPS 2×12.5 MM TOTAL

DATEIL SCHNITT Anbau 1:50 9 Window Columns

25 MM 40 MM 10 MM 22 MM 200 MM 25 MM ca. 320 MM

MIT ZELLULOSEFÜLLUNG / AUFHÄNGUNG FÜR ABGEHÄNGTE DECKE ABGEHÄNGTE DECKE GIPS 2×12.5 MM TOTAL

25 MM ca. 320 MM

1-1

BODENAUFBAU (BESTANDSUMBAU) KERAMIKPLATTEN ZEMENTESTRICH, SCHWIMMEND PE-TRENNFOLIE TRITTSCHALLDÄMMUNG BESTEHENDE STAHLBETONDECKE

12 MM 30 MM 20 MM 220 MM

TOTAL

282 MM

DATEIL SCHNITT Umbau 1:50 Window Columns

1-1

Blick von der Dachterrasse zum Erweiterungsbau

Blick von der Theaterstrasse

11 Window Columns

1-1

Zimmer 14.1 m²

Essen 16.1 m²

B Zimmer 14.1 m²

Essen 16.1 m²

Zimmer 14.1 m²

Essen 16.1 m²

Zimmer 14.1 m²

Essen 16.1 m²

Gäste 15.2 m²

3.OG 1:50

2.5

Window Columns

1-1

Strukturkonzept Dem

Bestandsgebäude

liegt

bereits ein klarer Rhythmus in Structural meaning Nord-, Süd-, Ostund Westrichtung zugrunde. Dieser

Rhythmus wird imbuilding Projekt durch The existing is ein neues äusseres Tragsystem defined by a clear structural weiter verstärkt. Als Referenz rhythm directions. dienen in all die fourbestehenden Tdekorativen h e p r o j e cFassadenstützen, t reinforces deren vertikale Gliederung this order through a new aufgenommen und konstruktiv eweiterentwickelt x t e r n a l l o awird. d-bearing system that reinterprets the Hierfür werden vorgefertigte decorative façade columns Betonelemente mit integrierten as structural elements. Fensteröffnungen zu vertikalen Tragelementen zusammengesetzt.

2.5-Zimmer wohnung (Umbau) 1:50

Diese

Psogenannten re f a b r i c a te dFensterstützen c o n c re te cbilden o m p onicht n e n t snur w i tdie h iFassadenstruktur, n t e g r a t e d w i nsondern dow übernehmen gleichzeitig openings are assembled tragende und aussteifende iFunktioneDie n t o v e r t i c aFensterstützen l window werden beidseitig der columns. These elements bestehenden shape the façade while Stahlbetonverbundstützen angeordnet über also carr ying und loads and Stahlverbindungen zu lateral einem contributing to the durchgehenden Exoskelett stability the building. gekoppelt.of Durch die vertikale Stapelung der über 20 Meter

hohen Elemente entsteht ein Positioned on both sides sekundäres Tragsystem, das of the wesentlichen existing composite einen Teil der cLastabtragung o l u m n s , tder h e Aufstockung window übernimmt. columns are connected Die vorherrschende by steel joints to formder a Beanspruchung Fensterstützen exoskeleton. erfolgt über continuous TDruckkräfte h e i r v e r taus i c a l Eigengewicht stacking und Nutzlasten. Gleichzeitig cerhöhen r e a t e s die a s e cgekoppelten ondary sElemente t r u c t u r adie l s ySteifigkeit s t e m t hdes at Gesamtsystems und reduzieren carries a significant share of Verformungen infolge von the loads und fromasymmetrischen the rooftop Windlasten Belastungen. Die Fensterstützen extension.

wirken dabei weniger als klassische Einzelstützen, The elements sondern vielmehr are als mainly vertikale Rahmenbzw. subjected to compression Fachwerkstrukturen mit faussteifender r o m s e l f-Wirkung. weight and iDie m p o s eFensterstützen d loads. At th e der Nordfassade (Booba) und der same time, their structural Südfassade (Thermatoron) cbesitzen oupling i n c re a s e sHöhen the vergleichbare und Massen. Durch and die stiffness of the building Anordnung der massiven limits deformation caused Betonbereiche auf der by wind and Aussenseite derasymmetric Konstruktion wird eine loading. Rather ausgewogene than acting Lastverteilung erzeugt. Die as isolated columns, they zwischen den Fensterstützen function vertical frames liegenden as Bereiche werden als Balkone und Wintergärten or truss-like structures. genutzt. Dadurch entsteht ein Tragwerk, Tbei h e dem w i n ddie o w Lasten c o l u mnicht ns ausschliesslich über south die on the nor th and bestehende Gebäudemitte façades have comparable abgetragen werden, sondern auf dimensions and masses. mehrere Lastpfade verteilt werden. äusseren The spaces Die between them Fensterstützen übernehmen are used as balconies einen wesentlichen Anteil and der winter adding vertikalengardens, Lasten, während die bestehenden Stützen im spatial depth to the façade. Gebäudekern hauptsächlich Druckkräfte aufnehmen. As the new loads Im a result, Gegensatz zu akonventionellen r e d i s t r i b u Aufstockungen, ted across bei denen zusätzliche Lasten several loaddie paths instead direkt in bestehende Tragstruktur eingeleitet entirely werden, of being transferred entsteht hier Systemcore. der through the ein existing Lastumlagerung. Die The extension is partially Aufstockung wird teilweise über das neue äussere supported by the Exoskelett external getragen, wodurch die exoskeleton, reducing the zusätzliche Beanspruchung des additional stresswird. on the Bestands reduziert Das Projekt versteht original structure.die Fassade somit nicht als reine Gebäudehülle, sondern als The façade is therefore aktiven Bestandteil des Tragwerks. conceived not merely as an

envelope, but as an active s pa t i a l , s t r u c t u r a l , a n d architectural system.

13 Window Columns

2.5-Zimmer wohnung (Aufstockung) 1:50

2.5

1-1

Biegemoment (klein) BESTAND

FENSTERSÄULEN

ZUSAMMENSPIEL

Biegemoment (gross)

Die Last wird nach aussen verlagert.

Window Columns 14

1-1

Bestan 205 m

BOOBA-Fensterelement 5'180 × 3'690 × 250 mm_

H-Profilstahl 235 × 235 mm (Juch-Areal)_

Betonplattenverbinder_ Hochfester Vergussbeton 450 × 450 mm_

Rundstahlprofil Ø 100 mm (Juch-Areal)_

H-Profilstahl 235 × 235 mm (Juch-Areal)_

BOOBA-Fensterelement 5'180 × 3'690 × 250 mm_

Window Columns

Bestandsstütze Stahlbeton 350 × 350 mm_

1-1

ndsdach extensiv begrünt mm_

Thermotron-Fensterelement 1460 × 3244 mm_

Gitterrost Juch-Areal 1233 × 975 mm_

U-Stahlprofil 55 × 120 mm_ Bestandsfenster Platon-Ziegel 2940 × 910 mm_

Anschluss Fenster / Platon-Fertigelement 125 × 125 mm_

Bahnschiene Juch Areal 102x127_ Ausgeschnittenes Fensterelement für Durchgang_ Stützenverstärkung 250 × 250 mm_

Window Columns 16

1-2

A Resonator for Wood The project organizes the regional use of wood—from harvesting and processing to utilization—into a coherent spatial system. By shortening transportation routes, it enables a local material cycle where regionally grown wood is processed and utilized on-site. The project focuses on the following key points: 1) Supplementing the missing processing steps: primary cutting and drying 2) Creating a continuous and safe material flow on a unified floor level 3) Designing a studio with a visitor path adjacent to the production lines Although it is an industrial building, the continuous transformation of wood is accompanied by sound, vibration, and time. These elements are architecturally integrated into the design. The entire building acts as a "resonator," while the studio functions as a spatial instrument for listening, allowing visitors to observe and understand the work processes from a safe distance. Yusuke Ehara

Sägerei Domleschg Site Scharans, Switzerland / Use Industrial Architecture (Sawmill and Timber Construction) 17 Sägerei Domleschg

1-2

Sägerei Domleschg 18

1-2

Beziehungsdiagramm von Gewerbe / Handwerk / Landwirtschaft / Baumaterial

Schwarz plan

19 Sägerei Domleschg

1-2

Dachaufsicht

Sägerei Domleschg 20

1-2

ally eve The The y to eye

Blick von Südwesten auf das Gebäude

21 Sägerei Domleschg

1-2

Innenraum im Zusammenspiel von Klang und Architektur

Sägerei Domleschg 22

1-2

ANSICHT BB‘

ANSICHT AA‘

KONZEPTSKIZZE

23 Sägerei Domleschg

1-2

LÄNGSCHNITT als Beispiel einer Raumnutzung

ERDGESCHOSSGRUNDRISS

MODELLFOTO

Sägerei Domleschg 24

1-2

DACH ±8,400

Aussenbekleidung / Wetterseite oberflächenbehandeltes Zinklegierungs-Verbundblech t = 0.6 mm Gummiasphaltbahn t = 1.0 mm hochverdichtete Holzwolle-Leichtbauplatte t = 15 mm Polystyrol-Hartschaum t = 100 mm Konstruktionssperrholz t = 12 mm

Dach / Decke Pfette 60 × 60 mm @ 455 mm Deckenlattung 45 × 30 mm, dreifache Unterteilung zwischen Sparren Deckenbekleidung: Sugi-Bretter t = 12 mm

Innenbekleidung / Raumseite Kalziumsilikatplatte t = 6 mm Kalkputz t = 4 mm

Wandtragwerk Zwischenständer / Stiel Hochleistungs-Glaswolle t = 50 mm hochverdichtete Holzwolle-Leichtbauplatte t = 25 mm eingesetzte Kalziumsilikatplatte t = 5 mm Gummiasphaltbahn t = 1 mm behandeltes Zinklegierungs-Verbundblech t = 0.6 mm

Bodenaufbau

Schnellhärtender zementgebundener Bodenbelagt = 5 mm Zementestrich(mit integrierter Fussbodenheizung)t = 135 mm Wärmedämmung(druckfest)t = 60 mm Trennlage / Gleitfolie Betonbodenplatte (Stahlbeton)t = 200 mm Polyethylenfolie (Feuchtigkeitssperre)t = 0.15 mm Recycling-Kiesschichtt = 100 mm Gewachsener Boden / Untergrund(verdichtet)t ≈ 430 mm Ausgleichsschicht aus Recycling-Kiest = 50 mm

EG ±0,00

EG -1,000 (≥ 1.0 m)

gewachs

SCHNITT 1:20 0

0.5

ANSICHT 1:20 1

25 Sägerei Domleschg

0.5

1-2

DACH ±6,250

DACH ±5,000

Stimmstock (akustisches Element) Ø 180–250 mm @ 3,0–4,5 m Boden–Dach durchgehend nicht starr verbunden (akustisch wirksam)

Bodenaufbau Besucherweg / Ausstellungsflur

Holzdielen (sichtbar) t = 30 mm Schwingungsentkoppelte Unterkonstruktion / Lagerhölzer(Kreuzlattung) t = 60 mm Installations- und Resonanzraum(Luftschicht, akustisch wirksam) t = 40–60 mm Tragende Holzplatte(Brettsperrholz oder OSB) t = 40 mm Trittschalldämmung(Holzfaser- oder Gummigranulatplatte) t = 20 mm Tragplatte / Unterboden(Holz-Beton-Verbund oder Betonplatte) t = 120–150 mm Trennlage / Gleitschicht(Folie oder Bitumenbahn) t = 1–2 mm Wärmedämmung (druckfest)(Schaumglas oder XPS) t = 80–120 mm Sauberkeitsschicht(Magerbeton) t = 50 mm

Bodenaufbau Bodenbelag (Holzdielen, sichtbar) t = 30 mm Unterkonstruktion / Lagerhölzer(Kreuzlattung, schwingungsentkoppelt) t = 60 mm In s t a lla t io n s - u n d R e s o n a n z r a u m (L u f t s c h ic h t / a k u s t is c h wirksam) t = 40–60 mm Tragende Holzplatte(Brettsperrholz oder OSB) t = 40 mm Trittschalldämmung(Holzfaser- oder Gummigranulatplatte) t = 20 mm Tragplatte / Unterboden(Betonplatte oder Holz-Beton-Verbund) t = 120–150 mm Trennlage(Folie / Bitumenbahn) t = 1–2 mm W ä r m e d ä m m u n g ( d r u c k f e s t )(S c h a u m g la s o d e r X P S ) t = 80–120 mm S a u b e r k e it s s c h ic h t (M a g e r b e t o n ) t = 5 0 m m Erdreich / gewachsener Boden EG ±0,00

EG ±0,00

EG -1,000 (≥ 1.0 m)

EG -2,040 (≥ 1.0 m)

senes Terrain

SCHNITT 1:20 0

0.5

Sägerei Domleschg 26

Wooden Spirit House

Wooden Spirit House 28

00:21:08

29 Wooden Spirit House

Wooden Spirit House 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 1-3 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. 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. 私は今回、卒業設計をまとめる上で、5 つの別の作品として扱い、1 つの作品に対して、様々な語り口で説明することを試みた .

それは、1 . Like “Absolute Site,”つの道すじを辿って説明できる作品ではなかったこと、今回題材に選んだ敷地の性質が深く関わっている I dare not use explanations, but rather attempt to convey the work through the medium of . photos, drawings, stories, 違った方法で同じ作品を説明しているため、読む方はどの媒体から読んでも問題ない Theory, and research materials. 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. 建築論壇

Photo

W o o de n s p i ri t H o use Yusuke Ehara

視覚を越えた存在認識の必要性建築の認識方法の拡張の試行実験

『木霊の家』図面集

K o d a m a

木霊の家

研究資料

Yusuke Ehara

Drawing

tory

Drawing

江原悠介

Theory

Photo

Study

Theory

210×294 ㎜

294×210 ㎜

Photo

Drawing

Story

Theory

Study

また、1 つの道すじだけを辿って、読む人が私の意図の外で、違った解釈をしてくれたら、面白いのではないかと考えている .

Wooden Spirit House Site Gaienmae Tokyo / Period 6 months / Use House Wooden Spirit House 30

34 34

Photo

START

1-3

33 Story

1-3

FINISH

Story 34

Rectangular drawing of assumed existing image S=1:40 6,370

910

10 4 彩色

セメ

ント

瓦

12枚

庇:

ケイ酸カルシウム板 H150 浴室換気扇排気口

外壁:モルタルリシン掻き落とし換気口100Φ

1-3

煉瓦

105 square timber used in the experiment S=1:20

910

1,820

土台

910

120×120×4.0ℓ

1,820

大引

1,040

90×90×4.0ℓ

面B

105

3.0ℓ

1,820

105

5 面A

大引

丸太大引 Φ50

1,820

105

1,040

910

105

1,820

90×90×2.0ℓ

土台 120×120×4.0ℓ

大引 3

土台

1 土台

120×120×4.0ℓ

90×90×3.0ℓ

面D

105×105×3.0ℓ

大引

面C

105

土台

35 Drawing

大引

90×90@1,820/3

コンクリ土間床(

120×120×3.0ℓ

Eaves installation details S=1:20

Assumed existing image elevation S=1:100

910

12枚

:銅板㋐0.3

㋐

2FL

1-3

換気口100Φ

㋐

1FL

1,820

910

Base line F Existing Axis Drawing (absolute site) S=1:100

Existing 1F floor plan S=1:100 通し柱桧 120×120 1,075

継手 ℓ=150

束石

3.0ℓ

側面図

105

2,720

筋違赤松

150

間柱桧

45×90

105×105

2FL

継手 ℓ=390

1FL

土台米ヒバ

胴差

120×120×3.0ℓ

120×120×4.0ℓ

2,720

大引

2,860

腰掛かま継ぎ土台継手

1階管柱 600

土台 120×120×4.0ℓ

90×90×4.0ℓ@910

2階管柱

通し柱

400

継手 ℓ=150

リート (耐圧盤)

継手 ℓ=390

150 75

105

平面図

90×90×4.0ℓ

90×90@910

120×120×3.0ℓ

1階管柱 105×105

大引

束石

軒桁

120×120×5.0ℓ

52.5 52.5

90×90@910

120×120×4.0ℓ

3.0ℓ

小屋束 1820

ℓ

継手 ℓ=150

土台:120×120㎜ ℓ:土台⾧さ(m)

1820

910

8,190

四半規格材(3・4m) 樹種:米ヒバ

Drawing 36

Form from words

Art in the Age of Reproduction Technology DS ＋ R（slow house）

Differences between Western and Eastern views of music

Unfoam 菅木志雄「包囲周閉」

Study of Gagaku

知覚循環

1 本の木材を音源

1-3

とした空間の研究 Form of sound in 1 second Egawa Residence

Gagaku Notation

Study of 105 square timber

correlation map

１

9 size : A3

37 Study

Annual Ring/Grain Studies

Theory

(ﬁg. 2). (iii) is an attempt to develop

; in Japan, "Gagaku

sized one-timeliness. In other words, it embraces ambiguity and instability, which are not strongly valued in the West. In fact,

Let us once again summarize the characteristics of Gagaku. For one thing, it embraced dissonance, and for another, it empha-

diﬀerences from classical music are the result of the discussion of the results. (07/2022)

not have a musical score. Therefore, there is no small amount of change from performance to performance. These two major

because it allows for so-called dissonance. It is also passed down from master to apprentice through "shoga" Note 8and does

There were two major reasons for this. Gagaku music does not constitute a "melodious" whole like classical music. This is

as well (ﬁg. 3). However, I could not obtain reliable results. (06/2022)

idea of a connection between music and architecture through "notations” Note 7. I have attempted the same notations in 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

Note 5

in music. In the West, classical music, which is widely dedicated to the gods, is the most widely rooted

In my research from a comparative artistic viewpoint, I will ﬁrst make a dichotomous comparison between the West and Japan

(3), which deserves to be described. The reason for this is explained later. (05/2022)

ed to verify each of them (from Taro Igarashi's "Musa, the Beautiful Goddess"). I attempted to verify each of them, especially

a theory of time and space from the perspective of comparative art and to discover similarities on a structural level.（I attempt-

and Plato in the past, as well as the Greek theory of esthetics, which is linked to order Note 4

(1) has as its starting point the actual playing of music in space, and (2) recalls the proportionalist development of Pythagoras

(3) Comparing the forms of time and space (structural theory).

(2) Developing around the issues of number and proportion (semantic)

(1) Focusing on the performance space and the theme of sound ﬁeld

Now, let me elaborate a little further. Today, there are three main ways to connect music and architecture.

lead to an empirical understanding. (04/2022)

words, when the time of music solidiﬁes, it becomes space. But this, for me, could be swallowed as a clichéNote 3, but did not

chitecture is a spatial art. For example, Goethe and Hegel said, "Architecture is frozen music, Gefrorene Musik” Note 2. In other

When considering music and architecture from a fundamental perspective, one often hears that music is a temporal art and ar-

Results and Considerations from a Western/Japanese Comparison

From a Comparative Artistic Perspective -

for taste. Educational Equipment Editorial Committee, edited by JUSE Press, 1972.

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%

of this project.

world of light were converted into a world made up of hearing ﬁlled with sound? Such a simple question was the starting point

tioned this dominance of sight and wondered if we could expand the possibilities of hearing. What would happen if the current

only about 11% of the total, which is extremely small. You can see how humans do not use their sense of hearing. Here, I ques-

words, people obtained most of their information from light. Everything emits light in one form or another. Hearing accounts for

for a very high percentage of the ﬁve senses. Vision is the act of sensing light with the eyes to obtain information. In other

When humans perceive something, they rely on vision about 83% of the timeNote 1 (ﬁg. 1). This indicates that vision accounts

Study of the occupation of the visual domain and the auditory world in the perception of architecture

Background of the experiment -

Yusuke Ehara

Trial Experiment of Extended Methods of Architectural Recognition

Need for presence awareness beyond the visual

addendum

vision(83)

taste(1.0)

olfaction(3.5)

ﬁg.1 ——Percentage of Human Sensory Modalities 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 (Black: Visual) (Source of information quoted = Editing Committee of Architecture" [right]). （Source of information quoted＝Sebastiano Serlio, Tutte l'opere d'architettura et prrosfor Educational Equipment, JUSE Press 1972) petiva di Sebastiano Serlio Bolognese,1600［ETH-Bibliothek Zürich］、Jacomo Barozzi da Vignola, Regola delli Cinque Äi0Ordini d'Architettura, 1562［Bibliotheca Hertziana, Roma］）

unit(%)

hearing(11)

tactile(1.5)

fig.3 ——Gagaku 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 are its unique characteristics. It was revealed that the fixed information medium of diagrams was not suitable for this project.

we consider the matter close to the relationship between the two, such as transparency or opaqueness, black and white.

diﬀerence in color. If architecture is a concrete thing that exists in the reality of space, music is an abstract thing. Therefore,

stood even with a very poor way of thinking, and that we should not throw them away but leave them in place. For example, the

as building materials. This is not an easy task. First of all, we emphasized that there are possibilities that cannot be under-

suspicious of the commonplace. First, we must change the way we look at the materials and substances that have been used

picking up a new way of thinking should be something very essential and fundamental. It is a way of looking at things that is

important to avoid as much as possible the ﬁxed thinking of the past. In this age of visual perception, the starting point for

In considering a catalyst for a more eﬀective chemical reaction between sound (music) and architecture, I considered it most

(1) Awareness of materials/substances

5 Policies and Intentions - Determining Design Conditions and Eﬀective Catalysts

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.

Next, we considered what was necessary for the output of this research and how to express it.

conducted in accordance with (3) has borne fruit.

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

This discovery has changed the view of architecture from a comparative artistic perspective in Japan and the West, and has

ting them down (ﬁg. 4). (09/2022)

rationality, but a state of accepting various things as they are and weaving them together in an ambiguous manner without cut-

music of Gagaku (ancient Japanese court music) was familiar to everyone in the past, our original way of thinking was not

as the false "norm" of Japanese architecture. However, as mentioned above, this is not really the norm. Just as the one-time

has become a false "norm" in Japanese architecture. The term "scrap-and-build" was born, and it has come to be regarded

continues to this day, leading to a decline in our aesthetic sense of buildings and the birth of the term "scrap and build," which

ture to lose its one-time nature, and people became accustomed to copying the same thingsNote 9. The inﬂuence of this trend

important in Japanese architecture.The rise of reproduction technology during Japan's rapid economic growth caused architec-

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

1-3

39 Theory 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 people 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 otherwise 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.

rience 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 tim-

bers 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 produc-

tion. When one experiences a wooden shaft, one's senses are limited by the wood alone, but the sounds of urban life and con-

struction 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

30°

Color

Image of eﬀective ﬁeld of view in daily life

Standard lens: closest to the human ﬁeld of view

Motion

115°

100°

Wide-angle lenses: Wide range of view, but distortion of the image

Image of the range measured in a visual ﬁeld test in ophthalmology

60°

Shape

gagaku

classical music

MUSIC

Low-class Objects -Everyday life is full of...-

(house and stage)

-Dedication to God-

Luxury Objects

ORIENTED

Wooden structure

Masonry (church and hall)

ARCHITECTURE

Bois + Rosalind E. Kraus, "Unform: Encyclopedia of Intangible Things. ◀fig.5 ——The Realm of Human Vision The central visual field is the narrowest, followed by the effective and peripheral visual fields. We usually use the effective field of view most of the time in our daily lives. The effective field of vision, including the range of motion perception, is 100 degrees from the front to the left and right. Up to 25 degrees up and 30 degrees down can be recognized.

Low-class objects are generally considered to be despicable, but here they are spoken of as valuable. Yves-Alain

▲ﬁg.4 ——Comparative Artistic Perspectives on the West and Japan

Japan

115°

Binocular Vision

Symbol Recognition

Europe

Horizontal FOV

Text

Center ﬁeld

Western

100°

60°

30°

Telephoto lenses: narrower and farther away

mass production. When one experiences a wooden frame, the senses are limited by the wood alone, but the sounds of urban

wooden frame houses are more common in urban centers than in suburban areas, where they have become independent due to

the wood are the same, there are many diﬀerences in details such as grain, annual rings, and wood color) (ﬁg. 6). In addition,

by wood, we should be able to experience a sensory experience similar to that of a forest space (although the dimensions of

by timbers. However, when we perceive a single piece of wood, we fall prey to our central vision, but when we are surrounded

ﬁg.6.1 ——Forest (Mt. Miwayama, Ibaraki, walking trail)Photo by ﬁg.6.2 ——Egawa Family Residence (1-1 Nirayama, Nirayama, Izu-no-kuni City, Shizuoka Prefecture); photo by Yusuke Ehara Yusuke Ehara I feel that the wood-frame frame of the house has a great Activation of other senses by peripheral visual space 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 Yu s u k e E h a r a / C o o p e r a t e d b y Takashi Kuroda and Retsu Kitahara (2023_02_03)

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.

In Japan, there are still many mass-produced wooden frame houses that were created during the period of rapid economic

sight alone we can only perceive a vague whole, while with hearing we can hear the rustling of leaves, smell the soil, and expe-

usually recognize exposed structural timbers in various parts of a building, we rarely have the experience of being surrounded

(5) "Absolute site (1987)Note 13" (ﬁg. 7)

daily livesNote 12.

of wooden frame construction, time is compressed and we perceive a momentary landscape that we cannot experience in our

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

shaku-kan-ho, which is the most realistic physical scale. It is familiar to the Japanese. First of all, the equation of time and

who don't use their sense of hearing concentrate on their sense of sight. The most visually suggestive number is the Japanese

tunity for the other senses. The senses of hearing, smell, and touch are all important for the senses of perception, because with

them. In other words, we use our peripheral vision (fig. 5) first for perception, not our central/effective vision. This is an oppor-

are ﬁlled with trees, shimmering leaves, colors of the ground, and many other elements that do not allow our eyes to focus on

is that we perceive many things only with our eyes, which allow us visual hegemony. However, unlike man-made spaces, forests

walk in the forest, we get a very "rich" experience that activates various sensory organs. The interpretation of this mechanism

whole to detail ﬂow of object recognition is very easy for us to understand. For example, we all know that when we go for a

the hearing is that sound travels about 340 meters per secondNote 11, a scale that is far removed from everyday existence. Those

the perspective of those who usually sense them. There are people in the world who don't use their sense of sight and people we should focus on dimensions in design. The non-sighted person concentrates on hearing. The most suggestive number for

relationship between architecture and sound (music). Now let us consider the relationship between sight and hearing from

detailed form. As a result, I found that all the detailed forms can be generally explained by three elements. The three elements

Let's unpack some more of U. Neisser's "Composition of Cognition," which I referred to in the previous section. The vague

other than the sense of hearing are intensiﬁed at the same time. That in itself is fascinating, but this study is about the

form of sound (music) in various ways and tried to grasp the vague elements of sound rather than focusing on each individual

who don't use their sense of hearing. What they can share with each other is numbers. Therefore, in architectural language,

Then, it would take a little more assistance to say that the wooden frame is a world made of hearing. This is because senses

way humans perceive things is that they ﬁrst perceive a vague atmosphere and then recognize details. Therefore, I explored the

(3) Relationship between activation of peripheral vision and forest-like space, wooden axis and auditory space

(4) "Numbers" connecting hearing and vision

highest aﬃnity with sound (music). In his book "The Composition of Cognition, "Note 10, psychologist U. Neisser explains that the

are (1) circle〇, (2) wave ～ , and (3) direction→.

dane sounds drifting in the residential area and allowed them to reach my ears.

In addition, in order to visualize auditory information, some form must be created. That form should be the one that has the

Those who entered the house would feel as if the wooden frame house, like a sound-absorbing material, absorbed the mun-

life and construction coming in from outside the wooden frame may lead to an experience that stimulates the auditory sense.

(2) Shape representing sound (music)

concrete, dirt, and darkness are concrete and architectural.

I tried to reclassify the various materials, assuming that glass is the most transparent and abstract (i.e., music), while earth,

1-3

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 described 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 hege-

1-3

mony 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

150

650 20 120

1,880

780

7,456

2,720

400 273 273

190

the next output (plurality of narratives).

1,820

910

900

60 20

8,335

Theory

20,125 400

1,700 300

4,450

1,300

890

寝室

2,000

トップライトバスルーム

2,760

2,880

940

トイレ

リビング

冷蔵庫

廊下

玄関 755

シューズボックス廊下

2,100

バスルーム

上部吹き抜け

1,900

1,750

寝室

1,500 1,800 895

避難階段

キッチン

シューズボックス

1,110

玄関

ワークスペース

454

675

960

2,800

EV(住居者用）

廊下トップライト

トップライトサニタリー

4,750

1,400

Silver

Cooper

Indigo

Vermilion

white

Black

Purple

Green

Brown

Gold

Orange

gray

Subject（interior view）

Yusuke Ehara

2,230

共用部廊下

4,170

275

1,530

1,900

冷蔵庫

Site: Daikanyama Tokyo Period: 5 months Use: Complex

916

1,400

285

トイレ

2,000

1,600

2,260

1,250

1,360

ダイニング

3,190

900

680

420

500

4,800

1,680

770

1,230

リビング

玄関

754

1,125

腰窓

バスルーム

吹き抜け

スレショルド

1,590

4,100

GL+8 000

2,700

3,000

1,000

GL+8300

はめ殺し

3,120

2,550

シューズボックス

化粧柱 2,510

600

バルコニー

3,300

1,440

This work analyzes the modernist forms in the city and how they are used. By embracing their potential appeal and reconstructing them, it inherits the past and determines how they will be used in the present and future.

390

玄関

1,300

900

庇

GL+8000 シューズボックス

3,000

1,700

1,890

1,100

◀

5,500

945

螺旋階段

1,730

1-4

和室

サニタリー 2,800

22,600

トイレ

1,380

シャッター

1,090

940

1,800

吹き抜け

1,900

1,165

▲

940

800

キッチン

690

2,700

食器棚

2,590 1,010

バスルーム

サニタリー半外部バルコニー

冷蔵庫

1,830

4,800

スレショルド

開口

ダイニング

キッチン

2,430

ワークスペース

Parts became Whole

ダイニング

リビング

1,140

トップライト

小庇

キッチン

990

リビング

1,020

430

ダイニング

350

トップライト

3,000

スレショルド

トップライト

2,230

1,560

2,060

3,000

クロゼット

1,345

1,080

トイレ

800

900

小庇

490

ワークスペース

2,900

洗濯機

530

4,700

サニタリー

1,730

1,980

寝室

1,020

カーテンレール

5,300

1,800

3,800

2,120

350

370

1,740

1,600

トップライト

1,820

冷蔵庫

2,000

1,230

2,120

820

3,560

1,600

4C3A22

E1DAC3

4E4E49

624F39

B6A995

C48E50

D0CEC2

DBC5A7

4C4944

BEBDBC

836F55

552913

Object（tin wall）

The roof should be shaped around the wall columns so that forces from the surroundings are concentrated on the wall columns. By making the shape of the roof invisible from the outside, it looks as if it is ﬂoating in the air from the outside, and the separation from the ground is measured.

▲Empty the interior side wall and explore the emotions of perceiving a tin wall from a white wall.

▲Color of the coated charcoal seen from the interior/ inﬂuence of natural light

Colors and Materials By analyzing the change in color of charcoal paint over time and linking it to the change in color of architecture over time, we imagined a future in which architecture would continue to develop, centered around people from local factories. This project is an extension of Yoshihiko Kikutake’s Star House. Yusuke Ehara

41 Other Works

Site: Kamata Tokyo Period: 5 months Use: Complex

Aʼ

小会議室１

大会議室

Dynamic line

Bʼ 小会議室２

Static line B

事務室(一階)

1F Plan View

Silence and Movement

Poetics of River and Space

Wall Form and Spatiality

Architecture encourages people to ﬂow A rest room (second ﬂoor) will be located in

Rivers swell and meander. Depending on the strength of the current,

The river is represented by three 6-meter walls. The magnitude of the activity is created by the relationship between the walls and the rooms, and the aim is to create an architecture that blends in and ﬁts in with the local community. The river is very well integrated into everyday life. In Musashino City, greening is progressing around the Tamagawa water supply, and I felt that the formation of a community is being measured there. Therefore, we believe that a community unique to this area will be formed.

the center of the site and will be easily accessible

there are things that continue to ﬂow and things that stay still.

from both the static and dynamic axes.

People also walk. They wander about aimlessly and ﬁnd a place to stay.

A ramp along the axis of bridging will provide

The "wall," meandering like a river, encourages people to meander,

accessible to the elderly and people pushing

direct access from the outside, making it easily baby strollers, and a center for community interaction.

and becomes a base for communication among diverse people of many generations.

In this land where people’s lives have been centered around a beautiful irrigation canal since the Edo period in Japan, I built an exchange facility with a river motif. We subdivided three axes and adjusted the differences, speed, light, and darkness of people’s exchanges.

Copper plate maximum height

Sun light

3,300

Office Room

6,000

Study Room

Utilize the existing functionality of the street. Japanese Room

footing foundation

Yusuke Ehara Site: Musashisakai Tokyo Period: 2.5 months Use: Community Center

mat foundation

7,800

17,200

5,400

3,154

5,600

5,400

2,800

6,000

section B-Bʼ 1/100

53,330

1-4

To Nippori Station housing

最高高さ ▽

600

ベランダ

Secred Margin

The father was a long-time practitioner in Yanaka.

He is a daily potter. In Yanaka, there is a close relationship between work and residence.

Signs announcing activities

Life

Job

university student

Public approach (to the basement)

ダイニング

GL±0

There is a park in the neighborhood that is a children's consider a space where local children▽and people can 風呂

housing

Child

playground along with a temple. We would like to

リビング

7,400

GL-2,000

GL＋5,900 ▽

こどもの部屋

GL＋3,600

Workshop/Atelier

enter the "multi-pillar space" of the site to learn about

Local people

the ancient culture of Yanaka and have a chance to inherit its history.

1,200

foundation

300

1FL

Office Room

400

2,450

Machinery Room

2,450

4,365

meeting room

9,200

2FL

Father (Occupation: potter)

GL＋1,235 ▽

GL±０

Resident's approach (to the 2F)

▽

3,400

3,500

5,000

1,240

590

13,790

職住一体の生活を願い、地階に工房兼ギャラリーを配置絡まりついた塀を中心に構成される

陶芸展示室・アトリエ

GL-2,000

▽

▲1/50 断面図

Subway Sendagi Station housing

▲1/100 1F plan and layout drawing

housing

Taito City Okakura Tenshin Memorial Park

I reinterpreted the many temples that exist in this area, incorporated their sacredness into the lifestyle, and created a space on a small site where people can live through the five senses, including air flow, weather, nature, and smells. The basis is to overlay a cross-section of a Japanese temple.

housing

Yusuke Ehara

Site: Yanaka Tokyo Period: 2.5 months Use: house Other Works

Basic design of Pontresina Station D u r i n g t h e c o m p e t i t i o n p h a s e , I c o n d u c te d a s i te v i s i t . C o l l a b o r a te d on the renovation planning of the RhB Pontresina train station, a UNESCO World Heritage Site. I considered how to position the main uses, including the necessar y additional functions (kiosks), within the historic building, what accessibility issues have arisen so far, and how it will be used in the future. (We were also asked to build a new hostel. Two other employees were responsible for this.) I was also responsible for visualizing the design in the final phase. We created a 3D model, created an axometric diagram based on it, and produced drawings that show not only the interior of the building, but also the activities in the surrounding area and its future use. Schneider Studer Primas GmbH - Yusuke Ehara

2-1

43 Pontresina

2-1

Pontresina Site Pontresina Switzerland / Period 1 year / Use train station Pontresina 44

2-1

45 Pontresina

Map of this area

The old days

2-1

Some of the photos I took during the site visit

Pontresina 46

A drawing showing the relationship between the station EG and hotel and the surrounding environment

2-1

47 Pontresina

I was in charge of renovating the station. Designed in 1906-07 by Otto Schäfer and Emil Sulser, the building had a strong symmetry and a unique atmosphere that combined various styles specific to the region. What was required was to expand the functions that had been performed in the previous reception building and place the kiosk that was outside inside. I considered using various drawings to give it a new function while maintaining its architectural value and with minimal demolition, and to further enhance the beauty 2-1 of this contrasting building.

Station floor plans

Pontresina 48

49 Pontresina

Status FP tender-ground plan ground floor S=1:200

1000kg 1m/2 1x Palette 13 Personen

Schindler 2600

E00.008 Gepäckraum BF43.3 FF m²

UK Unterzug = +3.34m

Gepäckband

E00.006 Lager BF5.4 FF m²

E00.003 Gepäckraum BF93.3 FF m²

E00.009 Gepäckaufgabe BF23.2 FF m²

E00.005 WC D. BF4.5 FF m²

E00.004 Back-Office BF15.9 FF m²

E00.004 Küche BF 7.7

E00.005 Lager BF8.6 FF m²

E00.002 Gepäckaufgabe BF13.2 FF m² 8 Sitzplätze

E00.003 Ausstellungsraum BF52.9 FF m²

E00.001 Warteraum BF96.9 FF m²

E00.006 Schalterraum BF57.9 FF m²

12 Sitzplätze

UK R.ST. = +2.97 OK R.BR.= +0.87

2-1

UK Unterzug = +2.71m

E00.002 WC H. BF3.3 FF m²

E00.001 Treppe BF 11.7

BS-Schiebetüre

8 Sitzplätze

12 Sitzplätze

E00.012 Büro BF11.2 FF m²

E00.014 Store Lebensmittel BF56.2 FF m²

UK R.ST. = +2.99 OK R.BR.= +0.89

E00.011 Treppe BF7.1 FF m²

E00.013 Warteraum BF33.7 FF m²

E00.013 Store Verkaufsraum BF55.6 FF m²

E00.014 Büro BF20.2 FF m²

UK R.ST. = +2.20 OK R.BR.= +0.88

E00.012 Ruheraum BF 5.9

1670 Umbau Aufnahmegebäude Bahnof Pontresina

Stand FP-Ausschreibung

E00.009 Aufenthalt BF13.5 FF m²

E00.010 Garderobe BF 29.2

E00.010 Warteraum BF114.6 FF m²

UK R.ST. = +3.00 OK R.BR.= +0.90

UK R.ST. = +3.28 OK R.BR.= +0.85

Via da la Staziun 47 7504 Pontresina

+/-0.00 = 1774.13m.ü.M

Convenience-Shop_100.00m2

Gapäckraum_65.00m2

Convenience-Shop_98.00m2

Convenience-Shop_100.00m2

Büro(backoffice)_31.00m2

Wenn diese Treppen nicht entfernt werden

Convenience-Shop_100.00m2

2**

Notwendigkeit, Treppen an verschiedenen Stellen anzubringen → hohe Baukosten.

Convenience-Shop_105.00m2

Notwendigkeit, Treppen an verschiedenen Stellen anzubringen → hohe Baukosten.

Warteraum / Schalterhallte_70.00m2

Convenience-Shop_120.00m2

Warteraum / Schalterhallte_70.00m2

Convenience-Shop_110.00m2

Convenience-Shop_115.00m2

1**

Warteraum / Schalterhallte_35.00m2

1**

Muss Zugang zur Straßenseite haben

Verwenden Sie dies als ein Wartezimmer, wie das Innere ist schön

Schalterraum / Verkauf Tourismus_100.00m2

Gapäckraum_80.00m2

Verkehrsfl ächen _25.00 m2

Warteraum / Schalterhallte_50.00m2

Verkehrsfl ächen _25.00 m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Schalterraum / Verkauf Tourismus_100.00m2

Convenience-Shop_100.00m2

Warteraum / Schalterhallte_52.00m2

Convenience-Shop_120.00m2

Gapäckraum_65.00m2

1*_1

Büro(backoffice)_30.00m2

Büro(backoffice)_35.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Schalterraum / Verkauf Tourismus_100.00m2

Warteraum / Schalterhallte_60.00m2

Gapäckraum_80.00m2

Formalitäten, bei denen sich alles um den Warteraum herum abspielt.

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Convenience-Shop_115.00m2

Zugang zu angeordnet werden, um den auf der Dachseite Die Convenience-Shops sollen Gapäckraum_71.00m2 / Schalterraum erleichtern. Verkauf Tourismus_103.00m2 (Wäre der Schalterraum/Verkauf Tourismus auf der Dachseite platziert, würde der Convenience-Shop auf der gegenüberliegenden Seite platziert, was weniger effizient wäre.)

Warteraum / Schalterhallte_57.00m2

Convenience-Shop_115.00m2 Büro(backoffice)_30.00m2

1*_2 Büro(backoffice)_32.00m2 Schalterraum / Verkauf Tourismus_100.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Warteraum / Schalterhallte_50.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Gapäckraum_70.00m2

Convenience-Shop_100.00m2 Formalitäten, bei denen sich alles um den Warteraum herum abspielt.

Büro(backoffice)_30.00m2

Überschüssige_ 25.00 m2

Wenn die Veranstaltung in der Mindestfläche enthalten ist, gibt es 25 m2 mehr.

Schalterraum / Verkauf Tourismus_99.70 m2

Warteraum / Schalterhallte_80.00m2

Convenience-Shop_100.00m2

Warteraum / Schalterhallte_80.00m2

Convenience-Shop_100.00m2

Schalterraum / Verkauf Tourismus 83.0

Warteraum / Schalterhalle 75.6

Gepäckraum 83.0

Warteraum / Schalterhalle 60.7

Schalterraum / Verkauf Tourismus 92.2

Convenience-Shop_98.0m2

Warteraum / Schalterhalle 60.7

Gepäckraum 83.0

Schalterraum / Verkauf Tourismus_100.00m2 Gapäckraum_74.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Gepäckraum 70.4 Gapäckraum_74.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2

Büro(backoffice)_33.00m2

Schalterraum / Verkauf Tourismus_99.70 m2

3 Büro(backoffice)_30.00m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2 Convenience-Shop_111.8m2

Convenience-Shop_98.0m2

Aufenthalt & Küche / korridor / WC D / WC H 20.6

Büro backoffice 29.0

Schalterraum / Verkauf Tourismus_100.00m2

Büro(backoffice)_30.00m2

Büro(backoffice 31.5

Schalterraum / Verkauf Tourismus 92.2

Aufenthalt & Küche / korridor / WC D / WC H 34.0

Warteraum / Schalterhallte_81.80 m2

Convenience-|Shop_42.5 m2

Warteraum / Schalterhallte_81.80 m2 Schalterraum / Verkauf Tourismus_99.70 m2

Gepäckraum_42.5 m2

Gepäckraum_42.5 m2 Büro_Backoffice_21.0 m2

Convenience-Shop_42.5 m2

Aufenthalt & Küche / korridor / WC D / WC H 25.00 m2 Verkehrsflächen_25.00 m2

Büro_Backoffice_21.0 m2

Aufenthalt & Küche / korridor / WC D / WC H

Study on the organization of functions for the renovation of the station building ground floor

I limited the design to EG alone. I visited the site many times and calculated where people would pass through and where there were fewer people. As a result, I decided to make a hole in the wooden decoration of the room in the southwest corner, which is currently the rest area, and move the other walls as far as possible without causing any structural problems. This resulted in a design that is more symmetrical than before and can be used efficiently by people.

2-1

New Hostel and surroundings Pontresina 50

Interior work for "Balt" Asagaya Bar I was in charge of this project at Nihon University’s Furusawa Daisuke Laboratory. Over the past two years, we have repeatedly conducted surveys and proposals with the client, leading to the final renovation. Our generation carried out the following 1) Demolishing the existing structure 2) Deciding on the final design 3) Construction Although it is a small bar, the existing structure is full of potential appeal in terms of structural design, so we incorporated design thinking into the design, within a limited budget of 3 million yen, to find a way to utilize the existing structure and incorporate it into the design. Daisuke Hurusawa / Yusuke Ehara

2-2

Balt Bar Site Asagaya Tokyo / Period 2 years / Use Bar / Cost 17,053 CHF 51 Balt Bar

1-2

Balt Bar 52

2-2

Plan after demolition

53 Balt Bar

S=1:50

Actual measurement

2-2

3D for draft concept

Kitchen cross-sectional view

S=1:20

Balt Bar 54

S=1:20 Kitchen Elevation S=1:30

Kitchen cross-sectional view

2-2

S=1:20

Kitchen Elevation S=1:20

Kitchen detailed plan S=1:50

55 Balt Bar

Kitchen cross-sectional view S=1:40

1-2

The hanging cupboards are partially cantilevered. The counter has a sleeve wall at the bottom to give it rhythm. The thickness of the entire board is uniform. The height of the counter was raised slightly to 770mm to allow for dining in chairs and eye level with the owner.

2 The existing ground elevation was taken over and only the kitchen floor was finished with a differentmaterial. The client requested a place for books to be placed above the counter. In response to the client’s request for a place to place books above the counter, a stainless steelframed hanging cupboard was installed from the existing ceiling level. The shelves are made of laminated cedar wood, which allows the old and the new to be integrated without losing the balance of the whole.

Balt Bar 56

Development view S=1:20

2-2

57 Balt Bar

2-2

development view

S=1:20 Balt Bar 58

Exhibition_Archiv eines Hauses We attempt to transform fragments of a house - that is, physical items or "spatial fragments" - into "time fragments" through the medium of photography. At first, the viewer experiences these “spatial and time fragments” as a series of dotted line-like fragments that have only the connection of being a single house, in other words, as countless unnamed piles of histories. The viewer then engages in a dialogue by looking again at the some of the pieces extracted from the countless fragments experienced earlier. At this point, single fragments, which in the previous stage were a series of seconds, begin to take on the appearance of an infinite amount of time defined by the viewer, while the infinite number of fragments from the previous stage are transformed into individual objects that allow the viewer to focus on eath one of them. By cutting out the fragments and changing the ways in which we consider them space-wise and time-wise, the anonymous and countless histories of the house are archived, taking on new meaning in terms of space and time as they emerge in the viewer’s conception of the house. Yusuke Ehara

St.Josef Scheim in the past

2-3

St.Josefscheim Site St.Josef Scheim in Dietikon Switzerland / Period 2 months / Use Photo case 59 St.Josefscheim

2-3

The 15 selected photos

St.Josefscheim

2-3

Some photos of the box

61 St.Josefscheim

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.

2-3

A statement explaining the reason for the design

St.Josefscheim

PILLARS SUPPORTING THE PHOTOS WOODEN STICK(FAN-SHAPED)(270mm) WOODEN STICK(SEMICIRCULAR)(270mm)

⌀16MM ⌀10MM

Detailed plan S=1:10

FIFTEEN PHOTOS 0.1-0.3MM 7MM 0.1-0.3MM

MATTE PAPER(268x178) CARDBOARD(2mm+5mm) MATTE PAPER(268x178)

3 8 8 10 8 10 8 10 EXTERIOR WALL BOARDS 0.3MM

MDF

Detailed elevation S=1:10 3 8

254 276

282

268

178

273

plan S=1:100

270 87

127 48

2-3

270

135

282

3 8

254 276

282 Elevation 1 S=1:50

Elevation 2 S=1:50 3

63 St.Josefscheim

8 3

Scenes from the exhibition

2-3

St.Josefscheim

Workshop Marble - Wood This project was a collaborative workshop conducted with USI (Università della Svizzera italiana). We fabricated a series of chairs and tapestries utilizing timber and marble. The concepts and objectives were as follows: 1) Utilizing marble sourced from Cave di Arzo 2) Exploring new joinery methods between stone and timber 3) Digitalizing stone geometries and rearranging them Initially, participants were divided into five teams, each proposing a distinct design. These proposals were subsequently narrowed down to two final concepts, which were then developed into full-scale mock-ups and exhibited. Yusuke Ehara (ZHAW) in collaboration with USI

2-4

Marble Wood Site Mendrisio, Switzerland / Use Chairs and Tapestries / Duration One week

65 Marble Wood

1-2

Marble Wood

Design Process

2-4 67 Marble Wood

Design Brief

Concept

Design Strategy Fabrication

Design Brief

Concept

Assembly

Result

Concept

Design Strategy Fabrication

Assem

Outlook and Discussion

Design Strategy

Fabrication

Assembly

Possible patterns

Result

Outlook

Last design

Possible patterns 10

Type A

Type B

Type C and D

2-4 Marble Wood