In this house, space is not divided by walls according to function; instead, it explores relationships born from overlapping boundaries between spaces.
The simple plan, evenly divided into four parts, might at first glance appear like a one-room layout where similar rooms sit adjacent to one another.
However, in reality, the arrangement of connections between rooms and the placement of openings ensure that the entire house can never be grasped from a single point. The gaze is constantly drawn deeper inside, evoking an imagined sense of spatial depth. Each domain is not clearly separated by walls or partitions, but overlaps quietly while preserving margins, leaving no central room and instead unfolding a dispersed, multi-perspectival field.
The hall spans across two of the four quadrants, with ceiling heights ranging from 2.1 meters to a maximum of 6 meters.
Dramatic sectional changes and differing qualities of light pouring in from the windows introduce distinct flows of time into parallel spaces.
Openings, deliberately kept few in number, fragment the outside scenery and withhold its entirety.
Together with the non-centralized composition and overlapping boundaries, this fragmented view extends the perception of the house outward into the city,
while at the same time allowing the city to invert itself into the interior of the house.
The repetition of the plan and the configuration that prevents a full line of sight generate a peculiar sensation—where voices and sounds are audible though figures remain unseen,
evoking a feeling of proximity despite physical distance. This condition, where one senses the presence of someone even without seeing them, invites the imagination of space itself.
This evocation of unseen presence resonates with Apichatpong Weerasethakul’s film Uncle Boonmee Who Can Recall His Past Lives (2011), in which a lost wife and son return home as ghosts and spirits. These apparitions are not portrayed as fearful beings but as intimate presences, gently inhabiting the domestic space.
They appear in forms indistinguishable from the living, yet only the ghosts speak from off-screen, while the living characters remain silent beyond the frame. This cinematic device accentuates their “absence” while engraving the trace of their having once been there deep into the space.
Their absence paradoxically sharpens the spatial depth, making it more vivid.
In this house as well, the imagined depth and the invisible yet palpable presence of space are essential elements. The dispersed traces of existence quietly resonate throughout, holding within them a spatial expanse that surpasses mere reality.
