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
Filed under: 日本社会・文化研究 | No Comments »

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
Filed under: 日本社会・文化研究 | No Comments »

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 »