一昨日は北海道民間住宅施策の諮問会議に出席。
国の省エネ住宅政策での大きな動きを踏まえ北海道なりの方向性を論議。
北海道は気候的に関東以南地域とは大きく乖離しているので、
明治期に国の中央省庁「北海道開拓使」が設立されて
本土とはまったく違う条件の中で対ロシアの国防をも目的にして
積極的な移住促進・気候に適合した住宅施策が独自に追求された。
この地域でも冬場あたたかい室内気候実現のため知恵と工夫が追求された。
伝統的な木造架構工法を革新して高断熱高気密という技術体系を創始した。
具体的な施行手法、手順なども解析されることで
その技術が本土地域にもフィードバックされてきた経緯。

そういった状況がさらに進化を迫られている要因が現代の「ゼロカーボン」。
それが地球温暖化の主原因かどうかは論議もあるところだけれど、
当面する世界の技術進化テーマとして社会に大きくのしかかってきている。
エネルギー消費は住宅分野が大きなウェートを占めているので、
この手法を考えて行くことは大きな社会課題であることは間違いがない。
このミッションにいよいよ北海道として正面から向き合うことになった。
断熱気密の基本技術はコストとのバランスで適正な選択肢が実現している。
他方のエネルギー機器選択ではさまざまな困難が存在する。
主役としての電気エネルギーを住宅で生産する設備として
現状では太陽光発電装置がコスト的にも主要な対象となってくる。
しかしこれはそもそも温暖地域の気候条件に最適化された設備機器。
一見「どこの地域でも均一」と誤解する太陽光を基本要素にしている。
この機器は残念ながら気候要素によって受益が大きく異なる特性を持つ。
積雪寒冷条件、とくに多雪地域では冬場に発電量が大きく減衰する。
北海道のような地域はいきなりハンディキャップを強いられる。
歴史の皮肉というか、回り回って振り出しに戻った感がある。
結局、積雪寒冷という条件下で全国的に普遍的とされる
この適格とは思われない設備機器が条件という「試される」事態になった。
表は会議で配付された北海道の住環境研究機関「北総研」資料。
国が推進する「ZEH」住宅の実績ではハンディを越えて全国同等レベル。
一方で太陽光発電の「効率」実証データを見ると
北海道の暮らしでいちばん重要な冬場にエネルギーを生み出さず
必要な電気エネルギーは系統から購入するほかない実態が明確。
ユーザーの本音からはそういう機器にたくさん投資するのは理に合わない。
また、住宅設備であると同時にこれからはEVが主流になることを考えれば
面積の広い北海道で大事な移動交通エネルギー源としても不安そのもの。

まさに「試される大地（北海道のキャッチフレーズ）」そのもの。
ホンネではこんなことで試されたくはない（泣笑）。
しかし会議では、逆に旺盛な「フロンティアスピリット」が発露した。
こういう逆境をどうやったら乗り越えられるかと
寒冷気候に挑戦した先人たちの残した知恵と工夫精神に立ち返って
論議を深めていく方向で大きくまとまった次第。
開拓者の心境でいくつかの手掛かりからリアルな突破口を見出したい。
叡智を探り結集させていきたいと念願するところです。

English version⬇

Solar power “regional disparities” and uniform national housing policy.
The great energy-saving order based almost entirely on the premise of solar power generation equipment that is weak in the harshest winter months. Can the tested land rise again with frontier spirit? ・・・・.

The day before yesterday, I attended the Advisory Council on Private Sector Housing Policies in Hokkaido.
We discussed Hokkaido’s own direction in light of major developments in the national energy-efficient housing policy.
Hokkaido is a region that is far removed from the Kanto region and southward in terms of climate, so it is important for the government to take a more active role in the development of the island’s climate.
The central government ministry “Hokkaido Kaitakushi” was established in the Meiji period (1868-1912) to promote the development of the island.
Hokkaido’s climate was completely different from that of the mainland, and the purpose of the Hokkaido Kaitakushi was to protect the nation against Russia.
Aggressive measures were taken to promote immigration and to provide housing suited to the climate.
In this region, wisdom and ingenuity were pursued in order to realize an indoor climate that would allow people to live warmly in winter.
The traditional wooden frame construction method was innovated to create a technological system of high thermal insulation and airtightness.
The specific implementation methods and procedures were also analyzed.
The technology has been fed back to the mainland region.

The factor that is forcing this situation to evolve further is today’s “zero-carbon” approach.
Whether this is the main cause of global warming or not is a matter of debate.
However, it is a theme of global technological evolution that is looming large over our society.
Since the residential sector accounts for a large portion of energy consumption, it is important to consider this approach.
There is no doubt that considering this approach is a major social issue.
Hokkaido has finally decided to face this mission head-on.
The basic technology of insulation and airtightness has achieved an appropriate choice in balance with cost.
On the other hand, various difficulties exist in the selection of energy equipment.
As the equipment to produce electric energy as the main role in the house.
Currently, photovoltaic equipment is the main target in terms of cost.
However, this is equipment optimized for the climatic conditions of warm regions to begin with.
It uses sunlight as the basic element, which at first glance is mistakenly thought to be “uniform in all regions.
Unfortunately, this equipment has characteristics that vary greatly in terms of benefits depending on “regional climate” factors.
In snowy and cold conditions, especially in regions with heavy snowfall, the amount of power generated is greatly attenuated in winter.
Regions such as Hokkaido are suddenly forced to face a handicap.
It is an irony of history, or perhaps it is a sense that we are back to square one.
After all, it is not considered eligible under the conditions of snowy and cold weather.
The situation was a “test” of this equipment condition, which is considered universal throughout the country.
The table shows materials distributed at the meeting by the Hokkaido Research Institute for Housing and Environment.
In terms of performance of “ZEH” houses promoted by the government, Hokkaido is at the same level as the rest of Japan, surpassing the handicap.
On the other hand, the “efficiency” of photovoltaic power generation is not as high as the national level.
The most important season for living in Hokkaido is winter, when no energy is produced.
The reality is clear that the necessary electrical energy has to be purchased from the grid.
From the user’s point of view, it does not make sense to invest in such a large amount of equipment.
In addition, considering that EVs will be the mainstream in the future as well as residential equipment, it is not reasonable to invest in a lot of such equipment.
In addition to being residential equipment, EVs will be the mainstream in the future, and even if they are considered an important source of energy for transportation in the large area of Hokkaido, they are still a source of concern.

This is exactly what “the land to be tested (Hokkaido’s catchphrase)” means.
In all seriousness, we do not want to be tested in this way (laughs).
However, at the meeting, on the contrary, a vigorous “frontier spirit” was revealed.
I wondered how we could overcome this kind of adversity.
We will go back to the wisdom and spirit of ingenuity left behind by our predecessors who challenged the cold climate.
We have come to a consensus to deepen the discussion on how to overcome this kind of adversity.
We would like to find a realistic breakthrough based on some clues with the mind of a pioneer.
We hope to search for wisdom and bring it together.

Posted on 6月 1st, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

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 »