昨日は久しぶりの「住宅取材」で午前中いっぱい興味津々。すっかりあれこれのポイント満載でツッコミどころのあまりの多さに驚かされておりました。「作家と住空間」の取材も自分的には非常に刺激的なのですが、イマドキの住宅建築最前線事情もまた、いまの経済社会をすべて投影しているので分析しがいがある。
　で、帰ってきたら今度は電話連絡で東京の「中央省庁」とのやり取り。最近強く思っているのですが、政策についての申請〜やり取りが電子化してきてからどんどん「複雑化」してきていて、非常にナーバスな対応力を必要とされるようになってきた。むしろ書面と対面での作業の方がはるかに簡便なのではないかと思います。
　こういう困難はたぶん、電子化という情報交換手段の進化に対して人間社会の側の「常識化」がまだ追いついていないということのように思えます。官僚システム世界の言語感覚の厳密さををそのまま一般人に強制していると思える。それ自体は間違っているとは言えないのだけれど、一般社会常識では「え、そこまで厳密にやんなきゃいけないの？」という反応を持たざるを得ない。電子化によって官僚システムそのままが投影されてきていると思うのです。
　もう少し、行政の電子化も一般言語化される必要があると思うのですが、そういう進化プロセスというのは直接に政治判断の領域でもないので、選挙で止揚発展させていくものでもなさそう。できれば有識者による情報システム「民主化」というようなテーマで論議されて欲しいと思います。孫子の世代の日本のために。（おお！）
　・・・そんななか、夫婦での冬の散歩道探究の結果、さっぽろ琴似の空中回廊〜ビルとビルの連絡通路空間が２階のレベルで散歩歩数距離にして5000歩くらいになる通路散歩〜にたどりついています。北国の人間の知恵とも言える。で、そこにいくつかの「壁画」が展示されていて、毎日癒されております。
　どうも最近、こういう「やさしさ」にまったく参っておりまして（笑）、小さい子とか、各所で見かける動物たち、空を飛んでいる鳥たちなどに深く癒される。さっぽろの場合、多雪都市らしく地下歩行空間などたくさん人工通路があるので、こういった壁画という公共文化も大いに発展させて欲しい。いかがでしょうか？

English version

The mural on the aerial corridor in Sapporo Kotoni.
I’m getting melancholy about this kind of gentle expression (laughs). Artificial building corridor space is a new ‘public space’. It is a stage for a culture of gentleness. …

　Yesterday, after a long time, I spent the whole morning in a ‘housing interview’ and was very interested. I was surprised at how many points of interest there were. The coverage of ‘Writers and Living Space’ is very stimulating for me, but the situation at the forefront of current housing construction is also worth analysing, as it projects everything that is happening in today’s economy and society.
　And when I came back, this time I had a phone call with the ‘central ministries’ in Tokyo. Recently, I have strongly felt that the application and exchange of information on policies has become more and more ‘complicated’ since they have been computerised, requiring a very nervous response. Instead, it is much easier to work in writing and face-to-face.
　It seems to me that these difficulties probably mean that ‘common sense’ on the part of human society has not yet caught up with the evolution of the information exchange means of computerisation. It seems to me that the rigour of the language sense of the bureaucratic system world is being forced on the general public as it is. That in itself is not wrong, but the general public’s common sense is to respond, ‘Oh, do we have to be that strict?’ The electronic system has allowed the bureaucratic system to remain as it is. I think that the electronic system is projecting the bureaucratic system as it is.
　I think that the digitisation of public administration needs to be more generalised, but this kind of evolutionary process is not directly in the realm of political decision-making, so it is not something that can be stopped and developed through elections. If possible, I would like to see a discussion on such a theme as information system ‘democratisation’ by experts. For the sake of Japan’s grandchildren’s generation. (Oh!)
　In such a situation, as a result of the exploration of winter walking paths by a couple, we have arrived at the aerial corridor in Sapporo Kotoni – a corridor walk where the connecting passage space between buildings is at the level of the second floor and the walking distance is about 5000 steps. It can be said to be the wisdom of the people of the North. So, some ‘murals’ are exhibited there, and I am healed every day.
　I have recently been completely overwhelmed by this kind of ‘gentleness’ (laughs), and am deeply healed by small children, animals seen in various places, birds flying in the sky, etc. In the case of Sapporo, as a city with a lot of snow, there are many man-made pathways, such as underground walking spaces, so I would like to see the public culture of murals like this develop. What do you think?

Posted on 3月 22nd, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　きのうは表題のような会議に参加しておりました。で、写真は北海道開拓の初源期の移住民による住宅建築の記録写真。
　北海道はほかの日本列島地域とは違ってその積雪寒冷条件から、江戸期までは「米作不適地」として移住は促進されていなかった。明治期に至って、むしろ国防的な主要因から急速に移民促進政策が政府によって開始され、この写真のような入植移住が進行していった。こうした経緯から北海道の開拓政策と移住促進の政策にとって「住宅政策」はもっとも核心的なこととして追究されてきた。最初は「北海道開拓使」という名前の「中央政府官庁」がその政策を主導してきたが、その後は地方政府自治体としての「北海道庁」が主体となって、その政策的DNAを受け継ぎ、地道に住環境の寒冷地対応研究を進めてきた歴史を持っている。
　ほかの地域ではこうした行政側の強い姿勢というのはあまり見られない。基本的には住宅政策というのは国土交通省の政策部局のコントロール下で地方自治体は従属的に担うに過ぎない。であるのに北海道では継続的に地域自治体が住宅業界を「先導」するような施策を打ち出し続けている。
　そしてその住宅施策について開かれた会議を開催し、公開的に論議を重ねてきている。北海道開拓初源期からのこうした「伝統」を守って表題のような会議が開かれてきている次第。こうした道の姿勢が他の自治体にも波及を見せていて鳥取県などが地域住宅施策を打ち出しはじめても来ている。住宅はその建てられる地域の気候風土・民俗に大きく影響を受けるし、また、その地域らしさの根幹にもなる。
　北海道のこうした取り組みは徐々に広がっていく可能性がある。現に住宅性能的な取り組みについては新住協などの活動が全国に波及し、北海道で始められた「革命」が全国に広がっている。
　そういった先導的な北海道の未来的住政策の方向性を形作っていくのがこの会議といえるでしょう。
　わたし自身は国交省の関連した住宅施策会議参加の経験もありますが、リアリティ・迫真性において北海道の会議は隔絶している。会議の方向性はやがて政策として開示されていきますが、会議はまことに実践的な内容で展開している。わたしは自身の経験も踏まえてできるだけ「ユーザー目線」的スタンスでの発言を心がけて参加していますが、全体としてもそういった熱気に満ちていると思います。今後の道の住宅施策にご注目ください。

English version

[Participation in the Hokkaido Government’s ‘Conference on Promoting Private Sector Housing Policies’].
Hokkaido has been at the forefront of overcoming the difficulties of ‘living’ in Japan because it is the most difficult region in the country. This is a policy conference to deeply consider ‘housing’, the cutting-edge of regional character. …

　Yesterday, I was at the meeting as shown in the title. The photograph is a record of house construction by immigrants in the early days of Hokkaido’s pioneering period.
　Unlike other parts of the Japanese archipelago, Hokkaido’s snowy and cold conditions meant that until the Edo period, emigration was not promoted as ‘unsuitable for rice cultivation’. In the Meiji period (1868-1912), the government rapidly initiated a policy to promote emigration, mainly for reasons of national defence, and the settlements shown in this photograph were developed. This is why ‘housing policy’ has been pursued as the most central aspect of Hokkaido’s pioneering and immigration policy. Initially, a central government agency called the Hokkaido Kaitakushi (Hokkaido Development Office) took the lead in this policy, but later the Hokkaido Government took over the policy DNA of the central government and has a history of steadily advancing research into cold-weather living environments.
　In other regions, such a strong stance on the part of the government is not often seen. Basically, housing policy is only a subordinate responsibility of local authorities under the control of the policy department of the Ministry of Land, Infrastructure and Transport (MLIT). In Hokkaido, however, local authorities have been continuously putting forward measures to ‘lead’ the housing industry.
　They have held open meetings and openly discussed these housing policies. The meetings are being held in keeping with this ‘tradition’ from the early days of Hokkaido’s pioneering period. This attitude of the Hokkaido Prefectural Government is spreading to other municipalities, with Tottori Prefecture and other prefectures beginning to introduce local housing policies. Housing is greatly influenced by the climate and folk customs of the region in which it is built, and is also the basis of the character of the region.
　Such initiatives in Hokkaido may gradually spread. In fact, the activities of the Shinjyukyo and others in terms of housing performance initiatives are spreading throughout the country, and the ‘revolution’ started in Hokkaido is spreading throughout the country.
　This conference can be said to be taking the lead in shaping the direction of Hokkaido’s future housing policy.
　I myself have experience of participating in housing policy conferences related to the Ministry of Land, Infrastructure, Transport and Tourism, but the Hokkaido conference is different in terms of reality and realism. The direction of the conference is eventually disclosed as policy, but the conference is developed in a very practical way. Based on my own experience, I try to speak from a ‘user’s perspective’ as much as possible, and I think the conference as a whole is filled with such enthusiasm. Please keep an eye on the future housing policy of the province.

Posted on 3月 20th, 2025 by 三木 奎吾
Filed under: 住宅マーケティング | No Comments »

　石ノ森章太郎生家探訪シリーズは本日で10回目になった。「作家」という名詞はわたしのような昭和中期生まれの人間には、どうしても芥川賞的な「文学」者がその対象という刷り込みが大きい。少なくとも文学が最上位という固定観念。AIによると作家という名詞は「文章や書画などの作品を創作する専門家」という概念規定。やはり「文章」が最初にある。
　こういう社会全体の考え方が、文化を学び始める子ども時代の心理の基底に折り重なって文筆者がその筆頭概念になっているのでしょう。わたし自身も「作家と住空間」という電子本を書き始めて最初に取り上げたのは芥川龍之介。そういう刷り込みの大きさが自明なのでしょう。コトバの最優位性。
　しかし一方で現代人として、テレビや映画などの映像表現世界のビッグバンを経験してきて、ビジュアル情報の方がはるかに「先験的」だとも思ってきている。戦後以降の「マンガ文化」とそこから発展しているアニメ文化領域の方が、人間の文化受容の基底領域として巨大になって来ている。自分自身に照らしてみたときマンガ文化は、芥川龍之介作品よりもはるかに「感性に身近い」存在だと思えるのですね。そして手塚治虫以降のマンガ家たちの作品発表に手に汗を握り続けてきた生き様のリアルタイム感がハンパない。
　文章表現には分析的な深み・多様性が仕込まれていくけれど、マンガ的表現にはコトバ化を超える「一挙把握」的なコミュニケーションパワーがあるのだと思う。
　そんなマンガ文化「作家」としての石ノ森章太郎の少年期の「手すさび」とも、遊び心とも取れるような作品と出会っていた。上の写真の作品は公開されているかれの部屋に無造作に置かれていた。松ぼっくりを素材としてそれを造形的に連結積層させて、たぶん「亀」を表徴、形作ったと思われるもの。この作品が無造作に展示されていたことは、少なくとも生家を保守してきた家族にとって、なによりも石ノ森章太郎の人物性全体がそこに表現されていると感じていたに違いない。
　わたしにはそう受け止められた。素材としての松ぼっくりを家の周りから収集してくる段階からだんだんこの造形をイメージしていたと思われる。石ノ森少年の「創作意欲」の根源部分が色濃く投影されていると感じられたのだ。
　こういう領域になってくると言語表現で明晰化することは困難で、かれ石ノ森少年の「内的なパトス」としか言いようがない。しかしさまざまなかれのマンガ作品に接してきた人間にして見ると、その表現意欲や手法のコアな部分に生々しく触れてしまった感があった。みなさんはどう思われるだろうか？

English version

Traces of the artist’s ‘way of thinking’ from his childhood.
Embodies the state of internal pathos of an artist who worked with a visual communicability that transcended language as his field of expression. Quietly surprising in its rawness. …

　Today marks the tenth in the series of visits to Shotaro Ishinomori’s birthplace. The term ‘writer’ is often associated with people like myself, who were born in the mid-Showa period (mid-1989s), with the idea that ‘literary’ writers, such as Akutagawa Prize-winning writers, are the target of the term, or at least the stereotype that literature is the highest rank. According to the AI, the noun ‘writer’ is defined as ‘a professional who creates works of writing, calligraphy or painting’. After all, ‘writing’ is first.
　This way of thinking about society as a whole is probably folded into the base of the psychology of childhood, when children begin to learn about culture, and the writer is the first concept. When I myself started writing the e-book ‘Writers and Living Space’, I first took up Ryunosuke Akutagawa. The magnitude of such an imprint is probably self-evident. Kotoba’s paramountcy.
　But on the other hand, as a modern person, I have experienced the big bang in the world of visual expression, such as television and film, and have come to believe that visual information is much more ‘a priori’. Since the post-war period, ‘manga culture’ and the animated cultural sphere that has developed from it have become more massive as a base area of human cultural reception. When you look at it in the light of yourself, manga culture seems to be much ‘closer to your sensibility’ than the works of Ryunosuke Akutagawa, doesn’t it? And the real-time sense of the way of life of the manga artists since Tezuka Osamu, who have kept their hands sweaty in the publication of their works, is not a lot.
　While analytical depth and diversity is built into written expression, I think that manga expression has a communicative power that goes beyond verbalisation and is ‘grasped in a single stroke’.
　I met a work that could be seen as a playful expression of Shotaro Ishinomori’s boyhood as such a manga culture ‘artist’ and ‘tesasabi’. The work in the photo above was placed randomly in his room, which was open to the public. It is made of pine cones, which are connected and stacked in a figurative manner to form the shape of a ‘turtle’. The fact that this work was displayed in such a careless manner must have been seen as an expression of Shotaro Ishinomori’s entire personality, at least by the family who maintained the house where he was born.
　That is how it was perceived by me. It is thought that he gradually began to imagine this form from the stage of collecting pine cones from around the house as a material. I felt that the roots of the Ishinomori boy’s ‘creative urge’ were strongly projected in this work.
　When it comes to this kind of area, it is difficult to clarify in verbal expression, and can only be described as Ishinomori’s ‘internal pathos’. However, as someone who has come into contact with a wide range of different manga works, I felt that I was exposed to the core of Ishinomori’s expressive ambitions and methods in a very raw way. What do you think?

Posted on 3月 18th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　昨日は石ノ森章太郎の「デスク環境」に絞って検証してみたけれど、本日はかれが高校卒業まで過ごしていた自室空間についてです。間取り図と窓の様子などから、この部屋はおおむね細長い６畳空間であることが推認できる。上の写真が部屋の奥から入口方向を見返した全景で、視界の手前左側に「ベット」と記載されたベッドが置かれていたことがわかる。畳を縦に１枚敷いて、それが横並び６枚並列されるような空間。そのままでは短辺方向に圧迫感が生じることが容易に予測されるので、新設の「出窓空間」が外側に張り出されたと受け取れる。
　この家屋自体は詳細な建築記録を参照できてはいないけれど現在で築100年を超える建築で、この石ノ森少年の自室の内装には昭和中期の「新建材」とおぼしき市町模様の床面フロア材や、当時の先端木製品工場から出荷された合理的建材としての「ベニヤ合板」がつかわれている。新規性の高い出窓空間とあわせて見るとこの内装空間はリフォームされた蓋然性がきわめて高いと思われる。やはりきのう触れたように、父母にとって世を継いでくれる大切な長男に対して無限の愛情を結晶させた空間なのだろうと思える。日本社会を保守し続けてきた家系意識と「家」制度・民俗としての未来への「投企」の感覚か。
　「作家と住空間」電子本で探った柳田國男の武蔵野での新築住宅「喜談書屋」では、施工として竹中工務店が浮かび上がっていたけれど、宮城県には一定の建築情報人脈もあるので建築会社とその人脈性などをたどろうと思えば、当時の建築会社と職方集団なども特定できるのではないかと思っている。今現在はそこまで踏み込まないけれど、そういう面からの探究も必要があれば探ってもみたい。よりリアリティのある住宅像、建築工事像を掘り起こすことも可能だろう。

　こちらはマンガ家への飛翔を夢見続けていた少年期の石ノ森章太郎が、学校から帰ってきて自室で見ていただろう視界。６畳間から奥行きが約１ｍ弱ほど突き出た「出窓空間」が少年の心理にどのように影響を与えたのかと想像力を巡らせていた。きのう触れたように、リフォーム工事に伴ってと思われるオリジナルなデスク環境も少年の「注文」が活かされていただろうことが視認できた。隣室の父母、階下の店舗空間から平屋の和室３室にほかの家族が住んでいて自分の「背中」側にいてくれている。自分は大きな開口部に向き合いながら、マンガ家としての大きな未来を眺望していた。そのような心理洞察が自然に湧いてきていた。

English version

[Ishinomori Boy’s ‘veneer board wall’ refurbished Western-style room
Veneer walls, a floor surface with a Ichimachi pattern design and a projecting bay window space leading to a dazzling future. The artist’s ‘dreaming’ space, which must have been realised through renovation. …

　Yesterday, we focused on Shotaro Ishinomori’s ‘desk environment’, and today we will look at the space in his room where he lived until he graduated from high school. From the floor plan and the windows, it can be inferred that this room is generally a long, narrow 6-mat space. The photo above is a panoramic view looking back towards the entrance from the back of the room, showing that a bed, marked ‘bed’, was placed on the left side in the foreground of the view. The space is such that one tatami mat is laid vertically and six of them are placed side by side. As it is easily predicted that the house would be oppressive in the short side direction as it is, it can be accepted that the newly built ‘bay window space’ was overhung outwards.
　The house itself is now over 100 years old, although detailed construction records are not available, and the interior of the Ishinomori boy’s room uses flooring with a Ichimachi pattern, which appears to be a ‘new construction material’ from the mid-Showa period, and plywood, a rational construction material shipped from an advanced wood products factory at the time. Together with the highly innovative bay window space, it is highly probable that this interior space was remodelled. As I mentioned yesterday, this space seems to be a crystallisation of the parents’ infinite love for their eldest son, who will succeed them in the world. Is this a sense of ‘projection’ towards the future as a result of the family lineage consciousness and the ‘family’ system and folk customs that have continued to maintain Japanese society?
　In Kunio Yanagida’s new house ‘Kidansho-ya’ in Musashino, which I explored in the ‘Writers and Living Space’ e-book, Takenaka Corporation emerged as the construction company. I think it may be possible to identify the building companies and craftsmen’s groups at that time. We are not going that far at the moment, but if necessary, we would like to explore this aspect as well. It may be possible to uncover a more realistic image of housing and construction work.

　This is the view that Shotaro Ishinomori would have seen in his room after returning home from school, when he was a boy dreaming of becoming a manga artist, and we wondered how the ‘bay window space’ protruding from the six-mat room by less than one metre in depth would have affected his mind. As I mentioned yesterday, I could see that the boy’s ‘order’ would have been utilised in the original desk environment, which seems to have accompanied the renovation work. His parents live in the next room, and other family members live in three one-storey Japanese-style rooms from the shop space downstairs and have their ‘backs’ to him. Facing the large opening, I was looking into the great future as a manga artist. Such psychological insights came naturally to me.
　
　
　

Posted on 3月 16th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

人間は自分ひとりで生きていける存在ではない。親があってはじめてこの世に生を受け、家族というぬくもりに支えられて成長していくもの。そしてその後「世に出た」後も、その出自の環境からさまざまに支えられながら、人生という波濤のなかに漕ぎ出していくものだろう。わたし自身も自ら顧みて、そうした大きな「繭」のようなものに深く抱かれていたことが実感させられる。この石ノ森章太郎生家を探訪していて、おばあちゃんや実姉の残影が色濃く感じられて、作家の内面を「覗き見た」思いが強い。さまざまな断面からのぞき得たけれど、さらに父親や母親の思いなども掘り起こすことが出来たらと思っている。そしてそのことが身を締め付けるように愛おしいと感じられる。
　こういう部分を注目していると柳田國男の掘り起こした民俗、いわば日本人的な「前世」観という思想へのはるかな探究につながるのかも知れない。「作家と住空間」電子本で探究した柳田國男だけれど、わたしはその後も柳田さんの思想痕跡にずっと「抱かれている」と感じている。ただ、柳田さんが生きていた頃から時代は先に進んで、柳田さん以降の日本人の生命の積層があって、独特な「民俗」も多様に展開しているのだと思う。
　そういう典型的存在として、わたしの思春期とも大きく重なる石ノ森章太郎の部屋にたどりついてしまった（笑）。そうなんです、ある種「来てしまった」感が盛り上がり、燃えさかっていた。
　わたし自身はかれ石ノ森章太郎についてそこまで深い「心的交流」をしていたか、と考えれば、たとえば司馬遼太郎の作品群との対話時間のような近接感には至っていない。・・・と思っていた。しかし、この写真のような光景に出会ってしまったら、一気に自分の中学生頃の感受性世界と深く応答させられてしまったのです。
　ちょうど石ノ森章太郎が父親からマンガ家志望に反対されたのと同様に、わたし自身は父親から描いていたマンガ作品を焼却処分されていた。そういう思春期の体験感覚が一気に蘇ってしまった。別に空間としての感じがわたしの過ごしていた部屋と似ているワケではないのに、そういう心理の復元起動力、パワーがこの部屋から感じられた。
　作家の住空間として残されている住宅のなかで同時代感が大きくスウィングしてくるのは、わたし自身の年齢から考えてギリギリ石ノ森の世代でしょう。おおよそ14-5年程度の時間差はあるけれど、戦後しばらく経った昭和中期が鮮烈に襲ってきたと感じていたのです。やはり人間と住空間はオモシロい。

English version

[Aspiring manga artist and adolescent Shotaro Ishinomori’s room
The restorative activation and power of the psyche that the living space has. The feeling of life swinging. The feeling of having ‘arrived’ in such a place. …

Human beings are not beings who can live on their own. He is born into the world only after his parents, and grows up supported by the warmth of his family. After they ‘come into the world’, they are supported in various ways by the environment in which they came from, as they paddle out into the surging waves of life. Looking back on my own life, I realise that I was deeply embraced by such a large ‘cocoon’. When I visited the birthplace of Shotaro Ishinomori, I could feel the strong traces of my grandmother and sister, and I strongly felt that I had ‘peeked’ into the artist’s inner life. I was able to peek into various aspects of the artist’s life, but I hope to be able to further uncover his father’s and mother’s thoughts and feelings. And that makes me feel squeezed and lovely.
　Paying attention to these aspects may lead to a far-reaching exploration of the folk customs that Kunio Yanagida unearthed, the Japanese view of ‘prehistoric life’, so to speak. I have been ‘held’ by the traces of Yanagida’s thought ever since my exploration of Kunio Yanagida in the e-book ‘The Writer and the Living Space’. However, since the time when Mr Yanagida lived, times have moved on and there is a layering of Japanese life after Mr Yanagida, and I think that the unique ‘folklore’ has developed in various ways.
　As a typical example of such an existence, I ended up in the room of Shotaro Ishinomori, whose adolescence also overlapped greatly with my own (laughs). Yes, a certain sense of ‘I’ve arrived’ was rising and burning.
　When I think about whether I myself had such a deep ‘emotional exchange’ with Shotaro Ishinomori, I have not reached the same level of proximity as in the time I spent talking with Ryotaro Shiba’s works, for example. … I thought. However, once I came across a scene like the one in this picture, I was at once made to respond deeply to the world of sensitivity of my junior high school days.
　Just as Shotaro Ishinomori was opposed by his father to his aspiration to become a manga artist, I myself had had the manga works I was drawing burnt by my father. The sensation of that kind of adolescent experience came back to me all at once. The room does not resemble the room in which I used to spend my time, but I could feel the power of psychological restoration and activation in this room.
　Among the residences that have been preserved as artists’ living spaces, it is probably Ishinomori’s generation, just barely considering my own age, that has the greatest swing in the sense of contemporariness. There is a time gap of about 14-5 years, but I felt that the mid-Showa period, some time after the war, had struck me vividly. After all, people and living spaces are interesting.

Posted on 3月 14th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »