The first portion of the book investigation is the subtractive excavation of the book's surface to diagrammatically model our selected Japanese house. The aspect of the House in Buzen by Suppose Design Office that I wanted to focus on the most was its dialogue with the exterior. The hallways inside of the house are topped with glass ceilings, allowing light to penetrate the interior and fill the walls with daylight. The House in Buzen was described by Suppose Design Office as a “collection of constructions.” The spaces varied in size, location, and ceiling height. I illustrated this by proportionally carving out the negative space from the book, leaving only the spaces that are defined by true walls. I cut the cover down to match the ceiling height of each space to illustrate the spatial composition in plan as well as section and elevation.
The bottom cover is left intact to represent the floor of the home. Even though it is surrounded by glass, there is still a delineation of space because of the building envelope, which is represented by the bottom cover.
The pages are cut all the way to the edge of the book to maintain the rectangular nature of a book, but the binding has been removed to create more of an isotropic starting point for carving away at the book.
When held at eye level, it is easy to see the massing of all of the different rooms, and how the intermediate hallway space interacts with the location of these spaces. Natural light is a big aspect of this home, and it is evident how much comes in not only from the top, but also the sides.
The House in Buzen is a good example of the Japanese principle of a strong exterior connection, and this diagram attempts to illustrate that design intention.