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【この木造空間にちなむ文学作品 芥川龍之介・九十九里の庵-7】



このブログを書いていて、芥川は金持ちのボンボンで定職もないときに海辺の旅館の「離れ」で遊興の限りを尽くしていたのが実相ではないかという意見をいただきます。本日はその辺の調査ブログ（笑）。
〜一宮川河口に位置する旅館・一宮館の離れで、大正３年（1914）と大正５年（1916）に芥川龍之介がこの離れに滞在した。芥川は滞在中にこの離れから、後に妻となる塚本文に長い求婚の手紙を送り、一宮での思い出を「微笑」「海のほとり」「玄鶴山房」「蜃気楼」などの作品に登場させている。
建物は明治30年（1897）の建築。茅葺寄棟造の木造平屋建て。主屋と次の間２室の３方に縁側を回らし、縁側の一端には洗面所を設けている。当地方の伝統的な民家建築技法で建てられ、周囲の松林の閑静な雰囲気と相まって良好な景観となっている。〜＜一宮町観光協会HPより要旨抜粋＞
一方、芥川作品はこの時期、以下のような作品群。
＜翻訳関係＞
・バルタザアル 1914年（翻訳、原作アナトール・フランス）
・「ケルトの薄明」より 1914年（翻訳、原作ウィリアム・バトラー・イェイツ）
・春の心臓 1914年（翻訳、原作ウィリアム・バトラー・イェイツ）
・クラリモンド 1914年（翻訳、原作テオフィル・ゴーティエ）
＜創作作品＞
・ひょっとこ 1915年
・羅生門 1915年
・鼻 1916年
・芋粥 1916年
・手巾 1916年
・煙草と悪魔 1916年
岩波新書「芥川龍之介」(関口安義著)にも「龍之介が一宮館でひと夏を過ごしたときの様子や、夏目漱石との深い師弟関係もくわしく紹介されています」とあり、その文中には以下の記述。
「大学卒業後、芥川は俸給が定まらないまま、大学院に籍を置き、創作に勤しむこととなる」とある。この時代の作家仕事というのは、経済的にどうであったかを偲ばせる。やがて恩師・夏目漱石の配慮で定職を得ることになるが、日本文学「業界」の基盤経済構造も草創期であったといえるのだろう。
恋文の中で「僕のやってゐる商売は今の日本で一番金にならない商売です。その上僕自身も碌に金はありません。ですから生活の程度から云へば何時までたっても知れたものです」と書いているのは正直なところだったのだろう。
「大学を卒業し創作時間は大幅に増えたとは言え、著述に没頭できる時間はいくらあっても足りないほどだった。・・・一宮滞在中（1916年）芥川は同宿の友人と海で泳ぐ一方、計画的に読書をし、翻訳をし、小説を書き、絵や俳句に勤しんだ」と記述されている。


芥川の年譜にも「1915年（大正4年）10月、代表作の1つとなる『羅生門』を「芥川龍之介」名で『帝国文学』に発表。1916年（大正5年）には第4次『新思潮』を発刊し創刊号に掲載した『鼻』が漱石に絶賛される。」といった時期に相当している。
このブログで建築と文学仕事の関連を考えていますが、明示的な資料にはないけれど、どうも作品としては「芋粥 1916年」がこの滞在期間に描かれたものだと想像できる。〜芋粥を腹一杯食べたい、という欲望を大事に持っていた人物が、突然その欲望を他人の力で満たされる事になり・・・夢見る幸せと、他力で叶う味気なさ。〜
妻になる女性にあてた恋文で書かれた「仕事」とは、間違いなく著述作業であったことは疑いようがないと思える。ただし作家稼業で巨万の富を得られたとは思われない。師である夏目漱石にその才能を激賞されて注目を浴び創作に意欲を燃え上がらせていたことは間違いないでしょう。

English version⬇

Literary works associated with this wooden space: Ryunosuke Akutagawa, The Hermitage of Kujukuri – 7
The economy of the “Japanese literary world” and the realities of the writer’s business in 1916. Soseki Natsume intended to nurture the standard-bearers of “Japanese culture” and Akutagawa responded to him. …

In writing this blog, I have received some opinions that the truth is that Akutagawa was a rich bon vivant who, without a regular job, spent his time at a seaside ryokan “away from home” to the fullest extent of his amusement. Today’s blog is an investigation into this matter.
〜The Ichinomiya-kan Ryokan is located at the mouth of the Ichinomiya River, and Ryunosuke Akutagawa stayed at the Ichinomiya-kan in 1914 and 1916. During his stay, Akutagawa sent a long letter of courtship to Tsukamoto, who later became his wife, from this villa, and his memories of Ichinomiya appear in such works as “A Smile,” “On the Edge of the Sea,” “Genkaku Yambo,” and “Mirage.
The building was constructed in 1897. It is a one-story wooden structure with a thatched hipped roof. The main house and the two rooms of the second house are surrounded on three sides by a porch, and a washroom is located at one end of the porch. The house was built using traditional minka (private house) construction techniques of the region, and the quiet atmosphere of the surrounding pine forest makes for a beautiful sight. 　Akutagawa’s works during this period were as follows.
＜Translation
Balthazar, 1914 (translation, original by Anatole France)
From “Celtic Twilight,” 1914 (translation by William Butler Yeats)
Heart of Spring, 1914 (translation by William Butler Yeats)
Clarimonde, 1914 (translation and original by Théophile Gautier)
Hyottoko, 1915.
Rashomon 1915
The Nose, 1916
Sweet potato porridge, 1916.
The handkerchief, 1916
Tobacco and the Devil, 1916
In Iwanami Shinsho’s “Akutagawa Ryunosuke” (written by Yasuyoshi Sekiguchi), “Ryunosuke’s summer at Ichinomiya-kan and his deep teacher-student relationship with Soseki Natsume are also introduced in detail,” and the following statement is included in the book.
After graduating from the university, Akutagawa entered graduate school without a fixed salary and began to work hard on his creative writing. This reminds us of the economic situation of writers in this period. Eventually, he was able to secure a regular job, thanks to the consideration of his former teacher, Soseki Natsume, but the basic economic structure of the Japanese literary “industry” was also in its infancy.
In one of his love letters, he wrote, “My business is the most unprofitable business in Japan today. Moreover, I myself have no money. So, from the point of view of my living standards, I will always be a nobody.
Although he graduated from university and had much more time for creative work, he still had more than enough time to devote to writing. During his stay in Ichinomiya (1916), Akutagawa systematically read, translated, wrote novels, painted, and wrote haiku while swimming in the sea with his housemates.

In October 1915, Akutagawa published “Rashomon,” one of his best-known works, in Teikoku Bungaku under the name “Akutagawa Ryunosuke,” and in 1916, he published the fourth edition of Shin Shicho (New Shicho), and his “Nose” in the first issue was highly praised by Soseki. This corresponds to the period of his career.
I have been thinking about the connection between architecture and literary work on this blog, and although there is no explicit reference to it, apparently I can imagine that the work, “Imo porridge, 1916,” was drawn during this period of his stay. 〜The character who had a cherished desire to eat a full meal of sweet potato porridge suddenly has that desire satisfied by the power of others…….. 〜The story is about the happiness of dreaming and the tastelessness of being fulfilled by other means.
There is no doubt that the “work” described in the love letter to his wife-to-be was writing. However, it does not seem that he could have earned a huge fortune from his writing career. There is no doubt that his teacher, Soseki Natsume, praised his talent highly, and he was attracted by the attention and burning desire to create.

Posted on 10月 12th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »

【創造力生産性の高い空間 芥川龍之介・九十九里の庵-6】



芥川龍之介という作家はわたし個人的に思い入れがあるのかも知れない。イマドキの人にとっては明治大正期の文豪というのはほぼ紫式部、清少納言とも同列の歴史の印象なのでしょうか。
わたし個人的には「羅生門」が好きで、ああいう歴史上のワンシーンをピンナップして、そこに人間の葛藤、その断面を構成するという「作家」性に刺激を受けた世代。それに対して現代感覚ではYou-tube動画などの世界の方がはるかに刺激的なのでしょう。わたし自身も、現代の芥川賞受賞作みたいなものには一切反応しなくなっている。
しかし人間は常に頭のなかに「あたらしい考え」を生み出そうとする創造性をいつの世でも重視してきたのだと思います。資本主義が社会を覆っていって、そういう創造性に対しても「生産性」「効率」ということを追究するようになった。
作家を「缶詰め」にしていい作品を生み出させて、それを文学「商品」として高い付加価値付きで売り抜けようという魂胆が盛り上がっていく。
そのときに作家の創造力・想像力を賦活する空間環境ということを必死に考えたのだろう。この芥川荘の空気の中で、大正期のそういう出版人の狙いというものを無意識で探していた。上の写真２枚は芥川龍之介が向かっていたに違いない「文机」周辺の様子。
現代人はこのような座り机は遠慮したいけれど、大正期の芥川にはこういった姿勢環境のほうが適合的だったのだろう。また、この文机は南西側の角に設置されている。日中の作業としては採光環境をそのように設定している。文机自体は非常にコンパクトであり、ほぼ執筆作業平面だけだと想像できる。たぶん参考文献の類は周辺の畳の上に散乱されたに違いない。
ときどき目を休める周辺環境として、砂防林と生け垣が緑を提供して心身の平安を視覚的に担保していたに違いない。恋文まで書いたのだから、かれの本性を解放できる環境だったのだろう。


この時代人が「こういう環境ならば作家は気持ちよく大量のいい作品を生み出してくれる」と商売っ気満々に提供した空間ということになる。そして事実、芥川は小説作品を生産し、その高揚のままにラブレターまでしたためた。さすがに旅館側はその「生産物」についてもしっかり着目して個人情報などには一切配慮せず、作家に許諾を求めて、碑文まで建造して大々的に一流旅館のシンボルとして活用して，今日、わたしのような人間にまで投網をかけ続けている（笑）。
こういう個人の内面情報まですべてさらけ出すという「習慣」がその後の日本の作家、芥川龍之介から太宰治などの「自死」文化に影を落としているとも暗く思えてくる。
空間それ自体への興味と、その空間性を直接的に商品化する旅館という二重の意味で、まことに興味深い事例だと思われる。

English version⬇

Creativity Productive Space Ryunosuke Akutagawa, The Hermitage of Kujukuri – 6
Capitalism that tries to stimulate the imagination and draw out maximum efficiency in an extraordinary space. A landscape of the first source of Japanese literature that remembers exuberance and produces works of art. …

I may have a personal attachment to the writer Ryunosuke Akutagawa. For the people of today, the great writers of the Meiji and Taisho periods are almost on the same historical level as Murasaki Shikibu and Sei Shonagon, I suppose.
I personally loved “Rashomon,” and I am of the generation that was stimulated by the “writerly” nature of the author’s ability to pin up a scene from history and compose a cross-section of the human conflict. In contrast, the world of You-tube videos is probably much more stimulating in the modern sense. I myself no longer respond to anything like the Akutagawa Prize-winning works of today.
However, I believe that human beings have always valued creativity, which is the attempt to generate “new ideas” in our minds. As capitalism has taken over society, people have come to pursue “productivity” and “efficiency” even in the face of such creativity.
The spirit of “canning” writers to produce good works and then selling them as literary “products” with high added value became more and more popular.
The writers must have been desperate to create a space that would stimulate their creativity and imagination. In the atmosphere of Akutagawa-so, I was subconsciously searching for the aims of such publishers in the Taisho era. The two photos above show the area around the “writing desk” where Ryunosuke Akutagawa must have been sitting.
While modern people would prefer not to sit at a desk like this, Akutagawa would have found this kind of posture more suitable for the Taisho period. The writing desk is located on the southwest corner of the room. The desk is located in the southwest corner of the room, which provides the best lighting for working during the daytime. The writing desk itself is very compact, and it can be imagined that it is almost exclusively used as a writing surface. The references must have been scattered on the tatami mats in the surrounding area.
The erosion control forest and hedges must have provided greenery as a surrounding environment where one could occasionally rest one’s eyes, visually assuring peace of mind and body. It must have been an environment where he could release his true nature, since he even wrote a love letter.

It was a space provided by the people of this era with a commercial mindset that writers would be comfortable in such an environment and produce a large volume of good works. In fact, Akutagawa produced a novel and even wrote a love letter in his exuberance. The ryokan, as one would expect, paid close attention to the “product” and did not give any consideration to personal information, asking permission from the writer and even building an inscription to be used as a symbol of a first-class ryokan, which today continues to cast a net even for people like me (laughs).
It seems dark to me that this “habit” of exposing all information about the inner life of individuals has cast a shadow over the “suicide” culture of subsequent Japanese writers, from Ryunosuke Akutagawa to Osamu Dazai and others.
This is a truly interesting case study in the dual sense of an interest in space itself and the ryokan that directly commodifies that spatiality.

Posted on 10月 11th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »

【天国に近い快適性の「科学」を 芥川龍之介・九十九里の庵-5】



温暖地・蒸暑地での人間体感環境について、それはあまりにも日本民族にとって身近すぎてそれほど「科学する」対象ではなかったように感じる。一方で日本列島社会で、蝦夷地と呼ばれ続けた北海道はその過酷なまでの寒冷の冬が熱く「科学」されてきたと思います。
蝦夷地の利用とは明治以前には漁業資源収奪が日本民族にとって主要な興味対象であって、米作が不向きな気候条件から「一所懸命」の土地と見なされることはなかった。それが幕末ー明治の世界列強、とくに日本ではロシアの南下占領意図、むき出しの帝国主義侵略への対応としての日本民族の移民推進政策の結果、ようやく寒冷への居住環境ということを前向きに考え始めたといえる。
それまでの日本人にとって居住環境とはあるがままの「やさしい」自然条件のなかで、伝統的知恵にくるまれた安心感に満たされていたのだろうと思う。東北地域は別として。
北海道での「いごこちの科学研究」の進展によって、この居住環境研究はほぼ完成レベルにまで到達してきたと言えるのでしょう。今日北海道では、あえて「住宅性能」を謳い文句にするアピールはユーザーにダイレクトには「響かなく」なってきている。それは当然のことという認識が主流。
温暖地域で「エコハウスコンテスト」というカタカナ日本語で住宅性能イチ押しアピールが言われるけれど、北海道からはほとんど興味が寄せられないのが現実。
たまたま興味を持ったこの芥川龍之介の作家活動専念スタートの地でのボヘミアン・自由闊達な過ごしようの環境に触れることができて、寒冷地の人間としてその気候風土の「天国」ぶりに目を見張らされた。内地の人にとってはあまりにも自然そのものなのでしょうが、その「快適性」の引き立て要素としての住環境装置について、目を向けてみたくなった。
やはり茅葺き屋根による日射熱防御と軒の出による直射日光遮蔽、そして高床的な床下通風と北側以外の３方向の「全開放」による「自然通風」が最大の民族的知恵と言える。
茅葺きの熱環境効果についてはいろいろな研究が挙げられるけれど、確実な断熱・湿気蒸発効果が認められるのだと思う。長い民族史の中で建築の匠たちによる実証研究の結果、こうした到達点に至っていたのでしょう。
一方で自然通風による快適性効果は、たしかに温暖地にあってはその温湿度とも最高快適域に接近していて「うっとり」「ぼーっ」とさせられるレベル。
わたしも強い日射・高温環境の中，この芥川荘で家の中は天国に一番近いと認識させられた。むしろこういう「快適」をこそ「科学して欲しい」と思わされた。

そして民族の知恵はやはり環境全体にまで及んでいる。この芥川荘は九十九里の浜辺からは数百メートル離れているけれど、その緩衝地帯には防砂林のようにして緑地帯が設けられている。庵の南側にはしっかりと生け垣も造作されていて、室内側からも常に「目に優しい」緑が人間を護ってくれている。こういう「見た目」の快適感刺激要素をもっと科学分析して欲しいのだ。
こうした植物群の積層を通りわたってくる浜風は、その空気感がまた格別であるに違いない。ただでさえ心地よい通風感である以上に、微妙な草花たちの息づかい・におい、温度感・湿度感もそれに加わっているに違いないのだ。

English version⬇

The “Science” of Near Heavenly Comfort: Ryunosuke Akutagawa’s Hermitage in Kujukuri – 5
Experience the young Akutagawa’s free-spirited environment and background. I would like you to experience the science of this heavenly comfort along with high insulation and high airtightness. ・・・・・.

I feel that the human experience of the environment in warm and humid regions has not been the subject of much “science” because it is too familiar to the Japanese people. On the other hand, Hokkaido, which has been called “Ezochi” in Japanese archipelago society, has been hotly “scientifically” studied for its harsh, cold winters.
Before the Meiji era, the main interest of the Japanese people in the utilization of Ezo land was the exploitation of fishery resources, and it was never considered as a land where rice cultivation was “hard at work” due to its unsuitable climatic conditions. However, during the end of the Edo period and the Meiji period, the world powers, especially in Japan, began to think positively about the cold climate as a result of the Japanese people’s immigration policy as a response to Russia’s intention to occupy the southern part of the country and its aggression against the imperialist powers.
Until then, the Japanese people had been living in “gentle” natural conditions, wrapped in traditional wisdom, and filled with a sense of security. Except for the Tohoku region.
With the progress of the “science of comfort” research in Hokkaido, we can say that this residential environment research has almost reached the level of completion. Today in Hokkaido, appeals that dare to claim “housing performance” are no longer “resonating” directly with users. The mainstream perception is that it is a matter of course.
In warmer regions, “eco-house contests” are being held in katakana Japanese to promote housing performance, but the reality is that there is little interest in these contests from Hokkaido.
I happened to be interested in the bohemian and free-spirited environment of the place where Ryunosuke Akutagawa started his writing career, and as a person from a cold region, I was struck by the “heavenly” nature of the climate there. For those of us in the interior, it is probably too natural, but I wanted to take a look at the living environment equipment as a complement to the “comfort” of the environment.
After all, the greatest ethnic wisdom is the protection against solar heat by thatched roofs and the shielding of direct sunlight by eaves, as well as “natural ventilation” by ventilation under the floor like high floors and “full opening” in all three directions except the north side.
Various studies have been conducted on the thermal environmental effects of thatched roofs, but I believe that their heat insulation and moisture evaporation effects are recognized. It is likely that such a point of arrival was reached as a result of empirical research by architectural masters over a long period of ethnic history.
On the other hand, the comfort effect of natural ventilation is certainly at a level where the temperature and humidity are close to the maximum comfortable range in warm climates, making one feel “enchanted” and “light-headed”.
In the midst of strong sunlight and high temperatures, the Akutagawa Villa made me realize that the inside of my house is the closest thing to heaven. In fact, it is this kind of “comfort” that I wish would be “scientifically proven.

The wisdom of the people also extends to the environment as a whole. Although Akutagawa-so is located several hundred meters away from the Kujukuri beach, a greenbelt has been created in the buffer zone as if it were a sandbreak. A hedge has also been built on the south side of the hermitage, providing a “gentle to the eyes” green area for the protection of the residents from inside the house. I would like to see more scientific analysis of this kind of “visual” comfort stimulating factor.
The beach breeze coming through the layers of plants must have a very special airy feeling. In addition to the pleasant breeze, the subtle smells and breaths of the plants and flowers, the temperature and humidity must also add to the feeling of air quality.

Posted on 10月 10th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

【温暖地海浜「通風重視」軽建築 芥川龍之介・九十九里の庵-4】




こちらの「芥川荘」を見学したいと旅館本館を訪れたところ、女将さんとおぼしき方がいらっしゃって、どうぞ見学ください、だけど台風に備えて雨戸を全部閉め切っていますから、申し訳ないがご自分で開けて、ご自由にごらんください、というありがたい申し出。
その傑作小説に深く親しんできていた作家の恋文執筆の地、という興味が強かったので、まずはその恋文を樹間の碑でしっかり読破させていただいた後、若き25才の文豪が滞在した「離れ」に。
建築としてのこの庵はまことに温暖・蒸暑地らしい建物。本体の図面などは見当たらなかったけれど、八畳２間に３方向が縁が回っている建築。屋根は茅葺きで庇部分が張り出している。たぶん南国的な気候で時雨が多く、その対応なのでしょう。茅葺きは結構重厚ですが、もちろん夏期の日射による室内気温上昇を抑制したいというのが主目的。冬期も零下までの気温低下は考えにくい地域性なので、まさに夏を旨とした日本文化的軽量建築。
杭基礎が表れていて、床下は全開放されて蒸暑気候の中での耐久性を考え、通風最重視という考え方がよく表れている。太平洋・九十九里の浜辺らしく地面は砂地であることがあきらかで、杭基礎は多少不同していて、縁の部分など、多少の不同沈下が見られています。でも、建物自体が軽量な造作なので確実に築100年は超えているけれど、乾燥状態が保たれた建物と目視できます。

東大在学中からその文才を認められて作家として人生をスタートさせるというのは、その後、大江健三郎がその後嗣になって日本文学作家の一典型にもなった経歴。しかも芥川の場合は終生の師と仰いだ夏目漱石の激賞を受けたばかりという時期。チョー恵まれた環境で人生を歩み始めた天才の、輝かしい時期にこの海浜の庵への逗留時期が重なっている。太陽の季節。
夏目漱石の時代は明治国家としてあらゆる産業勃興させ、社会を欧米近代に追いつかせることに全力だった時代。そういうかれの世代の心理から、芥川のような天才の文学の仕事が日本社会文化創造に欠かせないと判断された時代だったのでしょう。
室内にはこの時期の交友関係が示された手紙・ハガキが展示されていて、上の写真は菊池寛からのハガキ文面。おおむね２週間程度の芥川の滞在期間中にのちの「文藝春秋社」創設者・菊池寛からハガキが来ているということは、のちの菊池寛と芥川の関係をも予測させる。わたしの推量としては「作品制作の場」として滞在費を出資し新進気鋭の作家を「缶詰め」にして作品執筆に当たらせる文化の初源期か？
建物はいかにも温暖地の開放型住宅らしくて北海道人には、夢のようなパラダイス気候環境を想起させてくれる（笑）。「こんなのでも冬，たいして寒くないんだ」という気候条件そのものに対して強く感受性が反応して、いわば底抜けの日本的な心理的解放感を見ておりました。
そういう日本の温暖・蒸暑地らしい住宅建築の「いごこち」についてちょっと考えてみたいので、明日以降、この庵の住宅環境を掘り下げて見たい。

English version⬇

Warm climate seaside “ventilation-oriented” light architecture Ryunosuke Akutagawa’s Hermitage in Kujukuri – 4
From the point of view of the people of Hokkaido, this is a dazzlingly blessed climatic environment blessed with the “season of the sun. I would like to delve deeper into the “comfort” of this environment.

When I visited the main building of the ryokan to see “Akutagawa-so,” the proprietress kindly offered me a tour of the house but told me that she had closed all the shutters in preparation for a typhoon.
I was very interested in the place where the writer, who was deeply familiar with the masterpiece novel, wrote his love letter, so I first read the love letter carefully at the monument in the tree house, and then went to the “detached house” where the young 25-year-old literary great stayed.
The hermitage as an architectural structure is truly typical of a warm and humid place. I could not find any drawings of the main structure, but it is a two roomed house with three sides of a rim. The roof is thatched with overhanging eaves. This is probably a response to the tropical climate and frequent rainfall. The thatch is quite massive, but of course the main purpose is to control the rise in indoor temperature due to solar radiation in the summer. Since it is hard to imagine temperatures dropping below zero even in winter in this region, this is a Japanese cultural lightweight building designed for the summer.
The pile foundation is evident, and the under-floor space is fully open to allow for durability in the hot and humid climate, and to emphasize ventilation. The ground is obviously sandy, as is typical of the Pacific and Kujukuri beaches, and the pile foundations are somewhat uneven, with some unequal settling, such as at the edges. However, the building itself is of lightweight construction, so although it is certainly over 100 years old, it can be visually recognized as a building that has been kept in a dry state.

Akutagawa’s literary talent was recognized while he was still a student at the University of Tokyo, and he began his life as a writer, a career that later became typical of Japanese literary writers when Kenzaburo Oe became his successor. In Akutagawa’s case, he had just received a great award from Soseki Natsume, whom he looked up to as a mentor for the rest of his life. The time of his sojourn at the seaside hermitage coincides with a brilliant period in the life of a genius who began his life in a very privileged environment. The season of the sun.
Soseki Natsume’s era was the Meiji era, when the Meiji nation was doing everything in its power to make all kinds of industries flourish and society catch up with the Western modern era. The psychology of his generation probably led him to believe that the literary work of a genius like Akutagawa was indispensable for the creation of Japanese society and culture.
The photo above shows a postcard from Hiroshi Kikuchi. The fact that Akutagawa received a postcard from Hiroshi Kikuchi, founder of Bungeishunju-sha, during his two-week stay suggests that Kikuchi’s publishing company financed Akutagawa’s stay as a “place to create works” and allowed the up-and-coming writer to write his works “in the can.
The building itself is a warm-weather, open-plan residence that evokes for Hokkaido residents a dreamlike paradise climate (laughs). (Laughs.) I felt a strong sensitivity to the climatic conditions themselves, and saw a sense of psychological liberation that is uniquely Japanese, so to speak.
I would like to think a little about the “comfort” of housing architecture that is typical of such a warm and humid climate in Japan, so from tomorrow onward, I would like to delve into the housing environment of this hermitage.

Posted on 10月 9th, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話, 日本社会・文化研究 | No Comments »

【素朴な恋情告白 芥川龍之介ゆかりの九十九里の庵-3】



九十九里という土地は北海道人からするとまさに沖縄やハワイやグアムといった南国の気風を感じる土地。北国で生まれ育った人間には、所詮見果てぬ気候風土に恵まれたパラダイス・夢の土地、といった語感にとらえわれる。おだやかな砂浜がはるか悠久に繋がっている・・・。
芥川龍之介という作家の足跡に添って、かれの生きた時代でのとらえ方というのも伝わってくる部分があって非常に興味をそそられる。大正期に近代化が進んだ東京から汽車による交通ネットワークがこの地域まで普及して、いわゆる「大衆社会化」が進んだ様子がわかってくる。
たぶん今日のわたしたちが沖縄とかハワイとかの南国にいだくイメージが近しいに違いないと思われます。そういう「土地の気」が青年芥川にかねてよりの恋心を告白させるに至る。
その恋文が滞在した旅館・一宮館・離れの逍遙林のなかに碑文で遺されている。著名作家というのはプライバシーもすべてさらされるものなのだと驚かされるけれど、もちろん近親者からの許諾は得て遺されているものなのでしょう。上の写真では内容までは不明だと思うので以下、拡大写真。



この恋文を寄せられた塚本文さんは、その後芥川の妻となり、３人の子どもをもうけた女性。「食べてしまいたいくらい可愛い」という有名な言葉は、芥川龍之介の言葉。まことに率直な青年の恋心が赤裸々で微笑ましい（笑）。
文筆を業とする、それも超著名な作家である芥川龍之介はいったい、どんな恋文をしたためるのか、と肩にやや力を入れて読み進めたけれど、非常に心情的で、女性に対してのいたわりに満ちた心根が伝わってくる。「そうか、口説くときはやさしさ一択か（笑）」とわかる。
現代の若者はこういう文章表現で男女関係を表現することは薄れてきているだろうと思うけれど、わたしたち年代では「あなたからのラブレター、まだ持っているわよ（笑）」という恐怖のコトバに弱い輩も多い（笑）。芥川さんの率直な恋文、ほほえましく読ませていただきました。付け加えることはまったくないので、本日のブログは短めで終了であります。ありがとうございました。

English version⬇

A simple confession of love: A hermitage in Kujukuri related to Ryunosuke Akutagawa – 3
I can see from his predecessor Akutagawa that “gentleness” is the only way to approach a woman’s heart. Men of the world should forever be mindful of this. I am sure you will be able to understand the feelings of women.

Kujukuri, from the perspective of a Hokkaido native, is a land with the feel of a tropical island like Okinawa, Hawaii, or Guam. For those born and raised in the north, it is a paradise, a land of dreams, blessed with a climate that is after all, endless. The gentle sandy beaches are connected to the sea for a long, long time….
Along with the footsteps of the writer Ryunosuke Akutagawa, the way he perceived his own era is also very intriguing. The book shows how the modernization of Tokyo in the Taisho period (1912-1926) led to the spread of the train transportation network to this area and the so-called “mass socialization” of the area.
Perhaps it is similar to the image we have today of tropical countries such as Okinawa or Hawaii. The “spirit of the land” leads the young Akutagawa to confess his love for a long time.
The letter of love is inscribed in the floyer in the remote flora of Ichinomiya-kan, the ryokan where Akutagawa stayed. I was surprised to know that a famous writer’s privacy is exposed to the public, but of course, he must have obtained permission from his next of kin to leave the inscription. The above photo does not show the full content of the inscription, so here is an enlarged photo.

Fumi Tsukamoto, who sent this love letter, later became Akutagawa’s wife and had three children. The famous words of Ryunosuke Akutagawa, “You are so pretty I want to eat you up. The frankness of the young man’s love for Akutagawa is very funny.
I was a little tense as I read the book, wondering what kind of a love letter Akutagawa Ryunosuke, a very famous writer by profession, would have written. I could tell that “I see…when you are trying to seduce a woman, you must choose gentleness (laughs).
I think that today’s young people are less likely to use this kind of writing to express their relationships with men and women, but there are many people in my generation who are susceptible to the fearful words, “I still have your love letters (laughs). I read Akutagawa’s frank love letter with a smile on my face. I have absolutely nothing to add, so I will end today’s blog with a short one. Thank you very much.

Posted on 10月 8th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【大正ロマン・九十九里 芥川龍之介恋文執筆の庵-２】



現代でこの一宮館は「老舗」旅館として、またこの作家との縁を強調して人気旅宿になっている。じゃらんで見てみると結構な高級旅館ぶり。九十九里の浜辺が海水浴場として鉄道も開通して、東京からの観光客が押し寄せ始めた時代、そういった一種の「ブーム」に沸いていたのかも知れない。
地図を参照してみると、この旅館の建つ位置は一宮川が九十九里にそそぐラグーンのような立地になっている。明治の大変革によって近代化の道を歩み始めた日本は、日露戦争の勝利などで「一流国」という位置を獲得し、そういう時代背景の中、大正ロマン主義のような社会の空気感があったのだろう。大衆社会化状況というような時代相が感じられる。竹久夢二のようなロマンチックな表現がもてはやされたことからは、そういう雰囲気が感じられる。


青年芥川龍之介は25才の時にこの「芥川荘」と後にかれの名声を名付けた一宮館・離れに友人・久米正雄氏と逗留した。庭園の一角に石版が置かれている。写真には大正５年の8/17〜9/2までの滞在期間が記されている。
九十九里の海浜の開放的な「真夏」感がかれの本能を激しく刺激して、かねてから恋がれていた女性のことが熱情のように脳裏を満たしていたことが想像される。その熱情がこの離れの、いかにも蒸暑地の開放的な庵という空間の雰囲気の中で涵養されたのか。まぁ、微笑ましい。いつの世でも若い男女の恋愛こそが「生きる」根源的なパワーであることは自明。
芥川の足跡を見ると、大正5(1916)年東京帝大在学中に発表した「鼻」が夏目漱石に評価され、文壇に登場とある。この旅館滞在時期とみごとに重なっている。「鼻」はこの年2月新思潮に発表されたということなので、漱石の激賞を受けて文壇各社がこの新進作家に注目し、激烈な「新刊」争奪戦が繰り広げられただろうことは想像に難くない。たぶんそのなかの１社が「夏まっ盛りの九十九里の旅館に籠もって、原稿書いてみませんか」みたいに「缶詰め」作戦に出たのかも知れない。その後の短編作品の量産ぶりを見ると蓋然性は高い。
「どうして25才の青年がこんな旅館に長期逗留できたのか？」という疑問を読者の方から提起されたけれど、背景などを考えてみるとこういった事情のように思われる。芥川は終生、この夏目漱石からの激賞に深く感謝し師弟関係を強く意識していることからも、この時期はかれが自分の未来に対して、無限の可能性を感じていたに違いない。
そういう生命力の高まりがかれをラブレターの執筆に向かわせたのだろうか（笑）。かれの多感な恋愛生活も、著名作家として個人情報などの配慮は一切なく（笑）白日の下にさらけ出されている。
江戸期の浮世絵作家、明治期の近代国家建設期の作家たちとも相違して、いわゆる大衆社会化のなかで大正期以降の作家たちは今日社会のテレビ芸能「スター」のように扱われた存在だったのだと思う。華やかな商業主義出版資本と作家の内面という点で、興味深いものがある。
やがて自死に至る「僕の将来に対する唯ぼんやりした不安」というものが、その後の日本の作家に色濃く広がっていく。なんとも言い難いものを感じてならない。

English version⬇

Taisho Romance, Kujukuri: The Hermitage of Ryunosuke Akutagawa’s Love Letter Writing – 2
Since he is a well-known writer whose writings are abundantly documented, his psychological state of mind also emerges in real time. Akutagawa’s psychological upheaval. …

Today, Ichinomiya-kan is a “long-established” ryokan and a popular inn, emphasizing its connection with the writer. A look at Jaran shows it to be a fairly high-class ryokan. The Kujukuri beach may have been in the midst of a kind of “boom” at the time when the railroad was opened as a bathing beach and tourists from Tokyo began to arrive in droves.
Referring to the map, the location of this ryokan is like a lagoon where the Ichinomiya River flows into Kujukuri. Japan began its path of modernization with the great reforms of the Meiji era (1868-1912), and with the victory in the Russo-Japanese War, the country achieved the position of a “leading nation” in Japan. This was a time of mass socialization. The popularity of romantic expressions such as those of Takehisa Yumeji suggests such an atmosphere.

At the age of 25, the young Ryunosuke Akutagawa stayed with his friend Masao Kume at Ichinomiya-kan, which he later named “Akutagawa-so” (Akutagawa Manor). A stone tablet is placed in the corner of the garden, and the third photo shows the period of his stay from August 17 to September 2, 1916.
The open “midsummer” feeling of the Kujukuri seashore stimulated his instincts, and we can imagine that his mind was filled with a passionate love for a woman he had long been in love with. Was this ardor nurtured in the atmosphere of the open hermitage space in this remote summer resort? Well, it is a very funny story. It is obvious that love between young men and women is the fundamental power of “living” in any age.
According to Akutagawa’s footsteps, he first appeared on the literary stage in 1916 when his novel “Nose,” published while still a student at Tokyo Imperial University, was highly praised by Soseki Natsume. This coincides perfectly with his stay at the ryokan. Since “Nose” was published in February of the same year in Shin-Shicho, it is not difficult to imagine the intense competition for “new publications” that ensued as the literary world paid attention to this budding writer in the wake of Soseki’s high praise. Perhaps one of the companies may have launched a “canned” strategy, asking him to stay at a Japanese inn in Kujukuri in the height of summer and write his manuscript. The fact that so many short stories have been produced since then makes it highly probable.
The reader may raise the question, “How could a 25 year old stay in such an inn for such a long period of time?” This seems to be the reason, considering the background of the story. Akutagawa was deeply grateful to Soseki Natsume for his generous encouragement, and he was very conscious of the relationship between master and disciple.
This surge of vitality may have motivated him to write the love letter (laugh). As a well-known writer, his sensitive love life is also exposed in the light of day, without any consideration for personal information (laugh).
Unlike the ukiyoe artists of the Edo period (1603-1867) and the writers of the Meiji period (1868-1912), when the modern nation was being built, the writers of the Taisho period and after were treated like the TV entertainment “stars” of today’s society in the so-called mass socialization. It is interesting to look at the glamorous commercialist publishing capital and the inner lives of writers.
The “only vague anxiety about my future” that eventually led to his suicide spread strongly among Japanese writers in the following years. I can’t help but feel something indescribable.

Posted on 10月 7th, 2023 by 三木 奎吾
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【芥川龍之介が妻に恋文を書いた 九十九里「芥川荘」-1】



さて今週はわたし自身の環境が大きく変わったことで、その節目としてのさまざまな整理整頓が続いています。が、ブログとしては徐々に通常の「人と住まい」というテーマでの深掘りに復帰したいと思います。
長年住宅の取材にベースを置いて生きてきたので、習いが「性」になったのでしょうけれど、建築としての住宅とその住まい手との相関関係ということが基本的な興味分野なのですね。通常の雑誌的な住宅取材で経験してきたことの体験記憶がもとにあって、そこから住まい手の生き方、暮らし方に興味が深まっていく。
そんな経験をしてきて、いろいろな機会を捉えて全国の住空間を見ることがライフワーク化している。
これまではメディア企業としての運営・活動がメインだったわけですが、今回の環境変化からもうちょっと自由度を高めて、この個人的な興味分野を掘り下げていきたいと思っています。よろしく。
で、きょうから芥川龍之介篇であります（笑）。たまたま以前に千葉県の九十九里・一宮周辺に行ったことがあり、この芥川荘の存在を知った次第。上の芥川龍之介の写真は出典：国立国会図書館「近代日本人の肖像」 (https://www.ndl.go.jp/portrait/)より。
芥川龍之介という作家はまるで近代以降の日本を代表する存在。わたしも小中学校の頃に教科書でその作品に慣れ親しんだ経験がある。明治になってそれまでの分権的な封建支配体制から中央集権的体制に変わっていって、日本語自体が「統一」されるようになって、いろいろな「文豪」が輩出してくる。共通言語を作って行く過程でこういう「文化革命」があったのでしょう。そういうなかでもひとりの天才的体現者として芥川さんは登場した。
かれが東大に入学し作家活動を始めて以降、明治の気風の中で「日本言語文化草創」の中心的な存在として東大の教職にも就いていた夏目漱石は、芥川を激賞して引き立てたとされている。


その彗星のような芥川25才の夏、かれは当時ようやく鉄道路線が東京から延伸してきて「観光地」化しはじめてきていた九十九里の一宮館の浜辺の離れに逗留して作品創作活動に明け暮れていた。そして後に夫人となる「文ちゃん」に長文のラブレターを書いたのだそうです（笑）。25才の若々しい男性の率直な恋心。写真の石碑にその状況が語られているので参照ください。
房総九十九里という、いかにも天地の生命力が感受される土地で、当時の日本文学界の期待の星であった芥川が恋文というその率直な思いを綴った庵のような空間。鴨長明が方丈記を書いたとされる「方丈の庵」のような建築と言語表現との関係を彷彿とさせるのですね。ちなみに方丈とはもともと1丈4方の建物という意味。
人と住まいの相関性の探究という意味で強い印象を受けていた次第。ということで写真もそこそこあるので、追体験的にシリーズでまとめます。いちばん上の芥川さんの写真は、その背景とか年齢の感じとか、この芥川荘での執筆当時の雰囲気とも似つかわしい。

English version⬇

Ryunosuke Akutagawa wrote a love letter to his wife at “Akutagawa-so” in Kujukuri.
To delve into the basic theme of people and their homes, a person known to everyone is an excellent subject. The space where Ryunosuke Akutagawa wrote his blatant love letters to his wife. The space for writing Akutagawa Ryunosuke’s blatant love letter.

This week, I have been going through a series of organizational changes to mark the milestone of a major change in my own environment. However, as a blog, I would like to gradually return to my usual in-depth exploration of the theme of “people and housing.
I have been covering housing for many years, so I guess my habits have become my “nature,” but my basic area of interest is the correlation between the house as architecture and its inhabitants. My interest in housing as architecture and its inhabitants is based on my memories of the experiences I have had in covering housing in the usual magazine style, and from there my interest in the way of life of the inhabitants and their way of living has deepened.
Through these experiences, I have made it my life’s work to take various opportunities to look at living spaces across the country.
So far, our main operation and activities have been as a media company, but from this change in environment, I would like to have a little more freedom to delve into this personal area of interest. Best regards.
And so, starting today, I am going to start with the Ryunosuke Akutagawa chapter (laughs). I happened to have visited the Kujukuri/Ichinomiya area in Chiba Prefecture before and learned of the existence of this Akutagawa-so. The above photo of Ryunosuke Akutagawa is from the National Diet Library’s “Portraits of Modern Japanese” (https://www.ndl.go.jp/portrait/).
Ryunosuke Akutagawa is one of the most famous Japanese writers of the post-modern era. I too became familiar with his works through textbooks when I was in elementary and junior high school. In the Meiji era (1868-1912), the Japanese language itself became “unified” as a result of the shift from a decentralized feudalistic system to a centralized system, and a variety of “literary giants” were produced. There must have been a “cultural revolution” in the process of creating a common language. Akutagawa emerged as the embodiment of one of these geniuses.
After Akutagawa entered the University of Tokyo and began his writing career, Natsume Soseki, who was a central figure in the “pioneering of Japanese language and culture” during the Meiji era, and who was also a teacher at the University of Tokyo, is said to have highly praised Akutagawa and praised him highly.

In the summer of that comet-like summer of Akutagawa’s 25th year, he spent all his time creating his works by staying at a remote house on the beach at Ichinomiya-kan in Kujukuri, which was then beginning to become a “tourist spot” with the extension of railroad lines from Tokyo. He wrote a long love letter to “Fumi-chan,” who later became his wife (laugh). 25-year-old young man’s frank love. Please refer to the stone monument in the photo that tells the story of the situation.
In Boso Kujukuri, a place where the life force of heaven and earth can be felt, Akutagawa, who was a promising star in the Japanese literary world at that time, wrote a love letter, a space like a hermitage where he wrote his frank thoughts. It is reminiscent of the relationship between architecture and linguistic expression, as in the “Hojo no Han” where Kamo Chomei is said to have written his Hojo Ki. Hojo, by the way, originally meant a building of one length and four sides.
In the sense of exploring the correlation between people and their homes, I had a strong impression of this building. So, since I have some photos, I will summarize them in a series as a vicarious experience. The photo of Mr. Akutagawa at the top of this page is very similar to the atmosphere of Akutagawa-so, in terms of background and age.

Posted on 10月 6th, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話, 日本社会・文化研究 | No Comments »

【住宅業界専門誌「新建ハウジングDIGITAL」でニュース報道】


一昨日このブログで書いた記事【Replan発行：札促社代表退任、新会社設立】を見ていただいたり、札促社WEBサイトの会社紹介記事なども参照してくれた「新建ハウジングDIGITAL」の記者さんから、３日夕刻連絡をいただき、この内容を記事としてアップしていいか、という問い合わせをいただきました。
わたしとしては関係する各事業社・個人のみなさんに封書でのお知らせを送付もしているので、事実の周知ということではありがたいお申し出と思いその旨（株）札促社新社長の小林氏にも事前連絡の上、承諾しました。そうしたところ、電話でのインタビューもと申し込まれ即、電話対応。なお顔写真の提供も求められました。ちょっと恥ずかしい気分もありましたが、承諾させていただいた。あとで気付いたらこの写真時点では醜い無精ひげが残っていました（笑）。あとの祭りであります。
この記事写真は10月４日夕方17:07分のアップされた記事のヘッドタイトル回りのスクリーンショット。もと記事のURLは https://www.s-housing.jp/archives/326619　ですので、参照ください。（無料公開情報記事）
住宅業界専門誌メディア記事で周知していただければ、パブリシティとしてはコスパがきわめて高い。地域型住宅雑誌・メディアとして全国的知名度はいま一歩、ですからこの記事はたいへん効果的。新建ハウジングの三浦社長とは旧知でもあり、ご好意で取り上げていただいたものと感謝しております。

・・・というような立ち位置の変化による身の回りのあわただしさは、もうちょっと続きそうな気配。そういった合間を縫って、直近での関係のあるみなさんと電話などで肉声でご挨拶。その一方では新体制での「新常態」を手探りで作って行かなければならない。いつもチコちゃんに叱られながら「ボーッと」生きてきていることを深く反省させられている次第であります。わたしにとっての「チコちゃん」は、さて（笑）。

English version⬇

News coverage in the housing industry magazine “Shinken Housing DIGITAL
As a regional media outlet, we are not yet well-known nationwide, so the article was effective. Chiko is scolding me, but I can’t sit idly by. …

A reporter from “Shinken Housing DIGITAL,” who saw the article I wrote on this blog the day before yesterday [Replan: Fushoku Sha’s Representative Resigns, New Company Established] and also referred to the company introduction article on the Fushoku Sha website, contacted me on the evening of the 3rd and asked if I could upload this content as an article, I was contacted by a reporter from “Shinken Housing Digital,” who also referred to the article introducing the web site.
As I had already sent a letter of notification to all the companies and individuals involved, I thought it would be a welcome offer to make the facts known to the public, and after notifying Mr. Kobayashi, the new president of Fushoku-sha, in advance, I agreed. I contacted Mr. Kobayashi, the new president of Fushushinsha, and he agreed to the offer. I was also asked to provide a photo of my face. I felt a little embarrassed, but I agreed. Later, I realized that I still had an ugly stubble on my face at the time of the photo (laugh). It was a later event.
This article photo is a screenshot of the headline area of the article uploaded at 5:07 p.m. on the evening of October 4. The URL of the original article is https://www.s-housing.jp/archives/326619″ rel=”noopener” target=”_blank”
Please refer to it. (Free public information article)
If you can get the word out through housing industry magazine media articles, the cost of publicity is extremely high. As a regional housing magazine and media, we are not yet well known nationwide, so this article is very effective. I am also an old acquaintance of Mr. Miura, the president of Shinken Housing, and I am grateful that he kindly allowed us to feature this article.

I am grateful to Mr. Miura, the president of Shinken Housing, who is an old acquaintance of mine, for kindly taking the time to feature my work in this article. In between all of this, I have been greeting everyone with whom I have had a relationship in the recent past by phone and in person. On the other hand, we have to make a “new normal” under the new organization by groping around. I am deeply reminded of the fact that I have been living “in a daze,” always being scolded by Chicochan. Let’s see what “Chicochan” means to me (laughs).

Posted on 10月 5th, 2023 by 三木 奎吾
Filed under: リプラン＆事業 | No Comments »

【公共美術館・博物館の撮影許諾の傾向】



きのうまででわたし自身の環境変化の外的な部分が一段落。このブログで書いたことで住宅専門メディアさん（新建ハウジング・デジタル）が着目されて、夕方になって記事掲載許諾の申し出があったりしました。いいですよ、と言ったら折り返しで電話インタビューとかまでされて、写真提供の依頼までありました。
さてどんな掲載になるのか、ちょっと不安（笑）。でもまぁそうやって取り上げていただければ衆知も進むのでたいへんありがたいと思っています。
ということで本日からは平常運転ブログに復帰したいのですが（笑）まだ、ちょっと意識の上では十分な平常心に復帰していません。徐々に時間をかけて「連載もの」などに戻りたいと思っています。

上の写真は先日、東京千代田区北の丸公園の東京近代美術館で開催されていた「ガウディ」展での「撮影OK」の展示から。ザグラダファミリアの内観と空撮の様子です。
世界の公共の美術館・博物館では写真撮影についてはほぼオープンというケースが圧倒的。人類が培ってきた知的蓄積は公共財であり、自由に公開されることでその命が永遠のものになる、という意識が大きい。
最近日本でもこういう意識が強くなってきたのか、公共の博物館・美術館展示でオープン化の動きが加速してきています。しかし、一部の展示については従来通り非許諾のゾーンもある。このガウディ展でも、メインのザグラダファミリアコーナーに至って、撮影OKになっていました。ユーザー側からすると個人としての体験を整理整頓することにもなって、たいへん有意義。
不思議なもので、人間は「忘却力」のほうがはるかに優越するので、一回見た経験だけでは印章が弱くなってしまう。追体験とその整理整頓があると、経験したことが非常に重層化できるものだと思います。
とくに美術品とか絵画のようなものは繰り返し追体験して「味読」するもの。一回見ただけでは気付かないディテールが、繰り返して見ることでさまざまな側面からの把握が深まっていく。一期一会の真剣勝負もいいけれど、すべてがそれでは深みに至らない。
こういう「公開化」の動き、非常に喜ばしいと感じております。

さきほども書きましたが、新建ハウジング・デジタルの記事がどのようにまとめられるのか、興味を持っています。ブログは早朝アップしていますので間に合いませんが、もし確認したらそれについて、明日以降、触れていきたいと思います。

English version⬇

Trends in Permission for Photography at Public Museums and Galleries
In response to an article I wrote yesterday, I received an introductory article from the media. I appreciate the information disclosure. On the other hand, what is the current state of information disclosure for works of art, etc.? …

Until yesterday, the external part of my own environmental changes had come to an end. A media company specializing in housing (Shinken Housing Digital) took notice of what I wrote in this blog, and in the evening they offered me permission to publish an article about it. When I said yes, they called me back for a phone interview, and even asked me to provide photos.
I was a bit nervous about how the article would be published (laugh). But I am very grateful for the publicity, as it will help spread the word.
So, I would like to return to normal blogging today, but I am not yet fully conscious of my normal state of mind (laugh). I would like to take some time to gradually get back to “serialized stuff” and the like.

The photo above is from the “photography OK” exhibit at the “Gaudi” exhibition at the Museum of Modern Art, Tokyo in Kitanomaru Park, Chiyoda-ku, Tokyo the other day. This is an interior view of the Zagrada Familia and an aerial view.
In the overwhelming majority of cases, public museums and galleries around the world are almost always open to photography. There is a great awareness that the intellectual accumulation that mankind has cultivated is public property, and that its life is eternal when it is freely disclosed to the public.
Recently, this awareness has become stronger in Japan as well, and the movement toward openness in public museum and art museum exhibitions is accelerating. However, there are still some zones that are non-permitted as before for some exhibitions. Even in this Gaudi exhibition, when it came to the main Zagrada Familia corner, photography was allowed. From the user’s point of view, this is very meaningful as it helps to organize the experience as an individual.
Strangely enough, since human beings are far superior to “forgetfulness,” the seal is weakened by the experience of seeing it only once. When there is reliving and organizing of the experience, the experience can be very multi-layered.
Especially with things like art or paintings, you have to repeatedly relive and “taste” them. Details that you don’t notice just by looking at it once can be grasped from various aspects through repeated viewings. While it is good to have a serious one-time-only encounter, that does not lead to a deeper understanding of everything.
I am very pleased to see this trend toward “openness” in the industry.

As I mentioned earlier, I am interested to see how the articles of Shinken Housing Digital will be compiled. I will not be able to make it since my blog is up early in the morning, but if I confirm it, I will mention it from tomorrow onward.

Posted on 10月 4th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング | No Comments »

【Replan発行：（株）札促社代表退任、新会社設立】



昨日はわたしが創業した（株）札促社にとって大きな節目の日でした。
わたし自身が代表取締役を退任し、後継の小林大輔氏にバトンタッチしたのです。
事前に情報公開することは混乱も多く、すべての段取りが整理整頓されてからのお知らせとなったことをお詫びします。以下、昨日関係お取引先に送付された「あいさつ文（要旨）」です。

株式会社札促社 社長退任
新設分割会社「リプランハウス株式会社」代表就任のごあいさつ

今般令和５年10月2日を持ちまして、わたくし三木奎吾は長く務めていたReplan誌編集発行／株式会社札促社の代表取締役を退任しました。事業継続については東京の若手ベンチャー企業経営者・株式会社SUMUS社代表取締役の小林大輔氏が、札促社の全株式を引き受けていただき代表取締役にも就任いただく運びとなりました。
事業基盤が一段と強化されることとなります。（株）札促社はフラッグシップ事業のReplan誌発行をはじめ北海道から東北そして関東・関西とその活動ウィングを拡大して参ります。今後ともみなさまのご支援をお願い申し上げます。
この経営権移譲に伴い、前記の小林新社長の構想に沿って株式会社札促社から「新設分割」されて「リプランハウス（株）」が発足します。
わたくし三木奎吾は、この新設会社の代表として今後活動します。リプランハウス（株）の主要な経営資産としてようやく全体システム開発が完成段階のAI活用型「Replan住まいナビ」の権利を承りました。もちろん（株）札促社と緊密な「業務提携」合意しており札促社が全力でこの新事業の拡販推進に当たることは不変です。このふたつの会社は不即不離の関係で連携して事業に当たって行くことになります。
新体制になってよりダイナミックな事業展開を推進する（株）札促社と、新設のリプランハウス（株）に、今後とも変わらぬご愛顧を賜りますように、なにとぞよろしくお願い申し上げます。

以上のような発表内容であります。そういう次第でこの日々のブログでもサイレントに（笑）タイトルを変更してきています。以前の「Replan発行人」という表記から「住宅ジャーナリスト」というように自己紹介も変えてきていました。
わたし自身は経営者というよりも、建築・住宅空間に対してよりピュアな立場で住宅ユーザー視点での「よりよい家づくり」のための活動を継続して参ります。その表現の場として今後ともブログ執筆を続けていきます。予感としては「ライフワーク」そのものになるのかもと思っています（笑）。
今後ともみなさま、よろしくお願いします。

English version⬇

[Replan Issued: Retirement of Representative Position and Establishment of New Company by Sassoku Sha Co.
Information on the retirement of the representative position of the company that founded the company and the succession system. We will continue to strive to disseminate information on our blog by looking at the site from the starting point of “better homes”. ・・・・.

Yesterday was a major milestone for Sassoku-Sha, the company I founded.
I myself stepped down as representative director and passed the baton to my successor, Daisuke Kobayashi.
There was much confusion in disclosing this information in advance, so I apologize for not informing you until after all the arrangements had been sorted out. Below is the “Message of Greetings (summary)” that was sent to related business partners yesterday.

Resignation of the President of Sassoku-Sha Corporation
Message from the President of the newly established spin-off company “Replan House Co.

As of October 2, 2023, I, Keigo Miki, have resigned from my long-serving position as Representative Director of Replan magazine editor/publisher Sassoku-Sha Co. Mr. Daisuke Kobayashi, a young venture business owner in Tokyo and representative director of SUMUS Corporation, will assume all shares of Fushushosha and become its representative director as well.
This will further strengthen our business foundation. （Sassoku-Sha Inc. will expand its activities from Hokkaido to Tohoku, Kanto and Kansai, starting with the publication of Replan magazine, its flagship business. We look forward to your continued support.
In line with the aforementioned transfer of management control, Replan House Corporation will be established as a “newly established company” from Sassoku-Sha Corporation, in line with the aforementioned vision of new President Kobayashi.
I, Keigo Miki, will act as the representative of this newly established company. We have received the rights to the AI-based “Replan Sumai Navi” system, the entire system development of which is now in the final stage of completion, as one of the main management assets of Replan House Co. Of course, there is no change in the fact that Replan House has agreed to a close “business tie-up” with Sassoku-Sha Corporation, and Sassoku-Sha will do its utmost to promote the sales expansion of this new business. The two companies will work together in a non-exclusive relationship.
We would like to ask for your continued patronage and support of Sassoku-Sha Corporation, which will promote more dynamic business development under the new structure, and the newly established Replan House Co.

This is the content of the announcement. As such, I have been silently (laugh) changing the title of this daily blog as well. I have also changed my introduction from “Publisher of Replan” to “Housing Journalist.
Rather than being a business owner, I will continue my activities for “better house building” from the viewpoint of a housing user from a more pure standpoint regarding architecture and housing space. I will continue to write blogs as a place to express this. My hunch is that it will become my “life work” itself (laugh).
Thank you for your continued support.

Posted on 10月 3rd, 2023 by 三木 奎吾
Filed under: リプラン＆事業 | No Comments »

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