堀部安嗣さんは神戸市の新興住宅地での住宅プロジェクトで新住協メンバーのダイシンビルドさんの建てた住宅（神戸住宅博「ヴァンガードハウス」）で、取材させていただいたのがご縁。時系列的にはこの日本建築学会賞受賞の時期と重なっているけれど、むしろ当時は４間×４間という合理的な住宅間取りの最適解的手法の事例として取り上げていた。
2017年に新住協の鎌田紀彦氏との対談が東京の住宅展示会で企画されて、それを取材した流れから、関西でのその実例をという企画趣旨だった。
鎌田先生の本誌Replan（2019/3発行）「Q1.0住宅デザイン論」での堀部氏について触れた該当箇所を以下に転載。
「（堀部）３年ほど前、自分の建築の魅力はそのままに断熱気密の性能をもっと高めることができるのではないかと思い始めた。そうした設計を実践してみるとその分、住まい手が喜んでくれることがわかり、一段と設計の楽しさを実感した。」「高断熱の住宅手法についてそれが制約ではなく、設計の自由度を高め魅力的な住宅を設計することを可能にし、より施主の満足度を高めることを可能にすると言ってくれた。」
関東以南地域で、こういう設計者の存在を強く感じられた。北海道での家づくりの作り手たちと同様の「環境」ということへの深い意味での理解が鎌田紀彦氏にも伝わったということだろう。で、その当時はそこで言われた環境とは「温熱」という側面だけと直に理解していたけれど、今回、この「竹林寺納骨堂」を参観して、認識が改められた。というのは、竹林寺という日本の建築文化の粋ともいえる伝統建築群が醸し出す空間の磁場のなかで、現代の作り手が新たに建築を造作する「心得」という意味、いわば空気感・雰囲気のような広範な意味合いとしての「環境論」を強く感じたのです。


最初の写真のように五重塔のような人類の精神性建築資産ともいえるような建築群が作り出している空間環境に、現代の作り手があらたな建築を作るとき、自分一個の「作家性」がそれに優先するということはあり得ないというマインド。むしろ先人が作り上げてきた空間のなかでそれをリスペクトしつつ、調和させてあらたな「奥行きを作り出す」という創造性のメンタルを感じたのです。建築としての目的が納骨堂ということもあるけれど、半地下・平屋という視線レベルからもそういう姿勢が伝わってきた。
氏のこの作品へのコメントを見ても、そのような設計態度が強く感じられる。
ちょうど安藤忠雄「淡路夢舞台」の空間体験と、また阿波忌部氏・三木家住宅という対照を見てきたあと、この建築にめぐり会ったことは、個人的に非常に楽しい体験になったのです。

English version⬇

The “New” Architectural Spirit in Historical Architectural Space “Chikurinji Ossuary”-2
The contrast between Tadao Ando’s creation of a new space for the environment as a whole and an architectural space of human spirituality. Let’s take a look into the mind of the creator at that time. …

I had the privilege of interviewing Mr. Yasutsugu Horibe for a housing project in a newly developed residential area in Kobe City, which was built by Daishin Build, a member of Shinjyukyo (Kobe Housing Expo “Vanguard House”). Chronologically, the project coincided with the time of this AIJ Award, but at the time, I was rather covering it as a good example of an optimal solution method for a rational 4 ken x 4 ken housing layout.
In 2017, a conversation with Norihiko Kamata of Shinjyukyo was planned at a housing exhibition in Tokyo, and the purpose of the project was to cover the actual example in the Kansai region.
The following is a reprint of the relevant section of Mr. Kamata’s article in this issue of Replan (published 3/2019), “Q1.0 Housing Design Theory,” in which he mentions Mr. Horibe.
About three years ago, I began to think that it might be possible to improve the performance of insulation and airtightness while maintaining the attractiveness of my architecture. When I put such a design into practice, I found that the residents were happy with the results, and I realized how much more enjoyable it was to design.” He said, “The high thermal insulation method is not a constraint, but a way to increase the freedom of design, to design attractive houses, and to increase the level of satisfaction of the client.”
I strongly felt the presence of these kinds of designers in the Kanto region and southward. I was informed that Norihiko Kamata had the same deep understanding of the “environment” as the makers of the houses in Hokkaido. At the time, I had understood environment to mean “heat,” but this visit to the Chikurin-ji Ossuary has changed my understanding. I strongly felt “environmentalism” in the sense of “knowing how to create a new architecture” by a modern creator in the magnetic field of space created by Chikurin-ji, a group of traditional buildings that can be said to be the essence of Japanese architectural culture.

As shown in the first photo, the five-story pagoda is an architectural asset of human spirituality, and the architects have created a spatial environment in which it is impossible for a modern creator to give priority to his or her own “authorship” when creating a new architecture. Rather, I sensed a creativity to “create new depth” by respecting and harmonizing the space created by predecessors. Although the purpose of the building is to serve as an ossuary, I could feel this attitude from the level of the viewer’s perspective of the half-underground, one-story building.
His comments on this work strongly suggest such a design attitude.
After having just experienced the spatial experience of Tadao Ando’s “Awaji Yumebutai” and the contrast of the Awa Imobe and Miki family residences, coming across this architecture was a very enjoyable experience for me personally.

Posted on 3月 11th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

昨年末に東京上野の「科学博物館」で参観した「化学層序」の展覧会。歴史好きなので地層とか地質年代的にも興味を持っております。NHK「ブラタモリ」でも番組構成で下敷きにしていますね。地質学の基本となる情報は地層の積み重なりである「層序」という概念。層序は上位ほど新しく、各地層の厚さ、堆積構造、岩石や化石の種類の違いを示す。そういう概念を「化学層序」と呼ぶのだそうです。
そういえばと思い出すのが、不勉強極まりなかった高校時代。予習が通用しない学力テストがあって「地学」を選択したら、なんと学年トップランクの成績。個人的勉強史での唯一に近い「成功体験」（笑）。逆に考えるとそれ以来、地質は面白いと思ってこういう最新研究の成果発表に興味を持つのでしょうか。
そういうマニアックな展示会で学ぶことで来し方行く末のコンパス感覚が得られる。人間の歴史もそういう巨視スパンの基盤上に展開しているので強く影響されている。ふむふむと勉強させていただいていたら、突然目の前に「北海道」という文字が現れて思わず目が覚めてしまった。


「貝類」と言う生物種ととらえられる「アンモナイト」の一種「アマポンデラ・アマポンデンゼ」というイキモノは化石で確認される最新年代、約8020万年前には地球上で北海道でだけ発見されるのだそうです。
なんでもこの化石は北海道むかわ町穂別博物館から出張してこの東京の科学博物館に来ていたとのこと。WEBで検索しても、この生物種の情報はなかなか得られない。
一方アンモナイトは古生代シルル紀末期から中生代白亜紀末までのおよそ3億5000万年前後の間を、海洋に広く分布し繁栄した頭足類の分類群の一つ。多くの種が平らな巻き貝のような形をした殻を持っているのが特徴。・・・ということなので、やはり貝類との類縁性が強く感じられる。
普段から北海道の魚介類には深くお世話になっている。２枚目写真のホッキ貝などはそのうま味に魅せられて、ほぼ日常的に捌いて刺身として食している。そのはるかなご先祖さまが、思わぬ場面でいきなり降臨された気分。人間は罪深く、他の生物種を食べながら生き延びてきた。食べることはイキモノを殺すことだけれど、しかし同時にいのちの共生とも感じる。輪廻転生。・・・

English version⬇

Chemostratigraphy of Hokkaido’s “Shellfish” 80.2 Million Years Ago
While studying the latest research in geology, I encountered fossils of ancestors of Hokkaido shellfish. The history of the earth’s shellfish, which is made clear by the texture of sashimi. …

At the end of last year, I visited the “Chemistry Stratigraphy” exhibition at the Science Museum in Ueno, Tokyo. As a history buff, I am interested in geological stratigraphy and geochronology, and I know that NHK’s “Bratamori” also uses it as a basis for its program structure. The basic information of geology is the concept of “stratigraphy,” which is the layering of strata. The higher the stratigraphy, the newer it is, indicating differences in thickness, sedimentary structure, and types of rocks and fossils in each layer. Such a concept is called “chemostratigraphy.
This reminds me of my high school days when I was extremely ill-prepared. There was an achievement test that I could not prepare for, and I chose “geology,” and to my surprise, I was ranked in the top of my class. It was the only “success experience” in my personal study history (laughs). Thinking about it in reverse, I wonder if since then I have been interested in the presentation of the results of the latest research like this because I think geology is interesting.
Learning at such maniacal exhibitions gives me a sense of a compass for where we are going and where we are going to go. Human history is also strongly influenced by such a macroscopic span of time. As I was studying the exhibition, the word “Hokkaido” suddenly appeared in front of my eyes, and I was awakened unexpectedly.

Amapondera amapondense, a type of “ammonite” that is considered a “shellfish” species, is found only in Hokkaido on earth at the latest age confirmed by fossils, about 80.2 million years ago.
It is said that this fossil came to the Science Museum here in Tokyo on a business trip from the Hobetsu Museum in Mukawa-cho, Hokkaido, and that information on this species is not easy to find even when searching on the Web.
Ammonites, on the other hand, are a taxon of cephalopods that flourished and were widely distributed in the oceans from the late Silurian of the Paleozoic Era to the end of the Cretaceous of the Mesozoic Era, a period of about 350 million years. Many species are characterized by their flattened shells, which are shaped like a spiral shell. The species is strongly related to shellfish.
I have been deeply indebted to Hokkaido’s seafood, and am fascinated by the taste of hokki-gai clams, such as the one in the second photo, and eat them as sashimi almost on a daily basis. I feel as if these distant ancestors suddenly descended upon me at an unexpected moment. Humans have sinfully survived by eating other species. To eat is to kill a living thing, but at the same time, I feel that it is a symbiosis of life. Reincarnation. The reincarnation of life.

Posted on 3月 9th, 2023 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

淡路夢舞台シリーズを続けたが、写真を最初に掲載したホテルにまだ帰っていなかった（笑）。グランドニッコーホテル。ロビーの雰囲気は上の写真のようなもので、ふしぎなカタチのソファが迎えてくれる。２階がロビーになっていてこのソファは外からも見ることができる位置に置かれているので、たぶん特別にデザインされたものなのだろう。
淡路という場所柄を考えると貝類をモチーフにしているのか、あるいは南国的な花びらをイメージしたのだろうか。思わず「座ってごらん、写真撮ってあげる」と言いたくなる（笑）。「気分を盛り上げる」のが狙いでもあるだろうから、目的には合致している。
実際に座ってみるとそれなりの座り心地が感じられ作りもしっかりしていた。それに比べると階段ホールに配置された２人掛けの椅子はあんまり座りたくなる感じはしなかった。デザインモチーフもどういったイメージが制作動機なのか伝わりづらかった。
こういった造作家具の場合、空間イメージとの整合性とか調和が大事。リゾートホテルの雰囲気作りには外観デザインとの整合性と「特別な空間」感を訴求する目的もあるでしょう。安藤忠雄氏の意図もある程度反映されているのでしょうね。ひょっとするとデザインはかれであるかも知れない。確認できませんでした。



外観的にはスケッチイメージ通り。平面図ではV字的な建物配置で、その急角度部分がちょうどエントランスに当たる。このV字は淡路の海に向かっていて、一方開放された方向は陸地側になっている。客室はたぶん全室をオーシャンビューとする目的で、こういった配置計画になったのかと思われた。

列柱コンクリートは構造的に不可欠かどうか不明だが、パルテノン神殿のそれのように見る者への心理的なメッセージ性はある。強度的になくても建築は成立はするだろうけれど、あった方が安心感がある。この建物、淡路夢舞台は阪神淡路震災を計画段階で経験しているので、デザイン面でのそうした潜在意識的な訴求でもあるのだろうか。
以上で今回の淡路夢舞台探訪シリーズは終了。

English version⬇

Awaji Yumebutai – 8 – Interior and exterior design that adorns the hotel space
The hotel’s interior and exterior design is decorated with a certain emotion, whether it is a shell or a tropical petal. On the other hand, the concrete columns are very Tadao Ando. Did the earthquake have a profound effect on his mind? The earthquake also had an effect on his deep mind.

I continued the Awaji Yumebutai series, but I had not yet returned to the hotel where I first posted my photos (lol). Grand Nikko Hotel. The atmosphere of the lobby is like the photo above, with a mysteriously shaped sofa welcoming you; it seemed to me that it was probably specially designed, since the lobby is on the second floor and this sofa is placed in a position where it can be seen from the outside. Considering its location on Awaji Island, it may have been inspired by shellfish, or perhaps tropical petals. I couldn’t help but want to say, “Sit down, and I’ll take your picture” (laughs). The aim would be to “set the mood” in such a way, so it fits the purpose.
When I actually sat down, I felt a certain amount of comfort, and it was well made. In comparison, the two-seat chairs placed along the stairwell did not make me want to sit in them much. In terms of design motifs, it was difficult to convey what the motive was for the production.
In the case of this kind of furniture, consistency and harmony with the image of the space are important. The purpose of creating the atmosphere of a resort hotel would be to appeal to the sense of “special space” and consistency with the exterior design. To some extent, Tadao Ando’s intentions must have been reflected in the design. Perhaps the design is his. I could not confirm this.

Externally, the building is as shown in the sketch image. In the plan, the building is arranged in a V-shape, with the entrance at the steep angle. This V-shape faces the Awaji Sea, while the open side is the land side. It is thought that this layout was chosen in order to have all guest rooms with ocean views.

It is unclear whether the colonnaded concrete is structurally indispensable, but it seems to me that, like that of the Parthenon, it must have a psychological message to the viewer. Although the architecture would be viable without it, it is more reassuring to have it. This building, Awaji Yumebutai, experienced the Great Hanshin-Awaji Earthquake in the planning stage, so perhaps it is a subconscious appeal of this kind.
This concludes the Awaji Yumebutai exploration series for this issue.

Posted on 3月 7th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング | No Comments »

わたしの料理好きは小学校時代以来。男兄弟５人、姉１人という家庭環境で育った末っ子なのですが、親はバランス的にか、末っ子には女の子を希望していたそうです。生まれてきてガッカリということだったそうですが、姉がそれを不憫に思ってか、シスターボーイという1957年公開の米国映画「お茶と同情」から流行した語で「女性のような態度・容姿」みたいな弟に育って欲しい期待があったようなのです。
そんな期待を感じてか、なぜか料理に強く興味を持って、小学校３年くらいのときにはじめて「家庭科」の授業を受けて大いに刺激されて、そこで作り方を教えられた「サラダ」を家に帰って作って見た。とくに姉と母がいたく感激して喜んでくれた。それが好奇心の出発点だったように記憶しています。
それから幾星霜、三つ子の魂百まで、ではないのですが、日々料理の工夫大好きオヤジ（笑）に。
最近は余市のお魚屋さん・新岡商店にチョコチョコと通ってお魚の捌きに興味津々の毎日であります。ちょうど本日は家族が集っての「手巻き寿司」パーティ企画。これも最近よく通っている札幌中央市場に行って購入しております。上の写真はその市場にあった水槽。てっきり「活き作り」用の商品かと思ったら、「あ、それはペットなんです（笑）」という店員女性のニッコリ顔。
魚種は「ババカレイ」という魚ですが、近づいていくと、なんとシッポを振って近寄ってくる。「それはね、エサをくれると思ってよってくるんですよ」とのこと。犬のかわいい仕草で「尻尾を振る」はよく見かけるしそうされるとウレシイですが、ババカレイが、という驚きの光景。
陸上動物、哺乳類には人間との近縁感があるので、感情というものも感じますが、さすがに魚までは想像力が及ばなかった。しかし、市場などに通ううちにたしかに愛情の深まりは感じさせられる。人間は罪深くかれらを食べるのだけれど、それは異相だけれど愛情のひとつのカタチであるとも強く思わされる。



ということで、きのう市場で出会った上から順に、アンコウ・ヒラメ・クエであります。クエなどは「対馬」の産地文字が見えている。日本人はこういう海生動物と長い年月の交流が基盤にあったのでしょうね。まことに姿カタチ、かわいらしい。さて、きょうは手巻き寿司食べるぞ。

English version⬇

[On weekends, fish and their date to watch and eat (laughs).
Flounder, which have been made into pets, welcome me as they dance. I process the fish and make sashimi, but at the same time I feel affection for them. Is this a contradiction in terms of killing and eating?

My love of cooking has been with me since elementary school. I grew up in a family environment with five male siblings and an older sister, and my parents, perhaps for balance, wanted their youngest child to be a girl. His older sister took pity on him, and she had an expectation that he would grow up to be a sisterboy, a term popularized from the 1957 American movie “Tea and Sympathy,” which means “having an attitude and appearance like a woman.
Perhaps sensing such expectations, for some reason he took a strong interest in cooking, and was greatly inspired by his first “home economics” class when he was in the third grade of elementary school. My sister and mother were especially impressed and pleased. I remember that as the starting point of my curiosity.
Many years have passed since then, and I have become an old man who loves to devise new ways of cooking.
Recently, I have been going to a fish shop in Yoichi, Nioka Shoten, every day, and I am very interested in fish processing. Just today, my family is planning a “Temakizushi” party. I went to Sapporo Central Market, which I have been frequenting recently, to buy fish. The photo above is a water tank at the market. I thought it was a product for “Ikemakuri,” but the shopkeeper’s smiling face said, “Oh, that’s for pets.
The species of fish is called “baba flounder,” and as I approached it, to my surprise, it approached me, wagging its tail. When you get close to the fish, it wags its tail and comes close to you, thinking that it will feed on you. The wagging tail is a cute gesture by dogs, and it is often seen and appreciated by dogs, but this is a surprising sight to see a Baba Flounder.
I have a sense of kinship with humans when it comes to land animals and mammals, and I also feel emotions, but as expected, my imagination did not extend to fish. However, as I went to the market, I could certainly feel the depth of their affection. Although humans eat them sinfully, I strongly feel that this is a form of love, even though it is a different phase of love.

So, in order from top to bottom, they are anglerfish, flatfish, and kue (kue) that I encountered at the market yesterday. Kue, for example, has “Tsushima” in the name of its place of origin visible. Japanese people must have had a long history of interaction with these marine animals. They are really cute in shape and form. Well, today, I am going to eat Temakizushi.

Posted on 3月 5th, 2023 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

北海道の人間からすると安藤忠雄さんは評価が分かれる存在。北海道が地域を挙げ高断熱高気密住宅という地域社会運動に取り組んで必死の時に、断熱などにはほぼ無頓着にコンクリート打ち放しで型枠から「放したあとの面の表情の美感」を追求する制作プロセス情報が伝わってくる。美感のために「ガンガン叩く」のだ、というような情報。断熱性を差し置いてこだわる箇所がそこなのか、という距離感。
また安藤作品の住宅では施主さんは寒さに震えているという断片的なウワサを聞く。実際に熱画像撮影され暖気が「まっすぐ垂直に」上昇している写真も見たことがある。ほぼ屋外の熱環境。ちょっと別次元の熱環境空間への考え方と思わされた。
しかし一方そういう情報とは違う印象の事実とも出くわす。たとえばこの淡路夢舞台では北海道オホーツクの缶詰工場で廃棄されるばかりだったホタテ貝殻たち100万枚が第２の命の残照をこだまさせているという。１万㎡にも及ぶ水面の底で基盤的な風景を構成している。
北海道の自然からの重要な使者として淡路に降臨したとも受け取れる。安藤さんの設計思想がどうしてこのホタテ貝殻に注目し淡路島の地形復元の隠れた最大のホープとして採用したのか。単に自然再生の象徴としてなのか、あるいはもっと大きな意味合いがかれを動かしたのかは不明。だけど北海道人としてはある種、胸熱になる、こうした「心の仕掛け」を見せてくれる。
違和感を持つと同時に内面に訴えてくる建築人としてのある熱いものも感じざるを得ない。まことに二律背反的・アンビバレンツ。上の写真は水底でさざめいている北海道のホタテ貝たち。「おお、オホーツクを遠く離れて新たな命を生きているのか」みたいな。


こちらは「水庭」と名付けられた空間。水底ではオホーツクのホタテたちがはるか故郷を思って水音を和らげていると思うと、つい情感が加わってくる。そうかそういう作戦か、いいね、みたいな。破壊された自然環境を再生するのには百万枚のホタテ貝のささやきがふさわしいと思えたりする。

水底ばかりではなく、気がつくと至る所にホタテたちが地を覆っていることに気付かされる。北海道が少しでも役立っている、このように関西の人たちのメンタルに訴求し活用されていることは本当にうれしくありがたいことだと思えてくる。


さらにそういう水底に十字の切り込みが行われ、その「湖底」にチャペル空間がある。湖底からの光は壁面のスクリーンに十字の宗教造形として反映されている。ゆらぎを感じさせるそういう造形感覚は、コンクリートという人工そのものの素材を使いながら、なお、自然を強く意識させてくれる。
関西圏と安藤建築作品、違和感と同時にやっぱり強い親近感（笑）。

English version⬇

[Musical landscape, 1,000,000 shells from Hokkaido also silently participate in Awaji Yumebutai – 6
A million scallop shells from Okhotsk, far from their hometown, demonstrate their fundamental power in the restoration of nature in Awaji. A heart-warming exchange between the Kansai region and Hokkaido. …

From the perspective of people in Hokkaido, Tadao Ando’s reputation is divided. At a time when Hokkaido was desperately trying to create highly insulated and airtight housing as a regional social movement, he was almost indifferent to thermal insulation and the like, and was pursuing the “aesthetic expression of the surface after it is released” from the formwork by leaving the concrete untouched. The information is like “pounding with a gun” for the sake of beauty. The sense of distance between the two, as if the insulating properties were not a priority.
We also hear fragmentary rumors that the owners of Ando’s houses are shivering from the cold. I have actually seen a photo taken by thermal imaging showing warm air rising “straight and perpendicular” to the house. Almost an outdoor thermal environment. It seemed to me that this was a way of thinking about the thermal environment space in a different dimension.
On the other hand, however, I also came across some facts that gave me a different impression from such information. For example, at Awaji Yumebutai, one million scallop shells that were discarded at a canning factory in Okhotsk, Hokkaido, are now reverberating with the afterglow of a second life, forming a fundamental landscape at the bottom of a 10,000 m2 water surface. It could be taken as an emissary from the nature of Hokkaido descending to Awaji. It is unclear why Mr. Ando’s design philosophy led him to focus on scallop shells as the greatest hidden hope for the restoration of Awaji Island’s topography, simply as a symbol of nature’s rebirth, or whether a larger meaning moved him. But as a Hokkaido native, he shows us this kind of “trick of the mind” that makes us feel a certain kind of excitement.
At the same time that I feel a sense of discomfort, I can’t help but feel a certain passion as an architect that appeals to my inner self. It is truly a dichotomous and ambivalent work. The photo above shows scallops in Hokkaido, which seem to be rustling at the bottom of the water. It is as if to say, “Oh, they are living a new life far away from Okhotsk.

This is a space named “Water Garden. The thought that the scallops of Okhotsk are softening the sound of the water as they think of their faraway homeland at the bottom of the water just adds to the emotion. I like that kind of strategy. The whispering of a million scallops seems like a fitting way to restore the destroyed natural environment.

Not only at the bottom of the water, but everywhere you notice scallops covering the ground. It makes me feel very happy and grateful that Hokkaido is helping, even if only a little, to appeal to the mentality of people in the Kansai region and to be utilized in this way.

In addition, a cross is cut into the bottom of such water, and the chapel space is located at the “bottom of the lake”. The light from the bottom of the lake is reflected on the wall screen as a religious form of a cross. This sense of form that evokes a sense of fluctuation makes us strongly aware of nature, even though concrete, a man-made material, is used.
The Kansai region and Ando’s architectural works are both uncomfortable, but at the same time, there is a strong sense of affinity (laugh).

Posted on 3月 3rd, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »