ポンペイ遺跡でももっとも保存状態が良かったとされる家。
2200年前に建てられた家だけれど、1960年前のAD62年には地震被害があって
その時点でリフォームされ通りに面した側が店舗になったという。
裏手側は「洗濯屋」になってその時点で２階建てに改造されたという。
そういった事実痕跡までが発掘可能だったということにも
驚かされるけれど、こういった復元の様子などを見ると
古代に於いてこの地中海地域はヨーロッパ文明のコアであり、
そこでかれらの「暮らし方」はその基底のカタチができていたと考えられる。
人口１万人という集住都市での普遍的な暮らし方・ライフスタイル。
「洗濯屋」という具体的な職業名からはいろいろな社会状況が類推される。
近郊農村地域から出稼ぎ的な次男三男層がポンペイに来て職に就いていて
かれらの日常生活上欠かせないサービス業として成立したか。
また、店舗になったというのは「不動産市場」というものの登場を暗示する。
集住と人間交通という商業活動の基盤が明瞭に存在したのだろう。
農業という基本的生産手段が確立していくと同時に
人類社会では余剰人口が生み出され、より生存しやすい都市集住が始まった。

このモザイクは玄関の床面に刻印されたもので「猛犬注意」と書かれている。
よくみると鎖で繋がれている様子も描かれている。
イヌを泥棒などからの防衛手段として使役する習慣がわかる。
集住都市生活では「治安維持」という必要性は了解可能。
この家からはたくさんのモザイクが発見されているけれど
それらの多くは古代神話に取材したテーマが描かれているとされる。
ファウヌスの家でも「アレクサンドル大王の征戦」モザイクがあったけれど、
自分たち社会の「正統性」についてのアイデンティティ・証明と受け取れる。
あるいは「歴史」という概念がかなり具体的に追究されたのかも知れない。
そういう意味では社会のなかでの「有力者」というのは、
なぜ自らがその立場、位置にあるかについて他者に証すものを求めた。
モザイクという表現手段はもっとも初源的インパクトを与える「画像」で
そういう視覚的伝達として機能させたのではないか。
そのように考えると一種のテレビのような「メディア」と捉えられる。

そういうメディアが壁は言うに及ばず、床面にも描かれたのは、
やはりモザイクという独特の表現手法にその根拠があったように思える。
たくさんの色合いの自然石ピースをモルタル素材で「固めて」
展着させて行くには壁面では相当に困難が伴い、
より安定的な展示形式として床面展示が選択された可能性が高い。
また描かれるテーマがより複雑になっていって
専用の「製作工房」で仕上げられ、大型のものになると
壁面では展着が難しくなっていった経緯があるように思える。
ヨーロッパ文明と暮らし方の初源が垣間見えて興味深い。

English version⬇

The first source of European urban agglomeration Pompeii, House of the Tragic Poet-2
Traces of commercial conversion renovation in urban agglomeration and “real estate value”. Mosaic painting as a communication image media. …

The house is said to be the best preserved of the Pompeii ruins.
Although the house was built 2,200 years ago, it was damaged by an earthquake in AD 62, 1960.
At that time, the side facing the street was remodeled and turned into a store.
The back side of the house was converted to a laundry and then to a two-story building.
It is amazing that such traces of fact could even be excavated.
I am surprised that such traces were excavated, but when I look at the restoration of the building, I am amazed at how it was restored.
The Mediterranean region was the core of European civilization in ancient times, and their “way of life” there was the same as that of the rest of Europe.
The way of life in the Mediterranean region is considered to be the core of European civilization in ancient times, and their “way of life” is thought to have taken its basic form there.
A universal way of life and lifestyle in a city with a population of 10,000.
The specific occupational name “laundress” suggests a variety of social conditions.
The second and third sons of the population who migrated from nearby rural areas came to Pohnpei to work, and they were employed as laundresses.
Was it established as a service industry indispensable to their daily lives?
The fact that it became a store also implies the emergence of a “real estate market.
The basis for commercial activities, such as housing and human transportation, must have clearly existed.
At the same time that the basic means of production, agriculture, was being established
At the same time that the basic means of production, agriculture, was established, a surplus population was created in human society, and urban settlements began to be established to make it easier to survive.

This mosaic is engraved on the floor of an entrance hallway and reads “Beware of Raging Dogs.
If you look closely, you can see a dog on a leash.
This shows the custom of using dogs as a means of defense against thieves and other threats.
The need to “maintain security” is understandable in the urban lifestyle.
Many mosaics have been found in this house.
Many of them are said to depict themes based on ancient mythology.
In the House of the Fauns, there is a mosaic of the “Conquest of Alexander the Great.
It can be taken as an identity proof about the “legitimacy” of their society.
Or perhaps the concept of “history” was pursued in a very concrete way.
In this sense, the “influential people” in a society are not necessarily the same as those who are in power.
In this sense, “influential people” in society sought proof from others as to why they were in the position they were in.
The mosaic is a means of expression, an “image” that has the most primordial impact.
It may have functioned as such visual communication.
In this way, it can be seen as a kind of “media” like television.

The fact that such media were drawn not only on the walls but also on the floor
The reason why such media were painted not only on the walls but also on the floor seems to have its basis in the unique expression technique of mosaic.
The use of mortar material to “harden” and adhere the natural stone pieces of various shades of color to the surface of the wall is a unique method of expression.
The wall surface was quite difficult to “harden” and adhere to, and the floor was chosen as a more stable exhibition format.
It is highly possible that the floor was chosen as a more stable exhibition format.
The themes of the paintings became more and more complex.
and the more complex the subject matter, the more difficult it would have been to mount on the wall.
The larger the paintings became, the more difficult it became to display them on the wall.
It is an interesting glimpse into the origins of European civilization and way of life.

Posted on 5月 30th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

もう３年もの間、社会全体の異常な活動収縮が続いています。
移動抑制、行動抑制というこれまで人類が経験したことのない状況。
感染症なので「根絶」ということはあり得ないと思うのですが、
これまでのペストなどの感染症の世界的まん延と大きく相違しているのが
社会の側の受け止め方なのだと思います。
情報が一瞬にして世界で共有されるようになってから
そのことの「弱点」が露わになる初めての契機になっている。
人類全体としては世界的な情報共有が進んでいくことは
すばらしい発展だと信じて疑わなかったものが、
このような感染症の攻撃で実は「ウラ」の側面があることが見えてきた。

現在、公的なアナウンスとして
「マスクを外してもいいですよ」みたいな発信が行われてきている。
そのように情報発信していないけれど、実際には欧米と歩調を合わせて
コロナとの共存に転換することが目指されているのでしょう。
実際に行動抑制をこれ以上続けたら経済は破綻する。
中国共産党独裁国家ではいまだに「ゼロコロナ」政策が実行され
2632万人口都市・上海の都市封鎖という地獄のような光景が展開している。
知人で中国・上海で会社経営していま現在も現地にいる方がいますが、
断片的な情報から、都市封鎖の恐怖の実態が伝わってくる。
結果として税収落ち込みが半減レベルまで達したという中国経済情報。
そしてマクロな経済指標でもたとえば中国傾斜が顕著だった
Appleの四半期損失が１兆円レベルだという発表もあった。
非人間的な「都市封鎖」というゼロコロナ政策の怖ろしさ。
中国共産党としては最初期の武漢封鎖が過剰に成功体験化したのでしょう。
さてこういった状況の中で世界経済はどうなっていくか、
まことに胸突き八丁という局面だと思われるのです。
欧米を中心とする世界経済の中枢は明確に「ウィズコロナ」に転換した。
そういうなかで日本では「マスク」に焦点が当たっているともいえる。

一番上の写真はゴールデンウィーク中の道南・松前サクラ旅の様子ですが、
何年か後になったらお笑いポーズということになるのかどうか、
まだわからない。
高度情報化社会の日本にあっては極端に「同調」圧力が強い。
一時期の「自粛警察」ではないけれど
「あの人、マスクしていない・・・」という他者非難が社会の底流にある。
とくにマスメディアにどっぷりと情報管理されている
情報弱者層にそういう傾向が顕著なのではないかと思える。
「あんまりテレビ、見ない方がいいよ」と
同年配以上のみなさんにオススメすることが増えている。
真実を冷静に伝える本質的役割を遠く離れ、反権力という特定の方向に
民を引きずり回そうとする日本マスメディア接触による副反応。
日本社会はマスク強制同調圧力社会から離脱できるのだろうか？
おっと、そろそろ朝の散歩時間。
人目もあるしマスクして行かなくちゃ（泣・笑）・・・。

English version⬇

[A serious aftereffect of Japanese society’s “can’t take off the mask” syndrome.
Shanghai’s urban blockade hell. The obsession with zero corona is abnormal. The side reaction of the society by the mass media, whose criticisms are the business of the government. …

For three years now, there has been an extraordinary contraction of activity throughout society.
This is a situation that mankind has never experienced before: suppression of movement and suppression of behavior.
I don’t think there is any such thing as “eradication” because it is an infectious disease.
However, what is very different from the global spread of infectious diseases such as the plague is the way society perceives the disease.
I believe that society’s perception of the situation differs greatly from that of the global outbreak of infectious diseases such as the plague.
Since information has become instantly shared around the world, the “weak point” of this situation has been exposure.
This is the first time that the “weakness” of this has been exposed.
I believe that humanity as a whole is making progress in the global sharing of information.
what we never doubted to be a wonderful development.
However, the “ura” side of the situation is now coming to light with these attacks.

Currently, the official announcement is.
“You can take off your mask.
Although information is not being sent out that way, in reality, we are in step with Europe and the United States.
The goal is probably to switch to coexistence with coronas.
If they actually continue to suppress behavior any longer, their economy will collapse.
The “zero corona” policy is still being implemented in the Chinese Communist dictatorship and
The hellish scene of an urban blockade of Shanghai, a city of 26.32 million people, is still unfolding.
I have an acquaintance who runs a company in Shanghai, China, and is still there.
From the fragmentary information I have been able to obtain, the reality of the horror of the city blockade is conveyed.
The Chinese economic information shows that the resulting drop in tax revenues has reached the level of a half-century decline.
And even in macroeconomic indicators, for example, the China tilt was remarkable
For example, Apple’s quarterly loss was announced to be at the level of 1 trillion yen.
The horror of the zero-corona policy of inhuman “urban blockades.
For the CCP, the initial blockade of Wuhan must have been an overly successful experience.
What will happen to the world economy under these circumstances?
I believe that the world economy is in a situation where it is really at the edge of its seat.
The core of the world economy, centering on Europe and the United States, has clearly shifted to “with Corona.
In Japan, the focus is on “masks.

The photo is from a cherry blossom trip to Matsumae in southern Hokkaido during the Golden Week holidays.
Whether or not it will be called a comedy pose years from now
I don’t know yet.
In the highly information-oriented society of Japan, the pressure to be “in sync” is extremely strong.
It is not the “self-restraint police” of a time.
In Japan, the society is not the “self-restraint police” of the past, but rather, there is an underlying tendency to criticize others, saying, “That person is not wearing a mask….
This tendency is especially noticeable among those who are under the control of the mass media.
This tendency seems to be especially noticeable among the information-weak.
I recommend that people of the same age and older not watch TV too much.
I have been increasingly recommending to people of the same age and older that they should not watch TV too much.
The tendency to drag the public in a particular direction of anti-authority, far away from the essential role of calmly conveying the truth, is becoming more and more common among the older generation.
The Japanese mass media, far from its essential role of conveying the truth calmly, tends to drag the people in a particular direction of anti-authority, a side reaction.
Will Japanese society ever be able to break free from the mask of forced peer pressure?
Oops, it’s almost time for my morning walk.
I have to wear a mask to be seen by others (cries)….

Posted on 5月 28th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 状況・政治への発言 | No Comments »

総面積900坪の大豪邸だけれど2200年前の住宅建築。
しかしハンパないレベルの格差社会・最上流層の邸宅ではある。
そういう社会の人々の「生き様・価値感」というのは
残された建築によってはるかに想像される。
現代とはまったく異質な価値尺度がそこから浮かび上がってくる。

現代日本人からすると、床面に過剰な装飾性を持たせるという心理は
なかなか共有しにくいものがある。
日本人は高温多湿な気候環境のなかで床面は地面から「上げて」
床下空間に「通気」させて湿気を除去する志向性が強い。
だから履物を脱いで「家に上がる」習慣が根付き、
その床面は足の裏という素肌で感受する対象であって
その最上級床面として畳という独自の住文化を育んできた。
現代ではそこから板敷きとの混淆という床面文化が主流になっている。
板敷きは階級格差なく日本人の床面のベースになっている。
いずれにせよ、土間からの結界性が住まいの床面への感覚。
この点でほかの東洋文化圏とも違いがあるし、
家の中でも靴を脱ぐ習慣のない西洋的文化圏とは隔絶している。
ポンペイ遺跡でのこの高級住宅では内部空間とおぼしき室内でも
床面は石の平面が基本になっているように思われる。
当然靴は履いたままで日常生活を送っていたのだろう。
そういう違いを感じる上に、さらにその床面をキャンパスと見立て
芸術的なモザイク画面としてフェッチしていた様子がわかるのだ。
上の写真は「アレクサンドロス大王のモザイク」。
この家の最上位空間と見なせる区画に典雅な床モザイク画としてあった。
・・・絵画と見まごう細かなモザイク表現は「オプス・ウェルミクラトゥム」という
緻密で繊細な技法で作られている。モルタルに下書きしそれに従って
一片数ミリの微細な自然素材の切石（テッセラ）をひとつひとつ埋め込んでいる。
この作品では1センチ四方で15-30のテッセラ使用で画面全体では数百万個。
自然素材の石材の色調を選別して絵画の「絵の具」として活用している。
ここまで微細な表現物なので専用の工房で製作されて現場に嵌め込まれた。
現代人としてはこういう美術作品に対してそれを床面に残置することに耐えられず
ナポリ国立考古学博物館に収蔵されたという。
当然、今回の東京国立博物館「ポンペイ展」でも
「壁面」に展示されていた。・・・
この「絵画」の画材テーマについてもさまざまに研究が進んでいるけれど、
2200年前の古代の英雄叙事詩がテーマとされている。
で、そういうものを「床面の装飾物」としていたのだ。



まぁ、その他の動物などのテーマ装飾であればまだしも
「あ、踏んじゃった、ごめんね」とでも笑えるような雰囲気だけれど
こうしたモザイク画面構成には芸術と職人仕事の歴史的重視が感じられる。
イタリアのタイル文化というものの歴史的奥行きを深く実感させられる。
こういう生活文化性はカーペット文化とも相通じるものだろうか。
また、このような作品を発注し多数の先端的職人技を動員させるだけの
社会階級格差の巨大さも深く刻印されている。
どうも吉野ヶ里の城内での竪穴住居に住んでいたとされる日本古代支配層とは
社会構造基盤として、かなり巨大な異質さを感じさせられる。
日本社会の方がはるかに「平等」だと感じるのはわたしだけだろうか。

English version⬇

Floor mosaic decoration “Art” House of Pompei Faunus-3
The sense to the floor surface which is different from the culture of wooden board and tatami matting. The cultural consciousness of life that composes the floor surface with the highest quality art works. The astonishing huge disparity society. …

It is a large mansion with a total area of 900 tsubo, but it was built 2,200 years ago.
However, it is a mansion of the highest class in a society with a huge level of inequality.
The “way of life and sense of value” of people in such a society
The remaining architecture gives us a much clearer picture of the way of life and sense of value of the people of such a society.
A scale of value completely different from that of today emerges from these residences.

From a modern Japanese point of view, it is difficult to share the psychology of having excessive decorativeness on the floor surface.
It is difficult for modern Japanese to share this sentiment.
In the hot and humid climate of Japan, floor surfaces are “raised” from the ground and
They have a strong tendency to “raise” the floor surface from the ground and allow it to “ventilate” into the space under the floor to remove humidity.
This is why the custom of taking off one’s footwear and “coming up” to the house has taken root.
The floor surface is an object that is perceived by the soles of the feet, the bare skin.
Tatami mats, as the highest quality floor surface, have nurtured a unique living culture.
Today, tatami is mixed with wooden flooring and has become the mainstream flooring culture.
Tatami is the base of Japanese flooring, regardless of class.
In any case, the sense of boundedness from the earthen floor to the floor of the house is the sense of the floor surface of the house.
In this respect, there is a difference from other Eastern cultures.
This is what differentiates it from other Eastern cultures and separates it from Western cultures, where it is not customary to take off one’s shoes even inside the house.
In this luxury house at the Pompeii site, even in what appears to be an interior space, the floor is basically a flat stone surface.
The floor surface seems to be based on a flat stone surface.
Naturally, people must have lived their daily lives with their shoes on.
In addition to such a difference, the floor surface is also considered as a campus.
The above photo is a mosaic of “Alexandros the Great” and “Alexandros the Great”.
The photo above is the “Alexander the Great Mosaic.
It was an elegant floor mosaic in what could be considered the highest space of the house.
The detailed mosaic expression, which could be mistaken for a painting, was made by a technique called “opus wellmikratum.
The mosaic was made by a precise and delicate technique called opus wellmikratum. A rough sketch is made on the mortar, and then the mosaic is painted according to the sketch.
The mosaic is made by drawing a rough sketch in mortar and then embedding fine cut stones (tesserae) of natural materials, each a few millimeters in size, one by one.
In this work, 15 to 30 tesserae are used per square centimeter, and the total number of tesserae in the entire picture is several million.
The color tones of the natural stone material are selected and used as “paint” for the painting.
Because of the fineness of the expression, they were manufactured in a special workshop and fitted into the site.
The modern man cannot bear to leave such a work of art on the floor, so it was placed in the National Archaeological Museum of Naples.
It is said that it was housed in the National Archaeological Museum in Naples.
Naturally, it was displayed on the “wall” at the Tokyo National Museum’s “Pompeii Exhibition” this time.
It was displayed on the wall of the Tokyo National Museum’s Pompeii Exhibition. The theme of this “painting” is also the theme of the material used for the painting.
Although various studies have been conducted on the theme of the material of this “painting”, it is not clear whether it is an ancient heroic epic from 2,200 years ago.
The theme of these “paintings” has been studied in various ways, but the theme is said to be an ancient heroic epic of 2,200 years ago.
And they were used as “floor decorations”.

Well, if it’s a themed decoration of other animals, etc., it’s still a good idea.
It is a funny atmosphere, though, as if to say, “Oh, I stepped on it, sorry.
But the mosaic compositions in this way show the historical importance of art and craftsmanship.
It makes us realize the historical depth of the Italian tile culture.
I wonder if this kind of lifestyle culture is also compatible with carpet culture.
The huge disparity in social class that would allow for the mobilization of a large number of cutting-edge craftsmen to order such works is also deeply engraved in this exhibition.
The huge social class disparity that would make it possible to order such works and mobilize a large number of advanced craftsmen is also deeply engraved in this work.
The ancient ruling class of Japan, who are believed to have lived in pit dwellings in the castle in Yoshinogari, is a rather huge social structure.
The social structure of the Japanese society is much more “equal” than that of the Japanese people.
Am I the only one who feels that Japanese society is much more “equal”?

Posted on 5月 26th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

わたしのブログは住宅探訪を中心にした暮らし文化の探究がテーマ。
仕事では現代の高断熱高気密住宅にスポットを当てた探訪が中心。
個人の興味を中心にしたブログでは過去の人々の住み方を
掘り起こすことを中心にしています。
言ってみれば人類史と住宅空間、というようなくくり方。
血の脈絡を考えると日本民族の基底的な暮らし方と
現代型の日本の北方圏住宅との対比で考証するという立場。
その流れから古代の遺跡・住居もいろいろ探訪します。
で、ときどきスピンアウトで今回は地中海世界のポンペイの住宅探訪。

ことしの春３月に東京国立博物館展示での「ポンペイ展」。
ポンペイというのはご存知の通り、地中海世界で西暦79年10月24日に近隣の
ヴェスヴィオ火山の噴火で埋没したヘレニズム世界の古代都市。
現代のナポリから直線距離で20数キロ南東に位置している。
最近、地中海の地質的な変移の様子を伝えるNHK番組があったけれど、
数百万年の単位ではジブラルタル海峡は活発な火山活動でときどき閉鎖され
地中海全体から海水が蒸発して海底岩塩層を形成しているという内容。
日本は火山列島として地球上でも特異な地域だと思うけれど
地中海世界というのはそれ以上に活発な地球的火山活動エリア。
このポンペイ周辺の火山爆発も約2000年ほどとほんのちょっと前だけれど、
そういう歴史的経緯なので街全体がスッポリとタイムカプセル保存された。
それを発掘することで時間旅行するかのような体験が得られる。
で、古代世界の「住宅」が蘇ってきたのですね。

わたしのツボ領域ではあるけれど短時間の見学接触だけでは足りず、
展示会図録や写真などから住宅探訪として再構成してみたい。
この「ファウヌス邸」はポンペイ住宅展示の最初の紹介事例。
当時のポンペイの人口は約10,000人程度でこの家は代表的高級住宅。
本日は間取り図と現地の様子を伝える展示画像からの抜粋で構成しました。
1,2,3と間取り図面に番号を振った箇所が写真の位置になります。
この邸宅は公共的に区切られた街区3,000㎡（約900坪）の１区画。
１は玄関空間から入って正面の「公的空間」のアトリウム越しに
主人の居室空間である「タブリヌム」を望む様子。
２は玄関廊下（ファウケス）であり壁面には壁画装飾が残っている。
３は古代の英雄アレクサンドロス大王のモザイク画がある最高空間「エクセドラ」。
・・・というような具合でなんとか解読していますが、
展示図録、展示物、間取り図でも細部詳細説明が得られないもどかしさ。
しかしそれがかえって強く想像力を刺激してくれることになります。
この全体が900坪ということで、間取り図上の正方形ひとつが個室。
方形区画の「アトリウム」が数カ所造作されて
それに対して回廊的な住空間が配置されているのですね。
明日以降も古代人の住宅解読を続けたいと思います。う〜む、オモシロい（笑）。

English version⬇

Villa Faunus, an ancient house in Pompeii dating back 2,200 years.
Buried by a volcanic eruption, the 2,200-year-old house and its “way of living” are preserved in a time capsule. What is the Mediterranean world and the sense of value of our ancestors? …

The theme of my blog is an exploration of lifestyle culture with a focus on residential exploration.
In my work, I focus on exploration of modern, highly insulated and airtight homes.
My blog, which focuses on my personal interests, is centered on digging up the ways people lived in the past.
I focus on digging up how people lived in the past.
In other words, human history and housing space.
In the context of blood, we can see a connection between the basal way of living of the Japanese people and the modern Japanese northern housing.
The contrast between the basic way of living of the Japanese people and the modern Japanese northern housing is the focus of my research.
In this vein, I also explore various ancient ruins and dwellings.
And, as a spin-out from time to time, this time I am going to visit the houses of Pompeii in the Mediterranean world.

The “Pompeii Exhibition” was held at the Tokyo National Museum in March of this year.
Pompeii, as you know, is a city in the Mediterranean world that was destroyed by the eruption of the nearby Vesuvius on October 24, 79 AD.
Pompeii, as you know, is an ancient city in the Hellenistic world that was buried by the eruption of the nearby volcano Vesuvius on October 24, 79 AD.
It is located more than 20 kilometers southeast of modern-day Naples in a straight line.
Although there was a recent NHK program showing the geological transformation of the Mediterranean Sea
In millions of years, the Strait of Gibraltar was sometimes closed due to active volcanic activity, and the sea water evaporated from the entire Mediterranean Sea.
The program showed that over millions of years, the Strait of Gibraltar has sometimes been closed due to active volcanism, and that seawater has evaporated from the entire Mediterranean Sea to form submarine salt deposits.
Japan is a unique region on earth as a volcanic archipelago, but the Mediterranean world is even more active than that.
The Mediterranean world is an area of global volcanic activity that is even more active than Japan.
The volcanic explosion around Pompeii is only about 2,000 years old.
Because of this historical background, the entire city was completely preserved as a time capsule.
Excavating it is like traveling back in time.
So, the “houses” of the ancient world have come back to life.

I was not satisfied with the short time I had to visit the museum, so I decided to go back to my home.
I would like to reconstruct it as an exploration of housing based on the exhibition catalog and photographs.
This “Villa Faunus” is the first example of the Pompeian housing exhibition.
The population of Pompeii at that time was about 10,000, and this house is a typical luxury residence.
Today’s exhibition consists of floor plans and excerpts from the exhibition images showing the local conditions.
The numbered sections on the floor plan (1, 2, and 3) are the locations shown in the photos.
The residence is one of the 3,000 square meters (approximately 900 tsubo) of publicly zoned city blocks.
1 is over the atrium of the “public space” in front of the entrance space.
1 is a view of the master’s living space, “Tabrynum,” through the atrium of the “public space” in front of the entrance space.
2 is the entrance corridor (faukes), the walls of which still have mural decoration.
3 is the highest space “Exedra” with a mosaic of the ancient hero Alexander the Great.
I’ve managed to decipher the rest of it.
It is frustrating that even the exhibition catalog, exhibits, and floor plans do not provide detailed explanations.
However, this in turn strongly stimulates the imagination.
The entire building is 900 square meters, and each square on the floor plan is a private room.
The “atrium” of the square section is built in several places, and the living space is divided into corridor-like spaces.
The living spaces are arranged in a corridor-like manner.
I would like to continue deciphering the housing of the ancients from tomorrow onward. Hmmm, interesting (laugh).

Posted on 5月 24th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅取材＆ウラ話, 歴史探訪 | No Comments »

サクラの季節が終わったあと、ちょっとするとライラックが咲き誇る札幌。
ちょうど今週末からは「ライラック祭り」の季節。
ことしはついに３年ぶりのリアル開催という喜ばしい知らせ。
フランス名で「リラ」というこの花は独特の芳香で知られ、
初夏の北海道が「天国に一番近い」と思われる重要な「香り」要素。
さわやかな青空、ここちよい空気感にさらに彩りを与えてくれる。
日本に初めてライラックが持ち込まれたのは1879年とされる。
函館市のイギリス領事であったリチャード・ユースデンが
「病気の人が病院を必要なように健康人には休憩の場が必要だ」と訴え、
函館公園が完成。その時ユースデン夫人はイギリスから西洋クルミとライラックの苗を
取り寄せ植栽したのが始まりとされる。
一方札幌市ではスミス女学校（現・北星学園女子中学高等学校）の創設者である、
サラ・Ｃ・スミスが1890年にアメリカに一時帰国した際に、
自分の庭のライラックの苗を札幌に持ち込んだのが始まりとのこと。
日本の文化の中で北海道、札幌が独特のロマンチズムを感じさせるのは、
このような坂の上の雲の欧米文化を日本が受け入れて
しかもそのことに大きな民族レベルでの好感を寄せていたことが大きい。
札幌の街がこのような文化性の象徴として赤煉瓦庁舎や時計台建築とともに、
ライラックを街のシンボルとしてきたことは象徴的だと思える。
この開花時期はほかの花々もほぼ一斉に開花時期を迎えて
さまざまな芳香で街中が魅惑的な空間と化す。まさに天国・・・。

一方でこれも札幌の街路樹としてライラックに似た白い花を咲かせる
「ハシドイ」は日本の高地性の在来樹木。
初夏になるとライラックのように小さな花が集まった花房をつけ、とてもいい香り。
ライラックに似た品のいい芳香で夕方になると強くなる。樹高は10メートルほど。
英名の通称は”Japanese Lilac Tree” だそうで日本や朝鮮半島に自生している。
モクセイ科のライラックの仲間で、アメリカには北大で教鞭を執ったクラーク博士が
ハシドイの種子を日本から持ち帰っているという。
こういった経緯からはやはり日本社会と欧米社会の文化のブレンドを
つよく意識させてくれる。
本ブログとしてはほかの花々を代表させてツツジを添えました（笑）。
ピンクと白の木の花への対照としてはやはり低灌木のツツジがいいかと。

わたしは明治以降、欧米との文化ブレンドに取り組んだ北海道の
短い歴史だけれど、日本にとって重要な文化風土に強く愛着を持っています。
そして欧米的価値感とはやはりその基本は民主主義なのだろうと思います。
３年ぶりライラック祭り開催は現代世界へのメッセージになるのかも。

English version⬇

Lilacs & Hashidoi Like a gathering of many beautiful women in Sapporo
Sapporo, Hokkaido, a city that practiced cultural fusion with Europe and America. The colors of the season that is “closest to heaven”. The cultural power to exterminate foolish dictatorial tyranny. …

After the cherry blossom season is over, lilacs will be in full bloom in Sapporo in a short while.
This weekend is the season of the “Lilac Festival.
This year, the festival will finally be held for the first time in three years.
This flower, called “lilac” in France, is known for its unique fragrance.
It is an important “fragrance” element that makes Hokkaido in early summer the “closest to heaven.
It adds even more color to the crisp blue sky and pleasant air.
Lilacs were first brought to Japan in 1879.
Richard Eusden, the British consul in Hakodate, was the first to introduce lilacs to Japan.
Richard Eusden, the British consul in Hakodate, argued that “healthy people need a place to rest, just as sick people need hospitals,” and Hakodate Park was completed.
Hakodate Park was completed. At that time, Mrs. Yousden brought walnut and lilac seedlings from England and planted them.
The park is said to have begun when Mrs. Eusden imported walnut and lilac seedlings from England and planted them in the park.
Meanwhile, in Sapporo, Sarah C. Smith, founder of the Smith School for Girls (now Hokusei Gakuen Girls’ Junior and Senior High School), was born in 1890.
Sarah C. Smith, the founder of Smith School for Girls (now Hokusei Gakuen Girls’ Junior and Senior High School)
She brought lilac seedlings from her garden to Sapporo.
In Japanese culture, Hokkaido and Sapporo have a distinct romanticism.
Japan’s acceptance of this kind of cloud-on-the-slope Western culture.
The city of Sapporo is a place where this culture is still alive and well.
The city of Sapporo has been a symbol of this culture, with the red-brick government office building and clock tower, and the lilac as the city symbol.
The fact that the city of Sapporo has made the lilac the symbol of the city, along with the red-brick government office building and the clock tower, is symbolic of this cultural identity.
During this blooming season, other flowers are also in bloom at the same time, and the city is filled with various fragrances.
The city is transformed into an enchanting space with a variety of fragrances. It is truly heaven.

On the other hand, the “hashidoi,” which blooms white flowers similar to lilacs, is also a street tree in Sapporo.
Hashidoi is a native tree of Japan’s highlands.
In early summer, it produces clusters of small flowers like lilacs and has a very nice fragrance.
The fragrance is elegant, similar to that of lilacs, and becomes stronger in the evening. The tree is about 10 meters tall.
Its common name in English is “Japanese Lilac Tree,” and it grows wild in Japan and the Korean Peninsula.
It is a member of the lilac family of the Moraceae, and Dr. Clark, who taught at Hokkaido University in the U.S., has been a professor of Japanese Lilac at the University of California, Berkeley.
Dr. Clark, who taught at Hokkaido University, is said to have brought seeds of the hashidoi back from Japan.
This is a good example of the blending of Japanese and Western cultures.
This is a good example of the blending of the cultures of Japanese and Western societies.
For this blog, I have included azaleas to represent other flowers (smile).
I think azaleas, which are low shrubs, are a good contrast to the pink and white flowers of trees.

I am interested in the history of Hokkaido’s efforts since the Meiji era to blend its culture with that of Europe and America.
I have a strong attachment to the cultural climate of Hokkaido, which has a short history but is important to Japan.
And I believe that the basis of the Western sense of values is democracy.
The holding of the Lilac Festival for the first time in three years may be a message to the modern world.

Posted on 5月 22nd, 2022 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 »