Position Piece 2: As part of our elaborated window study I chose to examine in further detail the Katsura in Kyoto. I quickly reliased that it was the essence of the sliding shoji screen that intrigued me most about this building and so I produced a scale model of one module consisting, 2 tatami mats, 1 screen and one timber wall panel.

Not wall, not window and not door but at the same time all three the shoji screen creates a moveable plane based on the tatami proportion. The ability to move the screen and the ensuing view behind suggests a constant state of transcience and emphemerality that is in keeping with the Japanese philosophy of wabi-sabi.

The translucent medium of paper, as opposed to transparent glass, softens the light entering the space producing a white glow. This paper screen can be understood in a filmic sense in the way in which it allows shadows and shillouettes to be projected onto it.

As a film maker the geometries of the screen and timber framing system allow for a multitude of frame within frame shots - an ideal example of which cn be seen in Yasujiro Ozu's 1953 film "Tokyo Story". In the style of Ozu I have sought to balance my shots and have experimented with his tatami framing method - placing the camera closer to the ground so that the focus is at the eye level of a person sitting on a tatmi mat.

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