{"id":33438,"date":"2021-06-16T05:11:43","date_gmt":"2021-06-15T20:11:43","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=33438"},"modified":"2021-06-16T05:11:43","modified_gmt":"2021-06-15T20:11:43","slug":"%e3%80%90%e5%85%a856%e7%95%b3%e3%81%ae%e5%a4%a7%e5%ba%83%e9%96%93%e5%ba%a7%e6%95%b7%e7%a9%ba%e9%96%93%ef%bc%8f%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e3%81%84%e3%81%84%e5%ae%b6%e3%89%9e-4%e3%80%91","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=33438","title":{"rendered":"\u3010\u516856\u7573\u306e\u5927\u5e83\u9593\u5ea7\u6577\u7a7a\u9593\uff0f\u65e5\u672c\u4eba\u306e\u3044\u3044\u5bb6\u325e-4\u3011"},"content":{"rendered":"<p><a href=\"http:\/\/kochihen.replan.ne.jp\/blog2\/wp-content\/uploads\/2021\/06\/5387.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-33439\" src=\"http:\/\/kochihen.replan.ne.jp\/blog2\/wp-content\/uploads\/2021\/06\/5387.jpg\" alt=\"\" width=\"525\" height=\"392\" 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\/>\nStory 4 of Toyama&#8217;s shipping wholesaler, Mori family.<br \/>\nIn the back of the most important space, the business meeting room, called &#8220;Oi&#8221; that I saw yesterday<br \/>\nThere are 3 tatami rooms including each front room (Hikaenoma), and each has an alcove.<br \/>\nThe top photo shows a series of tatami rooms from &#8220;Maezashiki&#8221;.<br \/>\n&#8220;Zashiki&#8221; in the back faces the courtyard via &#8220;Sayanoma&#8221;.<br \/>\nNormally, the tatami room in the back was the space used by the husband and wife.<br \/>\nIf so, did the two rooms on the front side function as guest rooms for visitors?<br \/>\nThe photo is flipped over and the front yard and &#8220;Chashitsu&#8221; are seen from &#8220;Maezashiki&#8221;.<br \/>\nThe total of these tatami mats is a vast space of 56 tatami mats and 28 tsubo including the alcove.<br \/>\nNow that it is on display, the sliding doors have been removed as shown in this photo.<br \/>\nA vast one-room space is spreading.<br \/>\nRealization of a feeling of openness in the direction of expansion, which contrasts well with the business negotiation space, which is characterized by a high atrium.<br \/>\nThe tea room is 8 tatami mats and features a wall between the alcove colored in red Bengala.<br \/>\nBe careful, there are only 5 pillars in the hall in such a large space.<br \/>\nAll that is left is to see the structural wall that is continuous with the floor pillars.<br \/>\nA feeling of openness in the horizontal direction is realized without hampering.<br \/>\nSince the ceiling is stretched, it is unknown what kind of &#8220;structure&#8221; there is in the back of the hut,<br \/>\nMaybe there is a strong Igata woodwork similar to the atrium,<br \/>\nIsn&#8217;t such a horizontal open space realized?<br \/>\nAnd again, from the opening to the front yard and the courtyard for such a large space<br \/>\nAchieves moderate lighting and ventilation.<br \/>\nIs this a method derived from the large wooden construction that Kyoto nurtured?<\/p>\n<p>It is said that the carpenter builder of this house asked a master craftsman who worked on Higashi Honganji in Kyoto.<br \/>\nAlthough it does not appear in the introductory text of this house, the name Ito Heizaemon (9th generation) comes to mind.<br \/>\nLooking at the facts, he is a person with architectural achievements that is suitable for a modern big-name architect.<br \/>\nWhen you think about it, these methods of selecting creators are becoming obsolete in modern times.<br \/>\nJapan has lost respect for craftsmanship, has the cultural content required for architecture changed?<br \/>\nNo, like the chairman of IT entrepreneur Oracle built a sukiya in California<br \/>\nRather, the world is recognizing this kind of wooden building culture.<br \/>\nThe architectural cultural power of the historical tradition of wooden architecture in Kyoto existed in the Meiji era.<br \/>\nFrom the builder&#8217;s point of view, it must have been a &#8220;first-class &#8230;&#8221; choice.<br \/>\nIt&#8217;s true that this hall is vast, and it&#8217;s good to create a business negotiation space.<br \/>\nIt seems that there is something like a large wooden manner of religious architecture.<br \/>\nIn modern times, is it appropriate to have a combination of a well-known architect and a national general contractor?<br \/>\nCreate a large atrium in the vertical direction, realize a large hall with this house size, etc.<br \/>\nA style established with larger religious buildings rather than residential-scale architectural tastes.<br \/>\nIt can be said that it was a maker&#8217;s choice that was convincing as the norm.<br \/>\nSince it is a business architecture, it seems that it was effective in saying &#8220;Higashi Honganji &#8230;&#8221;.<\/p>\n<p>On the contrary, in modern times, speaking only in the area of \u200b\u200bprivate housing<br \/>\nThe &#8220;selection criteria&#8221; of these people are unclear.<br \/>\nIn the extreme, the &#8220;famousness&#8221; of the house maker is imprinted and misunderstood.<br \/>\nIs it equivalent to the involvement of a well-known architect in general?<br \/>\nSo to speak, the concept of &#8220;first-class&#8221; corresponds to that, but<br \/>\nIn modern times, such a sense of value is ambiguous in the area of \u200b\u200bhousing.<br \/>\nThe value of &#8220;good architecture, good housing&#8221; used to exist as a real feeling.<br \/>\nIt can be said that it has been greatly shaken in modern Japanese society.<br \/>\nIt&#8217;s a big theme, so I can&#8217;t conclude.<br \/>\nAt least, these standards were clear at the time of construction of this building, the first year of the Meiji era.<br \/>\nI think this is one of the things I noticed in this house. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u5bcc\u5c71\u306e\u5efb\u8239\u554f\u5c4b\u30fb\u68ee\u5bb6\u306e\u30b9\u30c8\u30fc\u30ea\u30fc\u305d\u306e\uff14\u3002 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