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【南国土佐の子育て応援「親子狛犬」 竹林寺探訪-8】




この竹林寺には境内に「日枝神社」があってその門番として、この「親子狛犬」はある。
通常は雌雄・阿吽一対であるところ、これは親子になっている。右の狛犬は親がこどもを守る姿。左の狛犬はこどもを戒める姿。子を守る慈しみと、しっかりきびしく育てる様が表現されている。
獅子はこどもを千尋の谷に突き落とし、それを這い上がってきたものだけを育てるといわれるけれど、そういった優しさときびしさの両面を表している。
そういう説明書きに沿って見ていたけれど、首に掛かった赤い布に隠れて、こども狛犬の様子がよくわからなかった。上の写真では辛うじてこどもの狛犬がわかる。
スフィンクスは狛犬の原初ではないかと言われているけれど、たぶんいま世界で存続してきているのは日本の宗教施設だけということになるのだろう。神域に対してそれを守護する存在という概念は、人類に普遍的にあったのだろうけれど、いまの日本が特殊に受容している。島国だから文化のガラパゴスになりやすいことを表しているのかも知れない。このことは良い面もあるけれど悪い面もあるだろう。

ほかにも竹林寺には「子安地蔵」も置かれているので、寺院全体として子育てを応援しようとする姿勢を表現していると思える。昨日、岸田首相の会見があって国策として子育て支援、人口減少対策を発表していたけれど、この「親子狛犬」はそんなシンボルにもなり得る。長い人類史の中で子育ては最重要な課題であったことは疑いがない。
一方で土佐高知といえば「はりまや橋」の歌で「坊さんかんざし、買うを見た」。この坊さんは竹林寺の学僧だったと言われる。かれが寺で行われていた信心学習機会に参加していた信者女性に恋をしたが、彼女をめぐって僧侶２名が微妙な三角関係に陥ってしまった。移ろいゆく彼女の歓心を得たい一心で、繁華街のはりまや橋で、かんざしを購入してプレゼントしたのだという。
ところが彼女はもう一方の年上の教師役の僧侶に強く惹かれ、この求愛を振り切って駆け落ちした。なんとか土佐の国境を越えようとしたが捕縛され公衆に「面さらし」されて僧侶は土佐から国外追放された。仲を裂かれた女性も高知からは追放されたが、土佐国内の鄙で子だからにも恵まれ人生をまっとうしたのだという。その僧侶も伊予国で寺子屋の教師として生き長らえて妻帯もしたと言われる。
親子狛犬の像からは親子愛と男女愛という人間の根源が強く絡まり合う。

English version⬇

A pair of guardian dogs symbolizing child-rearing in Tosa, Tropical Japan.
A pair of guardian dogs symbolizing child-rearing. They are the incarnation of love and education. On the other hand, there is the tragic love story of “Bossan Kanzashi” on Harimaya Bridge. It is truly the true nature of human beings. The true nature of human beings.

The Chikurin-ji Temple has the Hie Shrine within its precincts, and this “Oyako Komainu” is the gatekeeper of the shrine.
Normally, there is a male and female A-Un pair, but this pair is a parent and child. The right guardian dog on the right is a parent protecting a child. The left guardians are guarding their children. The left guardians on the left are guarding their children, and the right guardians on the right are protecting their children, and the left guardians are strictly nurturing their children.
It is said that the lion pushes the children down into the valley of a thousand questions and raises only those who crawl out of the valley.
I was looking at the lionesses according to the explanation, but the red cloth around their necks obscured the child guardian dogs. In the photo above, you can barely make out the child guardian dogs.
The sphinx is said to be the original guardian dog, but it is probably the only religious site in Japan that has survived in the world today. The concept of a guardian deity for a Shinto shrine may have existed universally among humans, but Japan is the only country in the world that has accepted it. This may be an indication of the fact that Japan is an island nation, which tends to be a cultural Galapagos. This may be a good thing in some respects, but it may also be a bad thing.

The Chikurin-ji temple also has a “Ko-yasu Jizo” (a guardian deity of children), which seems to express the temple’s overall attitude of support for child-rearing. Yesterday, Prime Minister Kishida held a press conference in which he announced a national policy of supporting child-rearing and countermeasures against population decline, and this “parent-child guardian dog” could be a symbol of such support. There is no doubt that child-rearing has been the most important issue in the long history of mankind.
On the other hand, speaking of Tosa-Kochi, it is said that the monk who sang “Harimaya-bashi” in the song “Harimaya-bashi” (Harimaya Bridge) was a Buddhist monk at Chikurin-ji Temple. He fell in love with a female believer who was participating in a religious study program held at the temple, and two monks fell into a delicate love triangle over her. In a single-minded effort to win her shifting affections, they bought her a kanzashi (hairpin) and gave it to her as a gift at Harimayabashi in downtown Tokyo.
However, she was strongly attracted to the other, an older Buddhist monk who served as her teacher, and she eloped with him, shrugging off his courtship. She managed to cross the border into Tosa, but was captured and publicly “humiliated,” and the monk was deported from Tosa. The woman with whom he had a falling out was also expelled from Kochi, but she lived out her life in the countryside of Tosa. The monk is said to have survived as a teacher at a temple in Iyo Province and even married.
The two statues of the father-and-child guardian dogs strongly suggest the human roots of love between father and son and between man and woman.

Posted on 3月 18th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【一気に雪融け、一直線の北国の春】



　本州各地からは桜の開花、満開の話題が増えてきていますね。WBCの日本代表の戦いもあって、ことしの春の躍動感が高まっている。まことに喜ばしい。がんばれニッポン、がんばれヌートバー！
　遅ればせながら札幌でも融雪が一気に進んできて、ちょっと前までメイン道路でも１車線ノロノロだったのが快適３車線に復元してきています。
　そんなことから冬の間のひたすら「除雪」限定運動から本格的に早朝の散歩が復活してきております。力仕事と地道な忍耐力レースの縛りから抜け出して、開放的なリズムに乗ってきています。ほぼ日常的なコース選択で、北海道神宮参拝から周辺の円山公園、円山登山道入口の慈母を思わせる観音さんへの参拝などが日課のコースになってきています。
　道中ではさまざまなスポットを巡っていくのですが、なかでも円山公園のメム（アイヌ語での水辺・沼）に棲息するカモやオシドリたちの様子も楽しみであります。冬の間はメムも結氷していて、かれらの姿は確認できませんでした。どうやら無事に越冬できたようで、まだ寒さに耐えているような様子ですが、元気そう。
　２枚目の写真は冬の終わり2/28のわが家近辺の公園の様子ですが、いかにも「光の春」っぽい。陽光が増してきて雪原にそれが反射してまばゆいのですが、ことしはこの期間がごく短くあっという間に通り過ぎた。ちょっとさみしい部分もあった。梅やサクラの開花もすばらしいのですが、この雪国の乱反射する陽光は、体奥にまで染み込んでくる感覚がある。雪の本当の美しさというようにも言える。


　こちらはわが家周辺、発寒川公園の様子。3/13ころの様子と2/28の様子の対比であります。上流での融雪があきらかに水量となって現れている。
　自然のリズム感はこれでもかと重奏してきています。仕事面でも１年半以上取り組んできた案件が、本日おおむね着地点に到達できた。さてこれからさらに頑張るぞと。WBCでも、頑張れニッポン！

English version⬇

Spring in the North with a straight line of snow melting at once
This year, the period of “spring of light” was very short, and the snow melted all at once. It is a little disappointing to see the spring of light. The early morning walk in the woods is also starting the symphony of the woodpeckers. …

From all over Honshu, we are hearing more and more about the blooming and full-blooming of the cherry blossoms, and with the Japanese national team in the WBC, the spring of this year is becoming more vibrant. I am truly delighted. Go Nippon, go Nutbah!
　Although it is a little late, the melting of snow has been progressing at a rapid pace in Sapporo, and what used to be one slow lane on the main road just a short while ago has been restored to a comfortable three lanes.
　This has led to a resurgence in my early morning walks, which had been limited to “clearing snow” during the winter months. We are getting out of the shackles of hard work and steady patience racing and getting into a more open rhythm. Almost daily course selections have become routine, from a visit to the Hokkaido Shrine to the nearby Maruyama Park and a visit to the Kannon (Goddess of Mercy)-reminiscent of Jibo at the entrance to the Maruyama Trail.
　On the way, we visit various spots, but we especially enjoy watching the ducks and mandarin ducks living in the memu (waterfront or swamp in the Ainu language) of Maruyama Park. During the winter, the memu is frozen over, so we could not see them. They seem to have wintered over safely, and although they still seem to be enduring the cold, they look healthy.
　The second photo shows the park near our house at the end of winter on February 28, and it looks like “spring of light. It was like a “spring of light.” The sunlight was increasing and the reflections on the snowfield were dazzling, but this time this period was very short and passed in a blink of an eye. It was a bit lonely in some parts. The blooming of plum and cherry blossoms is wonderful, but the diffuse reflection of sunlight in this snowy country gives me a sensation that penetrates deep into my body. It can be said that this is the true beauty of snow.

This is a comparison between the scene around 3/13 and 2/28. The melting of snow upstream is clearly visible as the volume of water.
　The sense of rhythm of nature has been playing again and again. In terms of work, the project that I have been working on for more than a year and a half has almost reached its conclusion today. Now, let’s work even harder…even in the WBC, go Nippon!

Posted on 3月 17th, 2023 by 三木 奎吾
Filed under: 未分類 | No Comments »

【日本建築・空間文化と北海道 竹林寺探訪-7】




現代の建築は日本の建築文化にとってどんな存在なのだろうか。ふと考えることがある。日本の建築・空間への感受性の文化伝承は、この竹林寺には豊富に積層している。
写真は竹林寺本坊と名勝庭園の様子。庭と建物の関係は日本ではこのような美的昇華が図られていって、日本文化の底流に沈殿している。このような様子を見ると建築構造本体は、切り取られた風景としての自然のなかで「息をしている」存在のように感じられる。
人間が造作する建物は外皮であって自然と向き合うとき五感と一体化している感覚がある。対して庭もまた、人為的に空間構成された自然であり、建物とは違う成り立ちではあるけれど、人間の美的選択眼に即して展開構成しているもの。
やはり「家庭」というような日本人の言い方は、いかにも日本文化的な表現なのだと思う。
こんなふうに先人たちは仏教寺院などに託して、それぞれの時代の美的感覚をピンナップして、連綿とわたしたちに建築文化を伝えてきてくれているのだと思う。その舞台装置として寺院という存在はそれこそ、この世とあの世の臨界点としてあり続けたのだろう。
そういう文化背景のなかで現代の建築家・堀部安嗣さんは、先日まで観た「竹林寺納骨堂」を作り上げていった。そのときの端正な創造姿勢がなんとなくわかるような気がする。

玄関にはこんなふうな豪華な花が生けられてもいた。日本各地域のこうした名刹寺院などで日本的感受性を沈殿させ続けてきたのがこの国の文化風土なのでしょう。
ひるがえって、北海道はこういう「自然とのウチソト空間連続性」のようなことに難しさがある。
こんなふうな庭との空間開放体験を一般化しにくい。初期の北海道建築でそれでもこうした「一体化」を志向した建築の流れもあったけれど、半年間に近い寒冷気候とそれによる建物の障害要因によってこうした建築と同じようなライフスタイルはやはり取れなかった。この建物を撮影したのは１月の初旬なのだ。北海道では雪に庭が閉ざされ、また寒気が居住空間を襲撃する。
庭との対話も３重ガラスなどによる厳重な空間保護が前提化する。場合によっては屋根からの落雪堆積が眺望全体を潰滅させる。
しかし、そういう自然環境の中でも、わたしたちは日本人なのだ。創意工夫しながら「拡張する花鳥風月」を暮らしの中で楽しみたいと念願している。困難はむしろ発展の最大の資産だと無理矢理にでも、考えたい。

English version⬇

Japanese Architecture, Spatial Culture, and Hokkaido: Chikurinji Temple Visit-7
Japanese architectural design was made possible by a dialogue with the gentle climate. The northern part of Japan wants to share its essence and challenge a new Japanese design.

What kind of presence does contemporary architecture have in Japanese architectural culture? I sometimes think about this. The cultural legacy of Japanese sensitivity to architecture and space is richly layered in this Chikurinji temple.
The photo shows the main temple of Chikurin-ji and its famous garden. The relationship between garden and building has been aesthetically sublimated in Japan in this way, and has been precipitated in the undercurrent of Japanese culture. In this way, the architectural structure itself seems to “breathe” in the nature as a cutout landscape.
The human-made building is an outer skin, and when confronted with nature, there is a sense of being united with the five senses. A garden, on the other hand, is also nature artificially created in space, and although it has a different origin from a building, it is developed and structured in line with the human eye for aesthetic selection.
I believe that the Japanese way of saying “home” is a very Japanese cultural expression.
In this way, our predecessors have passed on their architectural culture to us through Buddhist temples, pinning down the aesthetic senses of their respective eras. As a stage set for this, the existence of temples has been a critical point between this world and the next.
It was against this cultural background that the contemporary architect Yasutsugu Horibe created the “Chikurinji Ossuary,” which I saw the other day. I think I can somehow understand his neat creative attitude at that time.

The entrance was decorated with such gorgeous flowers. The cultural climate of this country has continued to precipitate Japanese sensibilities at such famous temples and other places in various regions of Japan.
Hokkaido, on the other hand, has difficulty with this kind of “uchisoto spatial continuity with nature.
It is difficult to generalize the experience of opening up space with a garden in this way. Although there was a trend in early Hokkaido architecture toward such “integration,” the cold weather of nearly half a year and the resulting building obstacles made it impossible to achieve the same lifestyle as this type of architecture. It was early January when I photographed this building. In Hokkaido, the garden is closed by snow and the cold air attacks the living space.
The dialogue with the garden is also premised on the strict protection of the space with triple glazing and other measures. In some cases, the accumulation of snow falling from roofs destroys the entire view.
However, even in such a natural environment, we are Japanese. We wish to enjoy the “expanding beauty of flowers, birds, wind, and the moon” in our daily lives with our ingenuity and ingenuity. We would like to think, even if forcibly, that difficulties are the greatest asset for development.

Posted on 3月 16th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【建築再生・文化継承に賭けた魂魄 竹林寺探訪-6】





さて日本建築学会賞作品賞を2016年度受賞した堀部安嗣設計による「納骨堂」建築を見て来ましたが、このような建築家に依頼する側、竹林寺という存在について思いが及んでいます。
どうしてこのような話題になる建築を設計依頼したのか。ふつうに考えると寺院建築だから伝統に安住して保守していればいいのに、堀部安嗣氏のような気鋭の建築家にわざわざ依頼するその動機のようなものに強い関心を持った次第です。
いま人口減少局面に世界が直面し、その最先端に日本は立っている。そういう時代になってくれば建築もまた、新築から再生の方向に向かっていく必要がある。日本全体としてもそうであるけれど、わたし自身も道庁の住宅施策審議委員の経験から、建築再生の気運がどうしたら盛り上がるかに、強い関心を持っている。行政側の発想では技術的側面での制度設計に向かっていくことが一般的。それは当然としても、わたしとしてはむしろ「動機の盛り上げ」の方がはるかに重要なのではと考えるのです。
そんな思いを持ちながらこの竹林寺を参観していて、随所に面白い試みを発見した。釈迦像も斬新な「衣装」をまとっているし、本堂内部の額絵もよく見たら那須与一の屋島合戦での様子。どうして竹林寺という高知の寺で高松・屋島合戦が描かれるのかと疑問に思ったのですが「わかりやすさ」「話題性」という寺院経営的な側面が大きいのではと思い至った。

この建物は「船岡堂」という建築。由緒書きでは明治年代、経営的に衰亡を究め老朽化・廃屋化が進んでいた竹林寺の住職・船岡芳信氏が建築再生、寺院経営立て直しの努力を重ねた様子が記録されていた。明治30年当時、現在の費用で20億円ほどが再生には必要なほど竹林寺建築は傷んでいた。
そういう状況を改革すべく全国に「復興勧進」の活動を繰り広げた結果、今日のような興隆が生み出されたのだそうです。源平騒乱期、平氏によって焼け落とされた東大寺の復元のために全国を勧進行脚した東大寺・重源和尚を彷彿させる。
こうした氏の魂魄が、現代に至っても話題の建築を設計依頼する動機を構成している。現代、わたしたちの建築も新築から再生に向かって来つつある。重源さんや船岡氏のような魂魄が、いま、社会全体に共有される必要があると強く思っています。
東大寺では再建に当たって運慶のような稀有の芸術家作品をも生み出し、それが新時代の雰囲気をも作って行った。日本社会では新築よりもむしろこうした建築再生が連綿と繰り返されたことで、日本文化が正しく継承されてきたのではないか。われわれがいま、学ぶべき事も多い。

English version⬇

The soul that bets on architectural revival and cultural inheritance: Exploring Chikurinji Temple-6
The core of Japanese cultural inheritance revealed by the deep business motives of those who commission architects. The soul that revitalizes even a society with a declining population. …

Now that I have seen the “ossuary” architecture designed by Yasutsugu Horibe, winner of the 2016 Architectural Institute of Japan Award for Best Work, I have been thinking about the existence of Chikurinji Temple, the entity that commissioned such an architect.
Why did they commission the design of such a controversial building? Normally, one would think that the temple architecture should be maintained in accordance with tradition, but I was very interested in the motive of commissioning an up-and-coming architect such as Mr. Yasutsugu Horibe.
The world is now facing a declining population, and Japan is at the forefront of this trend. In such an era, architecture also needs to move away from new construction and toward renewal. I have a strong interest in how to stimulate the momentum for architectural revitalization, based on my own experience as a member of the Hokkaido Government’s Housing Policy Council. The administrative side’s approach is generally to design systems from a technical standpoint. While that is natural, I believe that it is far more important to “enliven the motive”.
With these thoughts in mind, I visited this Chikurinji temple and found interesting attempts everywhere. The statue of Shakyamuni is dressed in a novel “costume,” and the framed picture inside the main hall depicts Nasu Yoichi at the Battle of Yashima. I wondered why a temple in Kochi called Chikurin-dera depicted the Battle of Takamatsu/Yashima, but I came to the conclusion that it was largely due to the temple management aspect of “understandability” and “topicality.

This building is called “Funaoka-do. According to the history of the temple, Yoshinobu Funaoka, the abbot of Chikurin-ji Temple, which had been deteriorating and falling into disrepair since the Meiji Era, made efforts to rebuild the building and restore the temple’s management. In 1897, the Chikurin-ji building was in such a state of disrepair that it would have cost about 2 billion yen in today’s terms to rebuild it.
As a result of the “restoration and promotion” activities that were carried out throughout the country to reform such a situation, the prosperity that we see today was created. This is reminiscent of the monk Shigen of Todaiji Temple, who made a nationwide pilgrimage to restore Todaiji Temple, which had been burned down by the Taira clan during the Genpei uprising.
The spirit of this monk is what motivates us to commission him to design buildings that are still talked about in the modern age. Today, we are moving away from the construction of new buildings and toward the regeneration of architecture. I strongly believe that the spirit of Mr. Shigen and Mr. Funaoka needs to be shared throughout society.
In the reconstruction of Todaiji Temple, rare artists such as Unkei were created, which also created the atmosphere of a new era. I believe that Japanese culture has been properly inherited through the continuous repetition of such architectural revival rather than new construction in Japanese society. We have much to learn from this experience.

Posted on 3月 15th, 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 »

【鎮魂の空間と「音楽性」要素 竹林寺納骨堂-5】




さて水盤のほのかな水音が支配するコンクリート空間からひとは離脱していくことになる。安藤忠雄「淡路夢舞台」でもちょうど時期的に童謡の「冬の夜」がホテルグランドニッコーによってBGMで流れていて、もう数ヶ月経っているけれど、まだ印象のなかに旋律が残っている。
こちらの納骨堂での水音は実際の水音としてではなく、映像的な音、というとおかしいのだけれど、そんな感覚の残滓が残っている。建築と音楽ということをこれまであんまり考えたことはなかった。
しかし司馬遼太郎の文章の中に、日本に最初に仏教寺院が開かれた当時、朝夕に繰り返される「念仏読経」の音楽性が、ひとびとの心に沈殿するように染みわたっていった、というくだりがある。それまで列島に暮らす人びとにとって、見たことも聞いたこともない「音楽体験」がいかに大きな役割を担っていたのか、と。それが伽藍で構成される宗教建築群と渾然一体で文化導入された。仏塔・五重塔という高層建築から回廊形式の内陣、外陣の空間仕分けなどの「曼荼羅」世界観が一気に仏教寺院建築空間で展開されていった。まさに度肝を抜かれるような世界観だったことだろう。
日本人のDNAレベルとも思える仏教受容には音楽性も含めた体験要素が大きく与っていた可能性がきわめて高い。インドや中国社会で仏教が廃れていったのに対して、日本社会がこの宗教文化を崇敬し続けたのにはとくに「空気を読む」情緒性レベルの高い民族としての日本人の心性が深い関係があったように思われる。あまりに巨大な「変革」要素には後世の人間はほとんど気がつかないものかもしれない。どうもそういった感覚に近いこととして、わたしには音楽要素の典型として水盤装置の印象が刻まれた。
納骨堂という鎮魂空間を彩る音楽性・建築性として水盤を選び取った感覚には深く同意する。

内観でも外観でも、コンクリート建築本体には木造で被覆が施されている。納骨室は法で耐火構造が求められる。屋根を構成する木造部はすべて県産材の杉105角。1995mmグリッドで構成。敷き並べたり積層させたりしている。まことに「正直」なその素材の表情が、鎮魂の場の空気感を高めてくれている。また無双窓からの採光と通気がこの地での鎮魂に彩りを加えている。
そしてやがて納骨堂から離れ、竹林寺の境内に移動していくけれど、ある種の回生にも似た気分を感じながら、日常に還っていく感覚があった。

English version⬇

Space for Requiem and “Musicality” Element Chikurinji Ossuary-5
The Japanese sense of “reading the air” may have been built up from a variety of experiences of Buddhism acceptance at the DNA level. …

Now, one leaves the concrete space dominated by the faint sound of water from the water basin. At Tadao Ando’s “Awaji Yumebutai,” a children’s song “Winter Night” was played as background music by the Hotel Grand Nikko just in time, and although several months have already passed, the melody still remains in my memory.
The sound of water in the ossuary here is not the actual sound of water, but a visual sound, or perhaps it is strange to say, but there is a residue of such a sensation. I have never really thought about the relationship between architecture and music.
However, in one of Ryotaro Shiba’s writings, he writes that when the first Buddhist temples were opened in Japan, the musicality of the “Buddhist chanting” repeated in the morning and evening seeped into people’s minds like a precipitation. It is said that the musicality of “Nembutsu Yomikyō,” which was repeated in the morning and evening at the time the Buddhist temple was first opened in Japan, played an important role for the people living in the archipelago, who had never seen or heard such music. This was introduced into the culture in tandem with the religious architecture of the temple complexes. The “mandala” worldview, from the high-rise architecture of stupas and five-story pagodas to the corridor-style inner sanctuary and outer sanctuary, was developed in the architectural space of Buddhist temples in one fell swoop. It must have been a truly astonishing worldview.
It is highly likely that the Japanese people’s acceptance of Buddhism, which can be considered to be at the level of their DNA, was greatly influenced by the experience of Buddhism, including its musicality. While Buddhism was dying out in India and China, Japanese society continued to revere this religious culture, which seems to have been deeply related to the Japanese mentality as a people with a high emotional level who “reads the air. The “change” factor is so enormous that it may be almost imperceptible to later generations. As something similar to such a feeling, I was left with the impression of the water-board device as a typical musical element.
I deeply agree with the sense that the water basin was chosen as a musical and architectural element to color the requiem space of the ossuary.

The concrete building body, both interior and exterior, is clad in wood. The ossuary is required by law to be fireproof. The wooden sections that make up the roof are all made of 105 square meters of prefectural Japanese cedar, with a 1995mm grid. The wood is laid out or stacked in layers. The truly “honest” expression of the materials enhances the atmosphere of the place of repose. Also, the lighting and ventilation from the twin windows add color to the repose of souls at this place.
Eventually, we left the ossuary and moved to the precincts of Chikurin-ji Temple, and I felt a sense of returning to my daily life, feeling a kind of reincarnation.

Posted on 3月 14th, 2023 by 三木 奎吾
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【建築的クライマックスに「水盤」 を配置 竹林寺納骨堂-4】



建築家・堀部安嗣氏の代表作品、2016年日本建築学会賞作品賞の竹林寺納骨堂を参観してのルポ、第４回であります。
前章まででいわゆる作家的自己主張とは違う「環境調和型」の志向での設計が意図されていると記述してきた。しかしその趣旨と見事に合致しながら、同時に「この手で来たのか」と驚かされた。それが生と死をつなぐ道を通り抜けた納骨堂の掉尾の空間に印象的に配置された「水室」と名付けられた空間であり、その主装置として据えられていた「水盤」。
わたしは納骨堂建築の一般的デザイン作法を知らない。わが三木家の場合は北海道に広島県福山市近郊から移住してこの地でなくなった祖父母と両親の世代から札幌の公営墓地に墓を建てている。墓を建てるまでは菩提寺の納骨堂に納められていて、幼少期まではそこに墓参していたけれど、それは菩提寺の本堂内に収納されていた。建築として別個の納骨堂というものの詳細は知らない。自分が見知っている範囲の事例を考えれば、一般的デザインの仕様設定条件として「水盤」は存在しないだろうと思う。
なので、この配置計画は竹林寺納骨堂の建築家・堀部氏によるオリジナルと考えられ、その建築計画の核心なのではないかと思われた。


「静的な土と静謐だけれど動的な水を対比させている。納骨室で死者と向き合うだけでなく、強い生命力も感じられる空間を目指した」とされる。堀部氏のHPの紹介には以下のような説明。
「塀の高さは水面より約２ｍ。壁上部にはプランターが設けられており、五台山に自生する数種の植物が植えられている。壁は土佐漆喰鏡面仕上げ。水盤は黒御影石を使用。水盤には常時水が流れ、その水音は通路空間にまで響き渡る。四周からオーバーフローした水は直下のビット内に設けられたタンクとポンプで循環させている。」
昨日「納骨堂の中で読書しているひとがいた」ことを書いたけれど、具体的にどの場所でとまでの記載は原文にもなかった。詳細取材までの及ばないブログとしては、想像するしかない。わたしとしてはどう考えても読書していた人は、この水盤の前に置かれた簡素なベンチにいたのではないかと思う。
水があり空があって、この場所で採取された土壁があり、この地の緑が空間を縁取っているこの場所は、まさに内省的な場であり、自分の近縁者が眠っている納骨堂空間に浸り、抱かれるのにふさわしい。
ここに水盤を配置した建築構想の意図に、おだやかで環境調和的だけれど端的な作家性・主張性が表現されているようにも思われた。

English version⬇

The “water basin” is placed at the architectural climax of the Chikurin-ji Ossuary.
The water basin is an introspective device that maximizes depth. The water basin harmonizes with the sky, the surrounding nature, and the clay-painted walls of the site to create the harmony of the sound of water. The water basin is a device for reflection.

This is the fourth installment of our report on our visit to architect Yasutsugu Horibe’s representative work, the Chikurinji Ossuary, which won the 2016 AIJ Prize for Best Work.
In the previous chapters, we have described that the design was intended to have an “environmental harmony” orientation, which is different from the so-called artist’s self-assertion. However, while it was in perfect accord with that purpose, at the same time, I was surprised to see that it came in this way. The latter part of the ossuary, through which the path connecting life and death passes, is impressively located in a space named “water room,” and the “water basin” was installed as the main device.
I am not familiar with the general design style of ossuary architecture. In the case of the Miki family, the grandparents who moved to Hokkaido from the suburbs of Fukuyama City, Hiroshima Prefecture, and their parents who passed away in this area, built their graves in the public cemetery in Sapporo. Until the cemetery was built, the graves were kept in the ossuary of the family temple, which was housed in the main hall of the temple, although I used to visit the graves there until I was a child. I do not know the details of the separate ossuary as an architectural structure. Considering the examples I am familiar with, I do not think that a “water basin” would exist as a general design specification condition.
Therefore, this layout plan is considered to be original by Mr. Horibe, the architect of Chikurin-ji Ossuary, and it seems to be the core of his architectural plan.

The static earth contrasts with the tranquil but dynamic water. I aimed to create a space where people can not only face the dead in the ossuary, but also feel a strong life force”. The introduction on Horibe’s website explains as follows
The wall is about 2 m high above the water, and planters are placed on top of the wall, in which several species of plants native to Mt. The walls are Tosa plaster with a mirror finish. The water basin is made of black granite. Water is constantly flowing in the basin, and the sound of the water echoes through the passage space. Water overflowing from the four perimeters is circulated by a tank and pump located in the bit directly below.”
Yesterday I wrote that “there was a person reading in the ossuary,” but there was no specific location mentioned in the original text. As a blog that does not go into details, I can only imagine. I think that the person who was reading must have been on a simple bench placed in front of the water basin.
With water, sky, clay walls collected at this site, and greenery surrounding the space, this place is truly a place for introspection, a place to be immersed in and embraced by the ossuary space where one’s relatives are laid to rest.
The placement of the water basin in this space seems to express a gentle, environmentally harmonious, yet straightforward artist and assertiveness in the architectural concept.

Posted on 3月 13th, 2023 by 三木 奎吾
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【読書する人もいる奥行きの空間 「竹林寺納骨堂」-3】




この竹林寺納骨堂の日本建築学会賞の受賞に際して審査員による現地審査が行われた。そのとき、審査員が目撃した体験として、たまたま納骨堂で読書にふける来訪者がいたとのこと。
審査員の方はそのことに驚かれ「この納骨堂に陰湿さはかけらもない」と高く評価したとされる。しかしあえて言えば、わたし的には「陰惨さ」という言葉に表現された評価の感覚はさてどうなのだろうと疑問に思った。もちろんその評価者の方は一般社会の普通の感覚に伝達する比喩として語られたのだろうと思うけれど。
そのあたりについて、設計者の堀部安嗣氏のことばが伝わっている。「いま、日常の風景から死を感じる機会が失われている。死者を恐ろしいものとして避けるのではなく、人の生と死をつなぐ道のような建築のあり方を考えた」と。
そしてこの空間で静かに自分の内面と向き合いながら、読書にふけられる方にわたしは自然な感受性と親近感を強く感じさせられる。人間存在は諸行無常であり、生死もまた流転の中のワンシーンという感覚でしょうか。むしろそういう生死があわく融合したような空間性に、祈りと似た読書という行為はきわめて似つかわしい。読書に際して人間は自分の本然のこころ存在として、対手としての人間の書いた文章と「語り合う」。それはきわめて個人的な体験の領域であり、他者からのいっさいの介入を遠ざかった地平にいるのだと思う。いわば内心の自由という確固とした場所にいるのだ。
自分のごく身近な人間、親兄弟が死んだとき、それを供養し納骨する。そこで悠久との対話を体験するのが多くの人間にとって当然のことだと思う。自分の親族が永遠に眠っている場が、陰惨な場であるわけがない。深くこころと向き合うことで、死者とのつながりを感受する場なのだと思う。


きのう「環境」という言葉について考えたけれど、要するにこういう魂とか、人間性・社会という側面での環境というものが強く感じられるのだ。これには竹林寺という仏教寺院建築であるということも大きいけれど、高断熱高気密という気候環境への対応技術という側面では基本的な目標はほぼ獲得されてきた北海道住宅にとって、さらに「奥行きを深める」部分として、こうした環境論というのは有意義。
このポイントについても北海道には豊かな自然との対話という好条件があるのではないだろうか。そういった「住宅の進化」も大いに期待していきたいと思う。

English version⬇

[A space with depth where some people read books “Chikurinji Ossuary”-3
I don’t think death is “gruesome. A place like the boundary between life and death is a place where the mind can be self-reflective. An environment that produces a richness of mind. …

When the Chikurinji Ossuary received the Architectural Institute of Japan Award, the jury conducted an on-site review. At that time, the jury witnessed an experience in which a visitor happened to be reading in the ossuary.
The jury was surprised by this and highly praised it, saying, “There is not a trace of insidiousness in this ossuary. However, I dare say that I wondered about the sense of evaluation expressed in the word “gruesome. Of course, I think the evaluator may have used the word as a metaphor to convey the ordinary senses of the general public.
The words of the designer, Mr. Yasutsugu Horibe, are reported here. Nowadays, we are losing the opportunity to feel death in our daily lives. Rather than avoiding the dead as something to be feared, I thought about how architecture should be like a path that connects life and death.
I feel a natural sensitivity and a strong sense of kinship with the person who is reading in this space while quietly facing his or her inner self. Human existence is an impermanent state of affairs, and life and death are just one scene in the flow of life and death. In fact, the act of reading, which is akin to prayer, is very much suited to this kind of space where life and death are blended together in a wondrous way. When reading, a person “talks” with a text written by another person as his or her counterpart, as his or her own true spiritual being. This is a very personal realm of experience, and one that is far removed from any intervention from others. In other words, we are in a firm place of inner freedom.
When someone close to me, a parent or sibling, dies, I make a memorial service for them and lay their ashes in a grave. I think it is natural for many people to experience a dialogue with eternity there. The place where one’s relatives are laid to rest for eternity cannot be a gruesome place. It is a place where we can deeply feel the connection with the dead by deeply facing our hearts.

I thought about the word “environment” yesterday, but in short, I strongly feel the environment in terms of the soul, humanity, and society. This is due in large part to the fact that the Chikurin-ji Temple is a Buddhist temple, but the environmental theory is significant as a part of “deepening” the basic goal of Hokkaido housing in terms of technology to cope with the climate environment, such as high thermal insulation and airtightness.
Hokkaido has the advantageous condition of being in dialogue with the abundant nature. I have high expectations for the evolution of housing in this way.

Posted on 3月 12th, 2023 by 三木 奎吾
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【歴史建築空間での「新」建築の心得 「竹林寺納骨堂」-2】



堀部安嗣さんは神戸市の新興住宅地での住宅プロジェクトで新住協メンバーのダイシンビルドさんの建てた住宅（神戸住宅博「ヴァンガードハウス」）で、取材させていただいたのがご縁。時系列的にはこの日本建築学会賞受賞の時期と重なっているけれど、むしろ当時は４間×４間という合理的な住宅間取りの最適解的手法の事例として取り上げていた。
2017年に新住協の鎌田紀彦氏との対談が東京の住宅展示会で企画されて、それを取材した流れから、関西でのその実例をという企画趣旨だった。
鎌田先生の本誌Replan（2019/3発行）「Q1.0住宅デザイン論」での堀部氏について触れた該当箇所を以下に転載。
「（堀部）３年ほど前、自分の建築の魅力はそのままに断熱気密の性能をもっと高めることができるのではないかと思い始めた。そうした設計を実践してみるとその分、住まい手が喜んでくれることがわかり、一段と設計の楽しさを実感した。」「高断熱の住宅手法についてそれが制約ではなく、設計の自由度を高め魅力的な住宅を設計することを可能にし、より施主の満足度を高めることを可能にすると言ってくれた。」
関東以南地域で、こういう設計者の存在を強く感じられた。北海道での家づくりの作り手たちと同様の「環境」ということへの深い意味での理解が鎌田紀彦氏にも伝わったということだろう。で、その当時はそこで言われた環境とは「温熱」という側面だけと直に理解していたけれど、今回、この「竹林寺納骨堂」を参観して、認識が改められた。というのは、竹林寺という日本の建築文化の粋ともいえる伝統建築群が醸し出す空間の磁場のなかで、現代の作り手が新たに建築を造作する「心得」という意味、いわば空気感・雰囲気のような広範な意味合いとしての「環境論」を強く感じたのです。


最初の写真のように五重塔のような人類の精神性建築資産ともいえるような建築群が作り出している空間環境に、現代の作り手があらたな建築を作るとき、自分一個の「作家性」がそれに優先するということはあり得ないというマインド。むしろ先人が作り上げてきた空間のなかでそれをリスペクトしつつ、調和させてあらたな「奥行きを作り出す」という創造性のメンタルを感じたのです。建築としての目的が納骨堂ということもあるけれど、半地下・平屋という視線レベルからもそういう姿勢が伝わってきた。
氏のこの作品へのコメントを見ても、そのような設計態度が強く感じられる。
ちょうど安藤忠雄「淡路夢舞台」の空間体験と、また阿波忌部氏・三木家住宅という対照を見てきたあと、この建築にめぐり会ったことは、個人的に非常に楽しい体験になったのです。

English version⬇

The “New” Architectural Spirit in Historical Architectural Space “Chikurinji Ossuary”-2
The contrast between Tadao Ando’s creation of a new space for the environment as a whole and an architectural space of human spirituality. Let’s take a look into the mind of the creator at that time. …

I had the privilege of interviewing Mr. Yasutsugu Horibe for a housing project in a newly developed residential area in Kobe City, which was built by Daishin Build, a member of Shinjyukyo (Kobe Housing Expo “Vanguard House”). Chronologically, the project coincided with the time of this AIJ Award, but at the time, I was rather covering it as a good example of an optimal solution method for a rational 4 ken x 4 ken housing layout.
In 2017, a conversation with Norihiko Kamata of Shinjyukyo was planned at a housing exhibition in Tokyo, and the purpose of the project was to cover the actual example in the Kansai region.
The following is a reprint of the relevant section of Mr. Kamata’s article in this issue of Replan (published 3/2019), “Q1.0 Housing Design Theory,” in which he mentions Mr. Horibe.
About three years ago, I began to think that it might be possible to improve the performance of insulation and airtightness while maintaining the attractiveness of my architecture. When I put such a design into practice, I found that the residents were happy with the results, and I realized how much more enjoyable it was to design.” He said, “The high thermal insulation method is not a constraint, but a way to increase the freedom of design, to design attractive houses, and to increase the level of satisfaction of the client.”
I strongly felt the presence of these kinds of designers in the Kanto region and southward. I was informed that Norihiko Kamata had the same deep understanding of the “environment” as the makers of the houses in Hokkaido. At the time, I had understood environment to mean “heat,” but this visit to the Chikurin-ji Ossuary has changed my understanding. I strongly felt “environmentalism” in the sense of “knowing how to create a new architecture” by a modern creator in the magnetic field of space created by Chikurin-ji, a group of traditional buildings that can be said to be the essence of Japanese architectural culture.

As shown in the first photo, the five-story pagoda is an architectural asset of human spirituality, and the architects have created a spatial environment in which it is impossible for a modern creator to give priority to his or her own “authorship” when creating a new architecture. Rather, I sensed a creativity to “create new depth” by respecting and harmonizing the space created by predecessors. Although the purpose of the building is to serve as an ossuary, I could feel this attitude from the level of the viewer’s perspective of the half-underground, one-story building.
His comments on this work strongly suggest such a design attitude.
After having just experienced the spatial experience of Tadao Ando’s “Awaji Yumebutai” and the contrast of the Awa Imobe and Miki family residences, coming across this architecture was a very enjoyable experience for me personally.

Posted on 3月 11th, 2023 by 三木 奎吾
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【2016年度日本建築学会賞作品 堀部安嗣「竹林寺納骨堂」-1】




先日まで安藤忠雄「淡路夢舞台」探訪記を書きましたが、夫婦旅で淡路の後、徳島県・三木家住宅を参観。その後、「うだつの街」を見学。その後は徳島から一路南国土佐高知へ。忘れていたのですが、訪問先についてカミさんにはもう１件、高知市の名刹・竹林寺にある「納骨堂」もリクエストしていた。こちらは表題の通り、知人の設計者・堀部安嗣さんの2016年度日本建築学会賞。
建築関係のメディア人間ながら北海道を基盤とする雑誌メディアとしては、本州以南地域の建築動向について耳にはするけれど現地で参観する機会というのはなかなかない。たまたま四国行脚が夫婦旅だったことで今回実現できた。
最初の写真はお目当ての納骨堂の正面外観。この施設は当然ながら竹林寺の境内の奥まったところにある。そこに至るには山門を抜け、本堂や仏塔なども巡って行くことになる。堀部さんの設計趣旨の文章などを見ても、建築はその置かれる環境の中でいのちを得ているもの。多くの歴史的空間環境と「繋がって」存在している。そういうことで建築探訪ながら周辺の様子もルポしながら、数回に分けて探訪記としたいと思います。
自由旅行なので仕事的に調査活動をしっかりするわけではない。事前に情報を細かく入手するような段取り仕事はしておりません。実際に建築に触れてその臨場体験をベースにして、このようにブログで書くことで追体験整理することになります。こういう記述スタイルのほうが面白みも感じ始めています。
行って見て始めて竹林寺という古刹の高知県での存在感を知ることになる。四国八十八箇所第三十一番目の札所で、1300年の歴史を刻んでいる真言宗の寺院。高知市内南東、古くは桂浜とならび月の名所であった五台山にあります。わたしは真言宗の宗徒で、高野山参拝の経験もあるので、やはり親近感がある。南無大師遍昭金剛・・・。

参観の当日朝は、さきに桂浜の風景にたっぷりと癒されてからの参観となりました。四国には新入社員予定者だった大学４年の９月頃に入社先の社長の運転手としてアルバイトした経験がある。四国を一周するイベントの会場巡り。
ふしぎと食べもののこと、なんにでも柑橘ポンカンを搾って食べることが鮮烈な記憶だった。その当時から数えれば半世紀近く経っている。また元気にレンタカーを運転して巡り回っていることが、ありがたく味わい深い。
おっと、まったく目的の建築行脚に進めない（笑）。現場体験は明日以降に。

English version⬇

2016 Architectural Institute of Japan Award for Best Work: Yasushi Horibe “Chikurinji Ossuary”-1
A representative work of architecture by Yasushi Horibe, the first residential work to be covered in the Kansai region. How does it contrast with the Tadao Ando architecture of Awaji Yumebutai? …

I wrote about my exploration of Tadao Ando’s “Awaji Yumebutai” until the other day. After Awaji on a couple’s trip, we visited the Miki Family Residence in Tokushima Prefecture. After that, we visited “Udatsu no Machi” (Udatsu Town). After that, we went from Tokushima all the way to Tosa-Kochi in southern Japan. I forgot to mention that I had also requested one more place for Kami to visit, an ossuary at Chikurinji Temple, a famous temple in Kochi City. This one, as the title suggests, is the 2016 Architectural Institute of Japan (AIJ) Award for its designer, Yasushi Horibe, who is an acquaintance of mine.
As a member of the architecture-related media, but as a Hokkaido-based magazine media, I have heard about architectural trends in the south of Honshu, but I have not had the opportunity to visit the site. We were able to do so this time because our trip to Shikoku happened to be a couple’s trip.
The first photo shows the front exterior of the ossuary we were looking for. Naturally, this facility is located in a secluded part of the Chikurin-ji temple grounds. To get there, we had to pass through the temple gate, and then around the main hall and pagoda. The architecture, as seen in Mr. Horibe’s description of the purpose of the design, is a building that derives its life from the environment in which it is placed. It exists “connected” to many historical spaces and environments. Therefore, I would like to write about my architectural explorations in several parts, reporting on the surroundings as I visit the buildings.
Since this is a free trip, I will not be doing a lot of research. We do not work to obtain detailed information in advance. I will actually touch the architecture and based on that realistic experience, I will relive and organize it by writing in this way on my blog. I am beginning to find this style of writing more interesting.
I will learn about the presence of an ancient temple called Chikurinji in Kochi Prefecture only after I go and see it. It is the 31st temple of the 88 temples in Shikoku, and is a Shingon Buddhist temple with a history of 1,300 years. It is located southeast of Kochi City on Mount Godaisan, which, along with Katsurahama Beach, was once a famous moon viewing spot. I am a member of the Shingon sect and have visited Koyasan, so I feel a strong affinity with the temple. Namu Daishi Hensho Kongo…

On the morning of the day of the visit, I was first treated to the scenery of Katsurahama Beach. I had a part-time experience in Shikoku as a driver for the president of the company I was working for around September of my fourth year of college, when I was a prospective new employee. Touring the venue for an event that circled Shikoku.
It was a vivid memory of fushigi, food, and squeezing citrus ponkan into everything. If I count from that time, almost half a century has passed. I am grateful that I am driving around in a rental car again.
Oops, I can’t go on to the construction trip, which is my goal at all (laughs). I’ll get back to the site experience tomorrow or later.

Posted on 3月 10th, 2023 by 三木 奎吾
Filed under: こちら発行人です, 日本社会・文化研究 | No Comments »

【北海道の「貝類」8020万年の化学層序】



昨年末に東京上野の「科学博物館」で参観した「化学層序」の展覧会。歴史好きなので地層とか地質年代的にも興味を持っております。NHK「ブラタモリ」でも番組構成で下敷きにしていますね。地質学の基本となる情報は地層の積み重なりである「層序」という概念。層序は上位ほど新しく、各地層の厚さ、堆積構造、岩石や化石の種類の違いを示す。そういう概念を「化学層序」と呼ぶのだそうです。
そういえばと思い出すのが、不勉強極まりなかった高校時代。予習が通用しない学力テストがあって「地学」を選択したら、なんと学年トップランクの成績。個人的勉強史での唯一に近い「成功体験」（笑）。逆に考えるとそれ以来、地質は面白いと思ってこういう最新研究の成果発表に興味を持つのでしょうか。
そういうマニアックな展示会で学ぶことで来し方行く末のコンパス感覚が得られる。人間の歴史もそういう巨視スパンの基盤上に展開しているので強く影響されている。ふむふむと勉強させていただいていたら、突然目の前に「北海道」という文字が現れて思わず目が覚めてしまった。


「貝類」と言う生物種ととらえられる「アンモナイト」の一種「アマポンデラ・アマポンデンゼ」というイキモノは化石で確認される最新年代、約8020万年前には地球上で北海道でだけ発見されるのだそうです。
なんでもこの化石は北海道むかわ町穂別博物館から出張してこの東京の科学博物館に来ていたとのこと。WEBで検索しても、この生物種の情報はなかなか得られない。
一方アンモナイトは古生代シルル紀末期から中生代白亜紀末までのおよそ3億5000万年前後の間を、海洋に広く分布し繁栄した頭足類の分類群の一つ。多くの種が平らな巻き貝のような形をした殻を持っているのが特徴。・・・ということなので、やはり貝類との類縁性が強く感じられる。
普段から北海道の魚介類には深くお世話になっている。２枚目写真のホッキ貝などはそのうま味に魅せられて、ほぼ日常的に捌いて刺身として食している。そのはるかなご先祖さまが、思わぬ場面でいきなり降臨された気分。人間は罪深く、他の生物種を食べながら生き延びてきた。食べることはイキモノを殺すことだけれど、しかし同時にいのちの共生とも感じる。輪廻転生。・・・

English version⬇

Chemostratigraphy of Hokkaido’s “Shellfish” 80.2 Million Years Ago
While studying the latest research in geology, I encountered fossils of ancestors of Hokkaido shellfish. The history of the earth’s shellfish, which is made clear by the texture of sashimi. …

At the end of last year, I visited the “Chemistry Stratigraphy” exhibition at the Science Museum in Ueno, Tokyo. As a history buff, I am interested in geological stratigraphy and geochronology, and I know that NHK’s “Bratamori” also uses it as a basis for its program structure. The basic information of geology is the concept of “stratigraphy,” which is the layering of strata. The higher the stratigraphy, the newer it is, indicating differences in thickness, sedimentary structure, and types of rocks and fossils in each layer. Such a concept is called “chemostratigraphy.
This reminds me of my high school days when I was extremely ill-prepared. There was an achievement test that I could not prepare for, and I chose “geology,” and to my surprise, I was ranked in the top of my class. It was the only “success experience” in my personal study history (laughs). Thinking about it in reverse, I wonder if since then I have been interested in the presentation of the results of the latest research like this because I think geology is interesting.
Learning at such maniacal exhibitions gives me a sense of a compass for where we are going and where we are going to go. Human history is also strongly influenced by such a macroscopic span of time. As I was studying the exhibition, the word “Hokkaido” suddenly appeared in front of my eyes, and I was awakened unexpectedly.

Amapondera amapondense, a type of “ammonite” that is considered a “shellfish” species, is found only in Hokkaido on earth at the latest age confirmed by fossils, about 80.2 million years ago.
It is said that this fossil came to the Science Museum here in Tokyo on a business trip from the Hobetsu Museum in Mukawa-cho, Hokkaido, and that information on this species is not easy to find even when searching on the Web.
Ammonites, on the other hand, are a taxon of cephalopods that flourished and were widely distributed in the oceans from the late Silurian of the Paleozoic Era to the end of the Cretaceous of the Mesozoic Era, a period of about 350 million years. Many species are characterized by their flattened shells, which are shaped like a spiral shell. The species is strongly related to shellfish.
I have been deeply indebted to Hokkaido’s seafood, and am fascinated by the taste of hokki-gai clams, such as the one in the second photo, and eat them as sashimi almost on a daily basis. I feel as if these distant ancestors suddenly descended upon me at an unexpected moment. Humans have sinfully survived by eating other species. To eat is to kill a living thing, but at the same time, I feel that it is a symbiosis of life. Reincarnation. The reincarnation of life.

Posted on 3月 9th, 2023 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

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