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 »

札幌の市街住宅地域では、毎年冬の終わり時期に集中除排雪が行われます。大量の除雪機車両部隊が一気投入される。２月末頃に入ります、という市からの広報があったけれどその後「順延します」という案内があって「時期については町内会広報にてお知らせします」ということだったけれど、さすがにことしはわが家周辺の「西区」地域は有数の多雪地域だったので、日程も難航していたようです。
それが昨日、お知らせはなくいきなり朝から慌ただしい動きがあって、10時前ころから作業が開始され、昼３時頃まで徹底的・集中的な除排雪作業。
わが家周辺は隣近所の助け合い除雪活動が機能していてそれほど交通への支障は発生しないのですが、なんといっても今年は昨年に引き続きの多雪ぶり。見上げるばかりに積み上がった雪山は２ｍを越えるレベルに達し、また壁厚も太っていた。それが徐々に道幅を狭め角地のわが家周辺では助け合い除雪でなんとか交互通行できていたけれど直線道路部分ではすべて１車線。事務所兼用なので、わが家３台分以外に周辺に駐車場を６台分契約していますがその１台分は出し入れで轍（わだち）による段差ができて難渋しておりました。
それらの困難な状況が一気にすべて解決。



その上、わが家の目前の場所では歩道に掛かる部分も丁寧に「掻きだし除雪」まで行っていただいた。市民として除雪に協力したいと、わが家前にどうしてもできてしまう除雪の残滓部分、固く踏み固められた雪氷を処理しやすいよう道路側に押し出そうと試みていたら、除雪車両の運転操作員の方から直接「それもこちらで全部やりますから」と申し出いただいた。まぁたぶん除雪作業のお邪魔にもなるのでしょうね（笑）。
すぐ上の写真は網戸越しだったので、一部不鮮明かも知れませんが、重機で丁寧に歩道部分まで除雪してくれている様子。仕事とは言え、こうした作業員のみなさんの熟練ぶりには驚いております。

ということで、上の方の写真のように周辺はすっかり２車線道路が復元しております。わが家は中学校の校庭に面しているのですが、そちら側の雪壁は本当に薄くに変貌。方角的に日の当たる道路側ではすでにアスファルト路面が顔を出している。まことにありがたい春一番でありました。

English version⬇

The First Day of Spring in Sapporo! The city’s intensive snow removal was dispatched to the area around my house.
Sapporo is a rare cosmopolitan city with an annual snowfall of 6 meters. Every year this battle is won in the end. Every year this battle is finally won. Is this the origin of northern “optimism”? The snow

In the residential areas of Sapporo, intensive snow removal takes place at the end of winter every year, and a large number of snowplows are deployed at once. The city announced that the snow removal would start around the end of February, but then there was a notice saying that it would be postponed and the timing would be announced in the neighborhood association’s newsletter. However, as expected, the Nishi Ward area around our house was one of the areas with the heaviest snowfall, so it seems that the schedule had been difficult to schedule the event.
Yesterday, without any notice, there was suddenly a flurry of activity from the morning, and work began around 10:00 a.m., with thorough and intensive snow removal work going on until around 3:00 p.m. The snow was removed from around our house with the help of our neighbors.
The snow around our house does not interfere with traffic so much because of the mutual snow removal activities of neighbors, but this year’s snowfall was as heavy as last year’s. The snow piled up so high that we could hardly look up at it. The snow piled up to the level of more than 2 meters and the thickness of the wall was also fat. The snow gradually narrowed the road, and although we managed to get alternating traffic around our house on the corner by mutual snow removal, there was only one lane on the straight road. We have a contract for a parking lot for six cars in the vicinity of our office, in addition to the three cars at our house, and we were having difficulty getting one of the cars in and out because of the ruts in the parking lot.
All these difficulties were resolved at once.

In addition, they even carefully “scraped out” the snow from the area right in front of our house, where it hung over the sidewalk. As a citizen, I wanted to cooperate in the snow removal, so I tried to push the leftover snow and ice in front of our house to the side of the road for easier disposal, but the driver of the snowplow offered to take care of it all for us. Well, I guess that probably interferes with the snow removal work, too (laughs).
The photo above was taken through a screen door, so some of it may not be clear, but the heavy equipment was carefully removing snow from the sidewalk. I was surprised at how skilled these workers were, even though it was their job.

As you can see in the photo above, the two-lane road has been completely restored. Our house faces the schoolyard of the junior high school, and the snow wall on that side has been transformed into a really thin wall. On the side of the road where the sun shines in that direction, the asphalt surface has already appeared. It was the first day of spring, for which we are very grateful.

Posted on 3月 8th, 2023 by 三木 奎吾
Filed under: 「都市の快適」研究 | No Comments »

きのうは家族で手巻き寿司パーティ。前日の土曜日に仕入れていた札幌中央市場で購入の新鮮魚貝を朝からさばきはじめておりました。
写真手前側から、エビ、イカ、ツブ、ホタテ、黒カレイ。そして奥にはマグロ、タコ、ホッキ、サーモン、筋子、サバなどであります。ほかに梅干し・納豆など助演者多数。
黒カレイは前日に三枚におろして冷凍保存。そして自然解凍させる。うま味はどうもそうした方がいいように感じています。エビさんは市場で殻から剥がしているヤツを購入していた。ついそのまんま出したけれど、やはりひと手間「開いた」方が良かったようで家人が食前に気付いてくれていました、感謝。
イカは最近北海道では不漁で、そのなかで市場になんとかあったヤツ。大ぶりで１パイ700円ほどという驚きの高価。謹んで二重に皮むきして、裏包丁を入れましたが、こうやって細長く切ると、頬張ったときに「つるん」と口の中に飛び込んでしまっていた（笑）。まぁそれはそれで興趣があって楽しかった。それでも噛みやすい、と言ってくれていたので、丹念な裏包丁は効果があったよう。
ツブは東積丹漁協から仕入れてきたもので、自然解凍後、あれこれと包丁を使ってコリコリの食感を残しながらさばいたもの。ホタテも同漁協で仕入れてきた。タコは市場で購入してきたヤツ。足の部分１kgほどのもので吸盤部分の表情がなかなかかわいらしくて「捨てがたい」。
マグロも津軽海峡で獲れたヤツ。大間は青森県だけれど津軽海峡の北、北海道でも水揚げはされる。大間で上がったときの値段と比べたらコスパはよいと思われます。サーモンと紅鮭の筋子は米国産のもの。地元産にこだわりたい人も多いでしょうが、北海道人としてはあんまりこだわらない部分。本州の人はどうも「原理主義」化しやすいと思います。そこそこのところで現実的に対応するのが合理的。シメサバは庶民的スーパーでの売れ筋のヤツ。
そして最後のホッキは地元産のヤツ。１個の値段は225円で購入した。包丁を２枚の貝ガラの合わせ目に入れると「キュッ」と強烈に締め上げてくる。そこは一気に力を入れてさばいていく。貝ガラからすべての肉身をこそぎだしていくのですが、この作業はなかなかの醍醐味。
殺生の作業になるのですが、そうした魚介類の特性を感じながら作業することで一種「対話」していると感じられる。かれらのうまさを引き出すことが、供養でもあるのだと思えますね。

English version⬇

Making sushi ingredients, mindlessly “sabaki” fish and shellfish, killing and offering.
When the knife is inserted into the shell, the hokki “screams”. The knife is used to mercilessly remove the shellfish. Dialogue with creatures in the midst of killing.

Yesterday, we had a hand-rolled sushi party with the family. In the morning, we started to cut up the fresh fish and shellfish we had purchased at the Sapporo Central Market on the previous Saturday.
From the front, shrimp, squid, whelk, scallops, and black flounder. In the back are tuna, octopus, hokki, salmon, muscles, and mackerel. In addition, there are many other supporting actors such as pickled plums and natto (fermented soybeans).
The black flounder is cut into three pieces the day before and frozen. Then let it thaw naturally. I feel that the umami taste is better that way. Shrimps were bought at the market already peeled from their shells. I served them as they were, but my wife noticed that it was better to “open” them before eating them, and I was grateful.
Squid has been scarce in Hokkaido recently, but we managed to find some at the market. It was surprisingly expensive, about 700 yen per pie for a large one. I respectfully double peeled the squid and cut it with a back knife, but when I cut it into long, thin strips like this, it just “popped” into my mouth when I bit into it (laugh). Well, that was entertaining and fun. Still, he said it was easy to chew, so it seems that the careful back-cutting had an effect.
The whelks were from the Higashi Shakotan Fisheries Cooperative Association, and after thawing naturally, I used the knife this way and that to cut the whelks while keeping their crunchy texture. Scallops were also purchased from the same fishery cooperative. The octopus was purchased at the market. The leg part weighs about 1 kg, and the sucker part has a cute expression on it, making it “hard to throw away.
The tuna was caught in the Tsugaru Straits. Although Oma is in Aomori Prefecture, tuna is also caught in Hokkaido, north of the Tsugaru Straits. Compared to the price of tuna caught in Oma, the price is reasonable. Salmon and sockeye salmon muscles are from the United States. Many people may want to stick to local products, but as a Hokkaido native, I am not so picky. I think people in Honshu tend to be “fundamentalist”. It is reasonable to be realistic about what is available there. Shime saba (mackerel) is a popular item at the common supermarket.
The last one, hokki, was a local product, priced at 225 yen per piece. When I put the knife into the joint between the two pieces of shellfish, it tightened up strongly. Then, I cut them with all my strength at once. This process is quite a thrill for me.
Although it is a work of killing, I feel that I am having a kind of “dialogue” with the fish and shellfish as I work with them, feeling their characteristics. I feel that bringing out the best of the fish is also a way of making offerings.

Posted on 3月 6th, 2023 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

淡路夢舞台の夜景の白眉のような存在がガラスの表皮を持つ温室。その前庭的な水庭はその外観を反射させて宝石のようなきらめきを感じさせている。また昨日ご紹介の水底を覆うホタテ貝のささやくようなシルエットに対して、繊細な外観を浮かび上がらせている。内部の植物群が睡眠中のイキモノのような生命感の陰影をほの暗く見せてくれている。寝ているけれどなんとなくいのちの「ゆらぎ」を感じさせてくれる。
周囲は人工的な自然復元を目指した緑地公園だけれど、まるで街中のイルミネーションのような世界が対比的に出現している。そういう環境のなかのコントラストとして有機的存在感。
照明というものは基本的に内部の「用」に準拠した計画になるものだろうけれど、この夜景外観を見ると、むしろこのような視覚臨場体験をメインの建築機能性として計画したのではないだろうかと思わせる。
北海道が官学民を挙げて取り組んできた断熱や気密性という建築の領域はいわば「顕教」の部分であって、安藤建築はそれに対して「密教」的な志向性を持っているのかもしれない。やはり高野山を持つ関西の地域文化性ということなのか、みたいな夜想に思わず没入する瞬間。ホタテ貝殻の諸行無常感・・・。
これは体験からの印象という段階なんだけれど、安藤忠雄さんの建築志向性、そしてそれを深く支持する関西圏の風土性文化の基底にはそういう「雰囲気」の歴史伝統があるように思えるのですね。わたしは密教の真言宗徒なのである意味、カラダで受容する部分をもっている。
ひょっとすると空海の目指した「高野山」世界というのは、日本人に密教的な世界観を形象化した建築群だったのかもしれない。急峻な山道をようやく通り抜けて山上の平坦地形と寺院建築群が出現する高野山は、密教的「建築」体験として日本人に深く刷り込まれているのかも。



今回は温室の眠っている時間しか対面しなかったので内部の様子、とくに45度軸線がずれて交叉している温室内部の様子は体験できなかった。この温室のさらに奥の野外劇場とともに次回に参観してみたい。

English version⬇

Esoteric nightscape, greenhouse interacting with water garden scallops Awaji Yumebutai-7
Tadao Ando’s architecture and Kukai’s Koyasan Buddhist buildings. I feel that their orientations are similar. This is just an impression stage from my experience. …

The greenhouse with a glass surface skin is the white-hot jewel of the nightscape of Awaji Yumebutai. Its front garden-like water garden reflects the appearance of the greenhouse, giving it a sparkling appearance like a jewel. It also reveals a delicate appearance in contrast to the whispering silhouette of the scallop shells that cover the bottom of the water, introduced yesterday. The plants inside the sculpture give us a darker shadow of a sense of life, like a sleeping creature. Although they are sleeping, we can somehow feel the “flickering” of life.
The surrounding area is a green park that aims to artificially restore nature, but it is contrasted by a world that looks like a city illumination. The organic presence of the lighting contrasts with this environment.
Although lighting is basically planned in accordance with the “use” of the interior, this nightscape exterior makes us believe that the main architectural functionality of the building was to provide such a visually realistic experience.
The architectural fields of thermal insulation and airtightness that Hokkaido’s government, academia, and civilian sectors have been working on are, so to speak, the “manifestation” side of architecture, while Ando’s architecture may have an “esoteric” orientation. I was immersed in a moment of contemplation, wondering if this is a regional cultural characteristic of the Kansai region, which is home to Koyasan. The sense of impermanence of scallop shells….
This is just an impression from my experience, but it seems to me that there is a historical tradition of such “atmosphere” at the base of Tadao Ando’s architectural orientation and the Kansai region’s endemic culture that deeply supports it. I am a Shingon Buddhist of esoteric Buddhism, so in a sense, I have a part of my body that accepts this kind of atmosphere.
Perhaps Kukai’s goal of “Koyasan” was a group of buildings that embodied the esoteric worldview of the Japanese people. Koyasan, where the flat terrain on the mountain and the temple buildings emerge after finally passing through the steep mountain path, may have been deeply imprinted on the Japanese people as an esoteric “architectural” experience.

house. I would like to visit the greenhouse and the open-air theater at the far end of the greenhouse next time.

Posted on 3月 4th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

ホテルを出て夢舞台の公園地域に向かう手前には、「淡路夢舞台の歩み」と題した経緯の説明コーナー展示がある。そこにはたくさんの「構想スケッチ」が展示されています。建築設計者として安藤忠雄氏が明記されているので、こうしたスケッチ群はかれの描画であることはあきらか。設計者のスケッチは完成形の建築の構想過程を明示してくれるので「思い」が伝わってきやすい。
この夢舞台建築群とのわたしの対話時間はおおむね3時間ほどとわずかな時間だったので、現地では十分に対比的に参観することはできませんでした。しかし、このように事後に資料としての写真などで跡づけることで、思考の工程を思い描きやすい。スケッチは基本着想をわかりやすく伝えてくれますね。逆に現場でリアルに感じる建築の印象と作り手側のイメージ・想像力が明示されることで強く印象に残る。
以下いくつかの建築群の紹介文。

１　楕円フォーラム〜楕円形の２重の壁の間を交叉する階段やスロープ、外部から貫入するコロネード。内部の大階段と水盤などで構成される。動線の結節点としてそれらの間を通るうちに見え隠れする内外部のさまざまな風景が、そこで行われるであろうイベントと共に来訪者に予期せぬ刺激をもたらす。


２　空庭〜斜面に埋め込まれた立方体のなかに連続する階段状の広場を内包する。壁に落ちる光と影、立方体のフレームで切り取られた風景などが抽象的な非日常空間を作り出す。野外イベントや彫刻展などにも対応可能な広場として計画されている。


３　百段苑〜約4.5m角の花壇が百段、敷地内外のどこからもよく見える急勾配の敷地に添うように埋め込まれる。巨大な階段と水の流れは山から海へと感覚的な連続性を生み出し、単純な幾何学形態が連続する非日常的な光景に彩りを添える。

ということで建築群写真集的な展開になってきたのですが、チェックポイントは多数だったので、コンクリート打ち放し公園的な様子を明日まとめてみたいと思います。

English version⬇

Tadao Ando’s Conceptual Sketch and Architectural Group Awaji Yumebutai-5
A park-like open-air architectural complex with fair-faced concrete. Reclaimed green space and intentional concrete. A space of musical contrast. The space of musical contrasts.

Before leaving the hotel and heading toward the Yumebutai park area, there is a corner exhibit titled “History of Awaji Yumebutai” that explains the history of the project. Many “conceptual sketches” are displayed there. Since Tadao Ando is listed as the architect, it is clear that these sketches are his drawings. The designer’s sketches clearly show the conceptual process of the completed architecture, so it is easy to get a sense of his “thoughts”.
Since my time to interact with the Yume Butai buildings was limited to only about three hours, I was not able to visit the site to fully contrast the buildings. However, by tracing the process of my thinking with photographs and other materials after the event, it was easy to envision the process of my thinking. The sketches convey the basic conception in an easy-to-understand manner. On the other hand, the impression of the architecture felt realistically at the site and the image/imagination of the creator’s side are clearly indicated, which leaves a strong impression on the viewer.
Below are introductions to some of the architectural groups.

1 Oval forum to elliptical double-walled intersecting stairs and ramps, colonnades penetrating from the outside. It consists of an interior grand staircase and a water basin. The various landscapes of the interior and exterior that appear and disappear as visitors pass between them as nodes of the flow line, together with the events that will take place there, will provide unexpected stimulation to visitors.

2 Empty Garden – A series of staircase-like plazas are contained within a cube embedded in the slope. The light and shadows falling on the walls and the landscape cut out by the frame of the cube create an abstract, extraordinary space. The plaza is designed to accommodate outdoor events and sculpture exhibitions.

3 Hyakudanen – One hundred lower steps of approximately 4.5m square are embedded to accompany the steep slope of the site, which is clearly visible from everywhere inside and outside the site. The huge steps and the flow of water create a sensory continuity from the mountains to the sea, and add color to the extraordinary scene of a series of simple geometric forms.
So it has developed like a collection of architectural group photos, but there were numerous checkpoints, so I will summarize the concrete park-like appearance tomorrow.

Posted on 3月 2nd, 2023 by 三木 奎吾
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