{"id":35572,"date":"2021-12-31T05:22:46","date_gmt":"2021-12-30T20:22:46","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=35572"},"modified":"2022-01-06T18:23:14","modified_gmt":"2022-01-06T09:23:14","slug":"%e3%80%90%e6%96%ad%e7%86%b1%e6%80%a7%e8%83%bd%e3%81%a8%e3%80%8c%e7%94%a8%e3%81%ae%e7%be%8e%e3%80%8d-%e6%b0%91%e8%97%9d%e3%81%a8%e5%8c%97%e6%b5%b7%e9%81%93-3%e3%80%91","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=35572","title":{"rendered":"\u3010\u65ad\u71b1\u6027\u80fd\u3068\u300c\u7528\u306e\u7f8e\u300d \u6c11\u85dd\u3068\u5317\u6d77\u9053-3\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
\n\"\"<\/a>
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\n\u305d\u3093\u306a\u601d\u3044\u304b\u3089\u305d\u306e\u30df\u30c3\u30b7\u30f3\u30b0\u30ea\u30f3\u30af\u3092\u6c42\u3081\u308b\u601d\u7d22\u306e\u884c\u811a\u3067\u3042\u308a\u307e\u3059\u3002<\/p>\n

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\n\u6c11\u85dd\u904b\u52d5\u3068\u306eDNA\u7684\u306a\u300c\u7e4b\u304c\u308a\u300d\u304c\u8868\u51fa\u3057\u3066\u3057\u307e\u3063\u305f\u306e\u304b\u3002
\n\u3082\u3061\u308d\u3093\u5317\u6d77\u9053\u3067\u306f\u305d\u3046\u3044\u3046\u30c7\u30b6\u30a4\u30f3\u7684\u306a\u610f\u56f3\u306f\u306a\u304b\u3063\u305f\u3051\u308c\u3069\u3001
\n\u3044\u308f\u3070\u5b9f\u7528\u306b\u5fb9\u3057\u3066\u3044\u3063\u305f\u7d50\u679c\u3001\u601d\u308f\u306c\u5171\u901a\u6027\u306b\u81f3\u3063\u305f\u3068\u3044\u3046\u3053\u3068\u3060\u308d\u3046\u304b\u3002<\/p>\n

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\n\u5275\u59cb\u8005\u6b7b\u5f8c\u306e\u300c\u6c11\u85dd\u300d\u6587\u5316\u306e\u57fa\u6e96\u304c\u3042\u307e\u308a\u660e\u78ba\u3067\u306f\u306a\u3044\u306e\u3067\u306f\u3068\u601d\u3046\u3002
\n\u30fb\u30fb\u30fb\u3069\u3046\u3082\u3053\u3046\u3057\u305f\u60f3\u5ff5\u306b\u3068\u3089\u308f\u308c\u3066\u3044\u307e\u3059\u3002
\n\u3082\u3057\u3054\u610f\u898b\u304c\u304a\u3042\u308a\u306e\u65b9\u3001\u305c\u3072\u304a\u805e\u304b\u305b\u304f\u3060\u3055\u3044\u3002<\/p>\n

English version\u2b07<\/p>\n

[Insulation performance and “beauty for use” folk art and Hokkaido-3]
\nI would like to reconstruct the Mingei movement and the absurd reality of Hokkaido.
\nFrom such a thought, it is a pilgrimage to seek the missing link.<\/p>\n

The photo is the former residence of Mr. Soetsu Yanagi, who is said to be the “West Building” of the Japan Folk Crafts Museum in Komaba, Tokyo.
\nAmong them, I spotted the spot around the window.
\nAnd the photo below is the appearance around the window when my house in Sapporo, Hokkaido was newly built.
\nA house with a concrete block external insulation method that he would not have imagined.
\nIt is clear that Yanagi’s house intends the impression of Kumiishi style as a “folk art” architectural symbol.
\nMr. Yanagi is, so to speak, an aesthetic choice in Japanese ancient architecture.
\nHe must have been fascinated by the “years” of the exterior of Oya stone.
\nHe also found “beauty” in the stucco border that complements it.
\nFrom such an aesthetic attitude, the windows were also designed and finished in this way.
\nIn terms of performance, the opening and closing of the glass surface is probably a sliding difference.
\nOn the other hand, in the cold regions of Hokkaido, it is called heat insulation outside the concrete block.
\nSo to speak, it was judged to be accurate by Kumiishizo as “practical” and adopted from the aspect of performance.
\nAs for the finish around the window, the performance and practicality derived from the cold regions of Northern Europe are basically prioritized.
\nWe adopted triple sashes and slipping out, which are not Japanese style.
\nFor example, rainwater treatment of openings in brick walls as an outer insulation skin, not as a face material, etc.
\nAlthough it is a practical finish, the texture of the masonry is expressed as it is.
\nHowever, the sense of shadow that it creates has a mysterious commonality with what the above Yanagi House aimed at.
\nOr rather, as a result, the external insulation concrete block housing in Hokkaido
\nDid the DNA-like “connection” with the Mingei movement emerge?
\nOf course, there was no such design intention in Hokkaido, but
\nSo to speak, as a result of devoting themselves to practical use, I wonder if they have come to an unexpected commonality.<\/p>\n

The Japan Folk Crafts Museum was built in 1936. The founder, Muneyoshi Yanagi, died in 1961.
\nThe construction of the former Aratani residence, which was the earliest in the heat insulation construction method outside the concrete block, was in 1980.
\nSo, there is a time lag of 44 years, and he has such a full-scale stone building in Hokkaido.
\nIt seems that I could not have imagined that it would be realized at the private house level.
\nIt goes beyond the imagination of Mr. Soetsu Yanagi, who created the concept of folk art as an evaluator of culture.
\nIn Hokkaido, where the folk art “target” architecture was regarded as “outside” from the folk art world.
\nTwenty years after his death, I think it was established completely unrelated.
\nThis also indicates the theme that the “Mingei” movement itself should deepen.
\nIt has a “judgment standard” that “this is folk art and this is different”
\nIt was only shown by the ambiguous “beauty”. Intuition
\nThe theme of “how to operate” the aesthetic standards of the founder, Muneyoshi Yanagi, is shown.
\nRikyu, who seems to have been supposed to be a far pioneer
\nThe creators of the Chanoyu culture created the so-called “tea ceremony” standard,
\nWhile it had permanence as a culture, including the dramatic nature of Rikyu’s death.
\nI think that the standard of “folk art” culture after the death of the founder is not so clear.
\n… I’m obsessed with these thoughts.
\nIf you have any opinions, please let us know.<\/p>\n","protected":false},"excerpt":{"rendered":"

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