昨日は３日間のドライブからの疲労回復に専心。移動距離はおおむね900kmですが、まぁまだまだ動体視力はしっかりしているので特段は問題ない。が、やはり足のふくらはぎ、肩・背中局所には痛みの自覚は発生。
　こういう疲労感はしかし日常生活空間に戻ると、不思議とみるみる解消されます。まるでカラダが普段のペースに戻ってリラックスの方法を自然に思い出してくる実感。日常的な体動・ストレッチ動作が、コリや痛みに対して適切な対処をしてくれる。自宅のように慣れ親しんだ空間は健康「再起動」装置システムかもと思える。１昼夜過ごしていると、体調復元に効率的な「習慣性」が自律的に活性化してくる。
　さて、今回の旅はあんまり行かない北北海道だったのですが、人口減少局面で各地域自治体の対応のシンボルとして「道の駅」への考え方の相違が強く印象づけられた。
　写真は札幌から日本海沿岸道路をひたすら北上した「羽幌」の道の駅の状況。道の駅という国交省マターの国の施策はマイカー移動が主流になっている現代生活において、必要欠くべからざる地域資産。今回のような移動には道の駅は休憩のターミナル機能を果たしてくれる。またそういった施設で各地域の情報も得られる。高速道路でのPAのような役割を果たしている。マイカー移動が主流になっている現代では一種のインフラ機能だと思います。
　見方を変えると各地域にとっては重要な「地域戦略」の実践対象。人口減少局面で貴重なアピールの場でもある。自らの地域にひとが流入してくる貴重な機会をどう活用すべきか、知恵の絞りどころ。
　札幌から180kmで途中数カ所立ち寄ったあと、稚内に向けての本格的ドライブの前にひと休みしたいと立ち寄った。・・・のですが、どうも案内の勝手が違って「道の駅」の場所がさっぱりわからない（泣）。国道から「道の駅」マークに沿って右折してもその施設建物がわからない。看板を確認するけれど、ほかの施設名ばかりで肝心の道の駅本体が訪ね当たらない。ほぼ「事件」のような状況に遭遇した。
　やむなく駐車場とおぼしき場所にクルマを停めて歩いて探し回って、下の案内を発見。

　ようやく理解できてきたのは、この羽幌では「道の駅」本体はいろいろな施設に機能分散していて本体建物はないということ。複数の施設が寄り集まって「ゾーン」として道の駅機能が果たされているのですね。たしかに地域にとって道の駅というマーケティングチャンスは最大限活用したいでしょう。それを最大化させることを意図して、複合的なゾーン化させることも理解は出来る。う〜む、しかし。
　来訪者としてはもうちょっと「わかりやすく」して欲しい。いきなり各パーツ分散で迷わせられるのはちょっと予想外。まぁこのあたりは各地域の戦略に関することなので軽々には言えないでしょう。しかしやはりユーザー視線への十分な配慮は期待したいですね。今回の旅の間このこと、繰り返し体験させられることになりました。

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English version⬇

[Local “Roadside Station” Utilization Strategies and the Resulting User Nuisance?
Roadside Stations are an oasis for driving and an opportunity to distribute information. Since they are also a determining factor in the impression of the area, we would like to see consideration from the user’s perspective. ・・・・・.

　Yesterday, I spent the day recovering from three days of driving. The distance traveled was about 900 km, but I still have good mobility, so it was not a particular problem. However, I am still aware of pain in the calves of my legs, shoulders, and back.
　However, these feelings of fatigue are quickly and mysteriously resolved when I return to my daily life space. It is as if the body has returned to its normal pace and naturally remembers how to relax. The daily body movements and stretching activities provide the appropriate response to stiffness and pain. A familiar space like home can be a health “rebooting” device system, and after spending a day and night there, the body autonomously activates a “habit-forming” system that is efficient in restoring physical condition.
　This trip was to northern Hokkaido, a region I do not visit very often, but I was strongly impressed by the difference in thinking about “Michi-no-Eki” as a symbol of each local government’s response in the phase of population decline.
　The photo shows the situation of a roadside station in “Haboro,” just north of Sapporo on the Japan Sea Coastal Highway. Michi no Eki, a national policy of the Ministry of Land, Infrastructure, Transport and Tourism, is an indispensable regional asset in modern life, where travel by car has become the norm. For this kind of trip, a roadside station can serve as a terminal for rest and relaxation. They also provide information on each region. They play a role similar to that of a PA on an expressway. I think they are a kind of infrastructure function in today’s age of car travel.
　From a different perspective, it is an important “regional strategy” for each region to put into practice. It is also a valuable place to appeal to the declining population. It is important to narrow down the wisdom of how to utilize this precious opportunity to attract people to one’s own region.
　After stopping at several places along the 180-km drive from Sapporo, we stopped for a rest before the full-scale drive to Wakkanai. However, the directions were different and I had no idea where the “Michi-no-Eki” was (I cried). Even when I turned right along the “Roadside Station” sign from the national highway, I could not find the building where it was located. I checked the signboard, but all I could see were the names of other facilities, and I couldn’t find the main roadside station itself. It was almost like an “incident.
　We had no choice but to park our car in what looked like a parking lot, and after searching around on foot, we found the information below.

　What I have finally come to understand is that in Haboro, the main body of the “Roadside Station” is distributed among various facilities, and there is no main building. The roadside station functions as a “zone” where multiple facilities are gathered together. It is true that the local community would like to make the most of the marketing opportunity of a roadside station. It is also understandable that a complex of zones is created with the intention of maximizing this. Hmmm…but…
　As a visitor, I would like it to be a little more “easy to understand. It is a little unexpected to suddenly be led astray by the dispersion of each part. Well, this is a matter of each region’s strategy, so I can’t say it lightly. However, I still hope that sufficient consideration will be given to the user’s point of view. I had to experience this repeatedly during this trip.

Notice
My book “Writers and Living Space” is published by Gentosha as an e-book.
Please visit Amazon to purchase the book.

Posted on 7月 19th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

　古民家というのはもっぱら「住まいと暮らし」に関わる領域であって、いわゆるファッションデザインにはイメージが結びつくことがなかったのだけれど、この山陰の石見銀山で「この地に根を持つ」デザイナーが立ち上げた店舗ブランドに出会って、認識が大きくあらためられた。写真はこのファッションブランド「群言堂」の１つのテーマ作品イメージの表現と、店舗におけるイメージ表現空間。
　衣食住という人間生活の基本要素はまさに基本要素であって、そのなかで生きて暮らしていく人間にとって相互に影響しないわけがない。しかし、古民家という日本人ネイティブな空気感と相互に「対話して馴染みあう」ファッションデザイン、それも現代的ライフスタイルの表現ということには、なかなか思いが至らなかった。しかし、独特の感受性をもつファッションデザイナーである松場登美さんは、そういう常人を超える感受性があって、似つかわしいデザインを創造しているのだと思える。
　もちろんわたし自身はそういう感覚ははるかに「斜め上」の世界なので、圧倒されるばかりなのだけれど、実際にこの群言堂本店の古民家再生店舗デザインと、その雰囲気と共生している衣装類を見ていると、さすがに「似合っている」ことはわかってきた。そして、空間デザインがどのように他の領域に影響していくのかという実例を見させられた思いがしていた。
　空間の作り方とかその構造性などとは別に、いわば「ものづくり」のデザインマインドの基底における相互作用をハッキリとそこに見ていたと言える。

　このようなファッション領域開発のNEXTとして、松場登美さんはいま「浄巾〜じょうきん」という考え方を実践されているということ。言うまでもなく対語としては「雑巾〜ぞうきん」というものになる。生きる領域として衣類を選択してきて「木綿往生」という言葉に強く惹かれたのだという。民藝活動家・外村吉之助氏の唱えられた考え方。それは「木綿はひとにやさしく最後は浄巾となってその一生を終える。人の一生もそうありたい」というもの。雑巾ではなく浄巾の「浄」には汚れを拭き取ってきれいにする意味だけではなく心の汚れも取り除くという意味もあり、社会を浄化するという意味では、と語られている。さらに古着類を端切れにしてそれらを「浄巾〜じょうきん」に仕上げていく針仕事をすら「チクチクセラピー」の営為として捉える。無心でそうした作業に取り組むとき、それらは一種、写経や瞑想にも似ていると語られている。
　結語として、歳を重ねても、新しいことにチャレンジすることは大事だと。
　このような「真言」に至る心底に、古民家的な空気感をファッション世界に表現する営為との深い連関性を見させられた。

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English version⬇

Costume design that resonates with old private houses Iwami Ginzan-7]
The spirit of the Japanese people’s familiarity with space is sublimated into costume design. From there, we went on to create “jokin,” a kind of cloth that is not a rag. Iwami Ginzan

　Old private houses are exclusively related to “housing and living” and have never been associated with so-called fashion design, but my perception was greatly changed when I came across a store brand established by a designer “with roots in this region” in Iwami Ginzan Silver Mine in the San-in region. The photo shows one of the themes of the fashion brand “GUNGODO” and the space for expressing the image of the brand in the store.
　The basic elements of human life, such as food, clothing, and shelter, are the very basic elements, and there is no reason why they should not influence each other for those who live and work within them. However, it has been difficult to come up with a fashion design that “interacts and blends” with the native Japanese atmosphere of an old Japanese house, and that is also an expression of a modern lifestyle. However, it seems to me that Tomi Matsuba, a fashion designer with a unique sensibility, has a sensitivity beyond that of ordinary people and creates designs that suit her.
　Of course, I myself am far “above” such sensibilities, so I am overwhelmed by them, but when I looked at the design of the Gunkendo main store, which is a revitalized old private house, and the clothes that are in harmony with its atmosphere, I realized that they indeed “fit” the store. I also felt that I was able to see an example of how spatial design can influence other areas.
　Apart from the way the space was created and its structural nature, I can say that I was clearly seeing the interaction at the base of the design mindset of “manufacturing” so to speak.

　As the NEXT step in the development of such a fashion area, Tomi Matsuba is now practicing the concept of “jokin – jokin”. Needless to say, the opposite term would be “zokin – zokin. Having chosen clothing as a domain for living, she was strongly attracted to the term “cotton living”. This is a concept advocated by folk art activist Kichinosuke Tonomura. He said, “Cotton is gentle to people and ends its life as a clean cloth. I want people’s lives to be like that. The “jokin” of “jokin,” as opposed to “zokin,” not only means to wipe off dirt and clean, but also to remove dirt from one’s heart and mind, and to purify society. He also considers even the needlework of cutting old clothes into scraps and making them into “jokin” as an act of “prickle therapy. When working on these tasks with a sense of detachment, it is said to be akin to sutra chanting or meditation.
　In conclusion, he said that it is important to try new things even as one gets older.
　In the heart of this “mantra,” I was able to see a deep connection with the activity of expressing the atmosphere of an old private home in the fashion world.

Notice
My book “Writers and Living Space” is published by Gentosha as an e-book.
Please visit Amazon to purchase the e-book.

Posted on 7月 17th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　石見銀山という世界遺産登録された地域での古民家的町屋の暮らし。その文化性に着眼して地域に「根のある」生活文化を掘り起こしてひとつのデザインブランドに昇華させているのが、この群言堂。
　きのう紹介した「福」ちゃんの飼い主であるデザイナー・松場登美さんの創出させたデザインマインド。わたしのような北海道寒冷地での住宅の高断熱高気密革命の同伴者からすると、まことにうらやましいような温暖蒸暑の気候の中で、積層してきた生活文化の上質な要素をすくい取っている、というように受け取れる。
　古民家はわたしも大好きでそこで展開された昔人のくらしのいとなみに、ふかく同心する心象を持つのですが、やはりそのままの住宅内気候条件を受け入れることは出来ない。そのような古民家の暮らし方のエッセンスを生かしながら、現代的な「快適性能」を基本に据えていくべきと考えて、あらたな民族的な生活の美感を創出する、そのための文化創造過程のいま現在を、ルポルタージュして共同で作り上げていくことを考える。
　そういう人間からすると、このような群言堂さんの「抽象化」には賛成したくなる。古民家の美感の本然をを生かしながら現代的な感受性で再構築していると思うのですね。ただ、群言堂さんにはそういった住宅性能的な与条件意識は基本的にはないのでしょうね。上の写真は２階のオープンスペースとその大開口。単板ガラスの引き違い木製窓が、広大に展開している。古民家的なデザインマインドと現代的な空間デザイン意識が融合した空間美。断熱としてはこの屋根や壁の外側で重厚に行えるけれど、木製窓自体はこのままではムリ。なので、この空間美を構成していくディテールでは同意はできにくい。気持ちはわかるけれど、手法としては丹念に取り組むべきということ。

　北海道でのこういう古民家の高断熱改修について、いろいろな意見のなかで「初源の姿への忠実な復元姿勢が不可欠ではないか」というトンデモ意見が出ることがある。北海道でも函館の五稜郭復元工事で高断熱化に対して「抵抗」する動きというものもあったと側聞する。
　こういったデザインマインドと、北海道的な作り手作法との「融合」が求められていると思う。

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English version⬇

Iwami Ginzan “Gunkendo” Design Mind Iwami Ginzan-5]
This kind of design mind is good. So, how to structure the house while ensuring the performance of the house? The best solution is a fusion of performance and design. The best solution is the fusion of performance and design.

　The Iwami Ginzan Silver Mine is registered as a World Heritage site. Gunkendo is a company that focuses on the cultural aspects of this area, and has unearthed a lifestyle culture that has “roots” in the region and sublimated it into a single design brand.
　This is the design mindset created by designer Tomi Matsuba, the owner of “Fuku,” whom I introduced to you yesterday. For someone like me, who has been following the revolution of high heat insulation and high airtightness of houses in the cold region of Hokkaido, it seems to me that the designers have captured the fine elements of life and culture that have been accumulated in the warm and humid climate, which is truly enviable.
　I also love old private houses, and I have a deep sympathy for the way of life of the ancients, but I cannot accept the climate conditions in the houses as they are. We believe that the essence of the old minka way of life should be utilized and that modern “comfort performance” should be the basis for creating a new sense of beauty in the life of a people.
　As such a person, I am inclined to agree with Mr. Gunkendo’s “abstraction. I think you are reconstructing the beauty of old houses with a modern sensibility, while making the most of their intrinsic beauty. However, I guess Mr. Gunkendo basically does not have such an awareness of the given conditions of housing performance. The photo above shows the open space on the second floor and its large opening. The single-pane sliding wooden windows are vastly expanded. The beauty of the space is a fusion of an old-fashioned design mindset and a modern spatial design consciousness. Although insulation can be provided outside of the roof and walls, the wooden windows themselves cannot be used as they are. Therefore, it is difficult to agree on the details that compose the beauty of this space. I understand your feelings, but the method should be carefully worked on.

　Among the various opinions on the renovation of such old houses in Hokkaido, there is a sometimes controversial opinion that “faithful restoration to the original state is essential. I have heard that even in Hokkaido, there was a movement to “resist” the use of high insulation in the restoration of Goryokaku in Hakodate.
　I believe that a “fusion” of this kind of design mindset and the Hokkaido way of making things is needed.

Notice
My book “The Writer and the Living Space” is published in e-book format by Gentosha.
Available at Amazon.com.

Posted on 7月 15th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　本日はきのうのブログの整理整頓。　
　昨日、高校同期の友人の画業を紹介させていただいた。かれは高校以来、ずっと「抽象画」を描き続けてきているとのことだった。それはかれの信ずるところであり、まったく尊重するべき態度だと思われた。
　しかし一方で、わたし一個の自分自身のことで考えるとわたしは世界を「見る」とき、やはりそこに表示されている「節理」とか、自然のことわり、のようなものへの深い愛着を持っている。というか、すべてはその大きな世界のなかで「生かされて自分がある」と受け止めているのだとあらためて強く感じられた。
　むしろ抽象画を描き続けている友人との対話の中から、自分自身と対話していたと思える。
　写真は毎年、散策路の途中でそのいのちの叫び声を聞かせてもらっている「オオウバユリ」のことしの表情。ここには独特の「美感」があり、さまざまな環境条件、種としての「さだめ」に即して必死に生きようとする植物・イキモノとしての本然のままの一心不乱さがある。いのちを輝かせて美を生きているといつも感じる。
　自然はそのあるがままの中で、その「存在としてのありよう」を表現していると思えるのだ。
　抽象画もまた、世界を色と独自の形象の世界と捉え、個人というフィルターを濾過させてそのままに表出させた営為と思える。大きくは存在の美感に従って、その内奥のリズムを表出させている営為。
　この宇宙の森羅万象にある「存在の美」というものと、根源は同じだと思っている。
　あとは、その表現の形の違いではないだろうか。友人とまったく噛み合わない話をしながら、一方でなにか深く共感できる感覚が同時並行していたように思っていた。
　なにか意味不明な感覚表出のようで申し訳ありませんが、なんとなく「気付かされた」のでメモとして書きました。
　
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English version⬇

Human “sense of beauty” is guided by nature.
After a “dialogue” with a friend of mine who has been painting abstract paintings, I realized that I like the beauty of all things in the forest, just the way they are. I am a fan of the beauty of all things in the forest and of things as they are.

　Today, I’m reorganizing yesterday’s blog.　
　Yesterday, I introduced a friend of mine from high school who has been painting “abstract paintings” ever since high school. He told me that he has been painting “abstract paintings” ever since high school. This is what he believes in, and I thought it was an attitude that I should totally respect.
　On the other hand, when I think about myself as an individual, when I “see” the world, I still have a deep attachment to the ‘reasonableness’ or the “natural order” of things displayed in the world. In other words, I strongly felt once again that I accept everything as if “I am alive and I exist” in this big world.
　In fact, I think I was talking to myself through the dialogue with my friend who continues to paint abstract paintings.
　The photo shows the expression on the face of the “day lilies,” whose screams of life are heard every year along the walking path. There is a unique sense of beauty here, and I always feel that we are living in the beauty of plants and animals that are desperately trying to live in accordance with various environmental conditions and their “destiny” as a species, and that they are single-mindedly shining their life as it is their true nature.
　I believe that nature is expressing its “way of being” in its own way.
　Abstract painting also seems to me to be an art form that sees the world as a continuous world of colors and unique forms, and expresses them as they are, filtered through the filter of the individual. It seems to me that the artist is expressing the inner rhythms of the world according to the aesthetic sense of existence.
　I believe that the “beauty of existence” that continues to exist throughout the universe has the same root.
　What remains to be seen is the difference in the form of expression. While I was having a completely irreconcilable conversation with my friend, I was simultaneously feeling a sense of deep empathy.
　I am sorry if this seems to be an expression of some unintelligible feeling, but I wrote it as a memo because I was somehow “made aware” of it.
　
I am sorry to say that I wrote this as a memo, but I was somehow “made aware” of it.

Posted on 7月 13th, 2025 by 三木 奎吾
Filed under: 未分類 | No Comments »

IMG_2873　⇐　こちらをクリックして別画面で音楽再生してください。

　本日は連載テーマ「石見銀山」発掘シリーズは、ひと休み。どうも意識のバランスを取るのには、探究型の志向性と同時に世間感覚の両面を往復するような必要があると思います。いまは住まいと人間、的な興味分野であれこれと深掘り「取材」を継続してきているのですが、ときどきは意識的な休息を。
　世間的な仕事関係ではややフリーな立場になってきつつある人間としては、時間的には自由時間が増えてくるので一昨日カミさんと連れだって、新鮮野菜の買い出しに札幌近郊の長沼町・道の駅へ。
　ここのところの好天、すっかり真夏の気候に誘われている次第ですが、道の駅に着いたらなにやら天上からのここちよい音楽が脳天に響いて来ていた。カミさんは速攻で野菜のショップに向かっていましたがわたしは、すっかりその音色に脳天が直撃されていた（笑）。こういうストリート音楽家のことが好きなんですね。見たら国籍不明の色黒男性がさまざまな楽器と音楽装置を使って楽しい音楽を聴かせてくれていた。
　わたしは音楽の楽器にはまった知識がないのですが、首からはたくさんの吹奏楽器をぶら下げて、太平洋諸島のどっかと思えるような民族衣装をまとってリズムを取っていた。楽曲は最初は耳慣れないものでしたが、だんだんビートルズ・オブ・ラ・ディ、オブ・ラ・ダなどのわかりやすい楽曲もやってくれていた。わたし的には首からぶら下がっている多管な楽器の演奏を心待ちしていたけれど、まぁ一生懸命に盛り上がっているのにリクエストも申し訳ない、ということでありがたく拝聴していた。謹んでチャリンと心付け。すごく気のよさそうな人物で、過剰なまでに笑顔のサンキューポージング（笑）。
　その楽しい天上の音色を上の ⇐ 箇所クリックしてで動画再生でお楽しみください。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

Nirvana of Sound from Above At Naganuma Roadside Station, near Sapporo.
Street performers play in the shade of trees in the midst of a beautiful midsummer day. I felt like I was approaching the heavenly world. Nirvana will soon come to everyone. The nirvana will come to everyone in time.

⇐ Please click here to play the music in another screen.

　Today we take a break from the series of the serial theme “Iwami Ginzan” excavation series. I think it is necessary to balance the consciousness of the world by going back and forth between an inquisitive orientation and a worldly sense at the same time. I have been continuing in-depth “coverage” in the area of housing and people, but I need to take a conscious break from time to time.
　As a person who is becoming a little freer in terms of work, I have more free time, so the day before yesterday I took my wife to a roadside station in Naganuma Town, near Sapporo, to buy fresh vegetables.
　The recent fine weather has been inviting us to enjoy the midsummer weather, and when we arrived at the Michi-no-Eki, we were greeted by the sound of soothing music from the sky above. My wife was heading for the vegetable store as fast as she could, but I was completely struck by the sound of the music (laugh). You like these street musicians, don’t you? I saw a dark-skinned man of unknown nationality playing fun music using various instruments and musical devices.
　I have no extensive knowledge of musical instruments, but he had a lot of wind instruments hanging from his neck, and he was playing rhythm with a folk costume that seemed to be from somewhere in the Pacific Islands. The music was unfamiliar to me at first, but gradually they played some easy-to-understand tunes such as “Beatles of La Di,” “Of La Da,” and so on. I was looking forward to hearing the multi-tubular instrument hanging from his neck, but I was grateful to hear it because I felt sorry to make a request when he was working so hard to get the audience excited. I was very grateful for their kindness. He seemed like a very pleasant person, smiling excessively, thank you posing (laughter).
　Please click on the ⇐ above for a video replay of that delightful heavenly tone.

●Notice
My book “The Writer and the Living Space” is published by Gentosha in e-book format
Available at Amazon.

Posted on 7月 11th, 2025 by 三木 奎吾
Filed under: 「都市の快適」研究 | No Comments »